Elvis Mitchell Quotes
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Theron says that she was intrigued by the psychological demands of the material in playing the complicated 'Queen Ravenna', and Stewart's performance as 'Snow White', the fairest of them all, in her first action-heroine role, kept her literally in constant motion.
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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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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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Miramax seems to be showing the same faith in Roberto Benigni's 'Pinocchio' that the Republican Party showed in Trent Lott; the live-action version of Carlo Collodi's fairy tale about the wooden puppet whose only ambition was to be a real live boy was sneaked into theaters Christmas Day.
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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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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 Third Man,' directed by Carol Reed and written by Graham Greene, is, quite simply, one of the finest movies ever made.
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It's an oddity that will be avoided by millions of people, this new 'Pinocchio.' Osama bin Laden could attend a showing in Times Square and be confident of remaining hidden.
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If Mr. Chan ever makes another movie like 'The Tuxedo,' it's American audiences that will see him in court. With 'Shanghai Knights,' he has come through with one of his best. This time, it's personable.
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Justin Lin, the writer and director of the teenage-wasteland drama 'Better Luck Tomorrow,' a shrewdly tense piece of storytelling, recognizes that sometimes it's good for a filmmaker to stir up trouble.
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Just the idea of seeing a type of narrative we've not seen before is a chance to be surprised.
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We want to see ourselves - but differently. We want to see these dream versions of ourselves. We want to be surprised; we want to be entertained. I think primarily, especially in this country, we ask that movies entertain us, which seems to be something they're less and less likely to do on a continual basis.
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The road back from degradation begins with self-awareness - and sometimes, as in 'Phone Booth,' change can begin with a single phone call.
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I've been cheered by the reaction to what I've done with Film Independent at LACMA and the organizational support I've received in pursuing it.
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Establishing mood through pictorial means is the director Ridley Scott's most notable talent. There may be no working director more accomplished at wringing texture out of the color blue than the prodigious and now prolific Mr. Scott; you'd swear that with his dazzling washes of blues and sand tones, he was inventing additional hues on the spot.
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A stand-up comedian who's assaultive and decent and has managed a career that has spanned over five decades deserves a documentary.
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You can't ignore the Asian and Hispanic populations in L.A. We can let audiences know independent film is not just about white men.
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I thought that, as a black audience member, I would like to see something that reflected an experience that's not normally exhibited in documentaries, or is so much about black people as victims in this country, and black people not taking control of their own lives and their own destinies.
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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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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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The Wachowskis' use of space rivals that of musical directors like Gene Kelly and Mark Sandrich.
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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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One of the funniest things about Mr. Kaufman is that all of his filmed scripts - 'Being John Malkovich,' 'Human Nature,' 'Adaptation' and now 'Sunshine' - sound like titles from REM's 'Reckoning.'
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Though narrative cohesion isn't the strength of 'Mean Girls,' which works better from scene to scene than as a whole, the intelligence shines in its understanding of contradictions, keeping a comic distance from the emotional investment of teenagers that defined 'Ridgemont High' and later the adolescent angst movies of John Hughes.