A
dacamhflf 20. 200°
r :V v , m
J— t ^ * ¡ 3 9
A nalyze T hat
T%
r~'
Robert De N iro and Billy
Crystal reprise their roles as m ob
ster and psychiatrist from 1999s
hilarious Analyze This, w ith weak
results. Clumsy transitions, a ludi
crous finale (CHiPs has staged better
action sequences) and dow nright had
acting (stick to hosting th e Oscars,
Billy) make this shrink session a
memory I’d rather suppress.
— Jim Radosta
What's popped
and what's flopped,
in a theater near
<££><&>
< & < & < & > A ntwone F isher
Denzel W ashington’s directorial
W eaker the second time around: Robert I)e N iro
dehut, a moving biopic about a Navy
and Billy Crystal Analyze T hat
seaman who overcomes anger manage
ment problems, initially threatens to
become a lame Good Will Hunting clone but
Maggie S m ith ’s son) and M adonna’s cam eo
is rescued by Derek Luke’s strong perform
as a fencing instructor.
ance as the title character. T he happy end
—JR
ing is enhanced when the closing credits roll
and the audience learns that Fisher himself
F ar from H eaven
wrote the screenplay.
Julianne Moore gives yet another brilliant
-JR
performance, this time as a well-off 1950s house
<&><§><&> D ie A nother D ay
wife dealing with her husband’s homosexuality
and her community’s homophobia and racism in
James Bond, 40 years older and
queer Portland filmmaker Todd Haynes’ virtually
hornier, shows no signs o f losing his
flawless homage to the “women’s pictures” of the
stam ina in this 20th installm ent of the spy
period. Each cinematic detail—the music, the
series. Halle Berry’s lack o f charism a as
framing, the dialogue, the lighting— is a precise
generic Bond babe Jinx is more than
replica, allowing the film to he appreciated both
redeemed by snarling villain G ustav
for its own considerable merits and as an intellec
G raves (played by Toby Stephens,
tually astute exploration of genre and narrative.
— Christopher McQuam
H arry P otter
and the C hamber of S ecrets
<
!& > dud, bottom of the bag
I grew tired o f this lame series w ithin the
first hour of last year’s Sorcerer’s Stone. T he
sequel finds our young wizard accused of
attem pted murder, chased by gigantic spiders
and haunted by a ghostly diary— yet bland
actor Daniel Radcliffe never once manages to
convey any sense of peril or joy. Hokum pocus.
<C3>
only if you’re really hungry
<j^2> <£5*>
<g2><£3>
good effort, pass the salt
mmmm, tasty!
get the big tub 0 ’com
-JR
(&<£%><!&> S olaris
R oger D odger
Rem em ber C am pbell S cott from th e 1991
Julia Roberts tearjerker Dying Young? T h a t title
nearly could’ve served as his career epitaph;
fortunately, the Singles star has made a
welcome com eback as a w annabe ladies m an
who tries to teach his teen nephew (Jesse
Eisenberg) the ropes. W riter/director Dylan
Kidd also deserves major credit for th e witty
banter, unexpected twists and brilliant casting
o f legendary screen vixens Jennifer Beals
( Flashdance) and Elizabeth Berkley (Showgirls).
-JR
You gotta love Steven Soderbergh’s moxie.
The renegade director follows up the experi
mental dud Full Frontal with, of all things, a
remake of a 1972 Russian film about a widower
(George Clooney) who runs into his wife’s
ghost (Natascha M cElhone) in outer space.
Hypnotic ruminations on existence ensue.
Although Soderbergh’s all-killer, no-filler
editing style might keep mainstream
audiences from squirming in their
seats, it ultimately simplifies an
otherwise complex quandary.
-JR
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