Elvis Mitchell Quotes
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Do you remember where you were when Michael Jackson and Farrah Fawcett died?
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'Old School' is so breezy it could be a late-night talk show, especially when Craig Kilborn, of 'The Late Late Show,' sidles into camera range as a particularly loathsome competitor to Mitch.
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Since most of 'Mean Girls' consists of the outsider Cady observing the tribal rites of her new setting and laying it all out in narration, this movie is just like home for the meticulous and ruthless deadpan that Ms. Fey has perfected for the satirical 'S.N.L.' newscast in which she and Jimmy Fallon are the anchors.
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Performance art is really more of a command than an invitation.
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The stoic drama 'A Somewhat Gentle Man' is photographed in a palate of steel gray tones that match Stellan Skarsgard's complexion. It's a low-blood-pressure version of the kind of thing James M. Cain used to do in his sleep, and its filmmaking accomplishment is as minimalist as its narrative ambition is minimal.
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'Boat Trip' is more tiresome and dumb than actually bad.
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I'm honored to be asked by Stephanie Allain - whom I've long admired - to add to the scope of my programming purview at Film Independent. I salute David Ansen for his work with the festival and look forward to continuing to follow his example.
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One thing that I've noticed about big families is that they usually break down into two camps: the talkers and the watchers.
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In the early '60s, it was still a fairly subversive thing, though, to say that you should take a painting, cut it, set it on fire, step on it, hammer nails into it.
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Selling tickets at the Bing Theater at LACMA was my first job in L.A.
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We do want to be diverted and be interested and be provoked by popular culture - by art, if we're lucky. And it's amazing how often people have lost sight of this.
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No actor has made a career of exerting determination to the extent that Matt Damon has. In the 'Bourne' movies, he burned himself down to a central nervous system - his focus fried away unnecessary calories.
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'Infernal Affairs' uses a vibrating terseness usually found in the writer and director Michael Mann's work. Thematically, this film deploys the techniques Mr. Mann brought to bear on 'Heat,' right down to using a similar cold-blooded electronic score.
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Duncan Jones has skills; he's an architect of emotional dislocation.
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Ali was the African-American who exulted in saying exactly what he was capable of, and the bouncing-boy braggadocio of hip-hop is impossible to imagine without him. So it makes sense that one of his spiritual children, the sunny-dispositioned rapper turned actor Will Smith, would play him.
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The story of a proud Roman soldier who is sold into slavery and must fight his way back to freedom, 'Gladiator' suggests what would happen if someone made a movie of the imminent extreme-football league and shot it as if it were a Chanel commercial.
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The kind of filmmaking excitement that director Peter Weir brings to movies is bone deep.
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With his compulsively slamming lyrics and king-of-the-world delivery, DMX intuitively echoes the existentialism of the projects of the novelist Donald Goines.
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If you start off as a fearsome figure in pop culture, it's almost axiomatic that at some point, years under the lights softens you into a cuddly family figure.
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In 'The Adjustment Bureau,' Damon shows movie-star concentration as David Norris, a politician whose world ambitions hit a pothole when his angry streak becomes public.
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It's more dangerous to be a friend or relative of Jackie Chan in the star's movies than it is to play the third yeoman on a 'Star Trek' episode.
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In 'Training Day,' Mr. Washington's dry-ice grandeur - the predator's reflexes contrasting with a pensive mouth - deserves regard, and his powerhouse virtuosity will almost guarantee him an Oscar nomination.
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Adapted from the novel by L. Ron Hubbard, who cranked out sci-fi pulp by the cubic ton, 'Battlefield Earth' has the musty feel of the days when the genre's highlight was Flash Gordon.
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The influence of John Hughes is fully felt in the melodrama 'Donnie Darko.' This first film written and directed by Richard Kelly is a wobbly cannonball of a movie that tries to go Mr. Hughes one better; it's like a Hughes version of a novel by Gabriel Garcia Marquez.