By Armond White Whatever else is going on in Andrew Bujalski’s Computer Chess (now playing at Film Forum), it is also–unmistakably–a satire on film culture’s extinction. The weird weekend gathering of chess and computer geeks at an early 80s conference (they’re testing whether a machine can outplay a human being) …
By Armond White One story isn’t enough for Neil Jordan. Byzantium is full of twists and turns, memories and revelations that zigzag through the tortured history of men, women, birth, death, sexuality as well as the history of Irish and English literature and Catholic guilt. Two female vampires, teenage Eleanor …
By Armond White In light of Michael bay’s Pain & Gain, it’s time to take another look one of its influences: Michelangelo Antonioni’s 1970 Zabriskie Point finally passes the test of time. Antonioni’s aestheticized vision of ‘60s political and spiritual turmoil was originally scoffed at as disingenuous and “unrealistic”–accusing the …
By Armond White You might laugh at The Hangover Part III but you won’t laugh as hard as Todd Phillips, the film’s pecuniary director and co-screenwriter, who laffs all the way to his offshore Cayman Island account. The Hangover Part III continues what’s advertised as “The Wolfpack Trilogy”–kinda reminiscent of …
By Armond White What’s derisive in the American title A Pig Across Paris (now playing at Film Forum) drives home the bitterness hidden in the original French title La Traversee de Paris (Crossing Paris). This 1956 release hasn’t been shown in the U.S. in more than 50 years probably because …
By Armond White Julianne Moore has unintentionally foundered her acting career in insufferable films like Savage Beauty, HBO’s Game Change, The Kids Are Alright, Crazy Stupid Love, Chloe, Blindness, Children of Men, I’m Not There, Freedomland, Hannibal, The Hours–why go further? It’s been a long time since Moore challenged Meryl …
By Armond White Michael Bay sees like an ad-man gone wild— glorifying everything–a vision that corresponds to the age’s consumerist sensibility: greed and the need for speed. In Pain & Gain this style—and it is a genuine style, not fake flashiness like Trance or Side Effects—expresses the lusty and acquisitive …
By Armond White The worst Steven Spielberg production ever is, without doubt, his Obama homage, Steven Spielberg’s Obama. Unlike his disingenuous Obama-in-disguise campaign feature film, Lincoln, this two-minute satirical short looks artless and slapdash; it was made for last weekend’s White House Correspondents’ Dinner–an annual event for fatcats that contradicts …
By Armond White Unmistakably Pal Sverre Hagan’s appearance in Kon-Tiki as Norwegian explorer Thor Heyedahl is modeled after Peter O’Toole’s T.E. Lawrence in Lawrence of Arabia. Not just tall, blue-eyed with burnished blond hair, Hagan also conveys obsessive determination like O’Toole’s Lawrence, making Heyerdahl’s decision to build a balsa-wood raft …
By Armond White Sloppy storytelling has become so standard for American filmmakers (Side Effects, The Place Behind the Pines) that Francois Ozon’s new trifle In the House feels especially pleasurable. Storytelling is its subject in the same sense as Todd Solondz’s 2001 Storytelling. Ozon plays with his increasing filmmaking skill …
