Just out., February 21, 2003, Page 40, Image 40

40 J***t Mit ’ february 21.2002
C it y
of
<&> How
G od
This series of vignettes from the
htxxJs of Brazil is too long, beyond vio­
lent and overpopulated with characters but
remains worth seeing for the young cast’s
strong performances as well as the audacious
visual flair displayed by directors Katia Lund
and Fernando Meirelles.
—Jim Radosta
<&> C o n f e s s io n s
a > < *>
of a
to
L o se
a
G uy
in
10 D ays
Yeah, it’s a preposterous gimmick: An ad
exec (Matthew McConaughey) bets col­
leagues he can make a woman love him with­
in a week and a half. His target turns out to
be a columnist (Kate Hudson) researching
ways to get dumped just as quickly. The cou­
ple’s sweet chemistry and the script’s shrewd
observations made me disregard the awful
soundtrack, bad hair and formulaic climax.
-JR
swordplay epics
can be. G et
the big tub o’
com for
this Italian
import, and
maybe the
5-pound box of
Jujubes. (Plays
Feb. 26 and 27 only at
C linton Street Theater.)
— Gary Morris
dud, bottom o f the bag
D a n g e r o u s M in d
T
he
G
P ia n is t
Adrien Brody ( T he Thin Red
Line) delivers one of the strongest
performances in recent memory as
a musician enduring the Nazi
destruction of the Warsaw ghetto.
T his harrowing, inspiring survival
story is easily director Roman
Polanski’s best film since 1974’s
Chinatow n.
— JR
George Clcxmey makes a strong direc­
torial debut with this kxipy biography of
Gong Show host Chuck Barris (Sam
Rtxdcwell), who says the C IA recruited
him as an assassin during the 1970s. This
far-fetched claim is handled with brilliant
ambivalence by ultra-creative screen­
writer Charlie Kaufman (Adaptation).
-JR
<£§><&) T
he
uru
S p ir it e d
A way
This campy comedy— about an Indian
immigrant who poses as a spiritual sex-
pert— has plenty of queer appeal:
Adorable star Jimi Mistry played a gay
dix:tor on the U.K. soap EastEnders, it was
directed by Daisy von Scherler Mayer of
Party Girl fame, and the musical sequences
are jubilantly choreographed. Still, the for­
mulaic script fails to consistently channel all
of the potential talent on hand.
—JR
Swashbucklers rank behind even
westerns and musicals among cinem a’s
endangered species, but Philippe de Broca’s
On G uard, made in 1997 but only now
reaching these shores, is a welcome reminder
o f how fun and exciting these historical
This instant classic by visionary
animation director Hayao Miyazaki
( Princess Mononoice) follows a young girl who
stumbles upon a portal that pulls her into a
fantasy world filled with spirits, ghosts and
other indescribable creatures. Because the
audience experiences this strange land through
her innocent eyes, the journey becomes all
the more fascinating and unsettling. If this
¿ ^ > < ^ > only if you’re really hungry
<^> <£§>
good effort, pass the salt
< ^ x C § > < ^ x i^ > mmmm, tasty!
< g >
(£ >
<& > ¿ S >
<&> §et
The Pink Place
76 th *
T a lk
to
H er
Two men (a nurse and a journalist) bond
while waiting for two women (a dancer and a
matador) to come out of their comas in Pedro
Almodovars latest quirky soap opera. The gay
writer/director explores the striking contrasts
between the couples hut ventures into
creepy territory when the nurse, whose
sexuality is questionable, lets his obses­
sion with the dancer go too far.
—JR
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Disney crap, something is seriously wrong
with the Oscars.
— JR
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