Reviews

Charming mockumentary on a country singer's rise and fall. Hilariously written, and the song titles alone are worth the price of admission ("I Found Love at the Family Reunion" is just one of many fine examples). The documentary feel is tainted by some very Hollywood injections (i.e.: a "quirky" romance) that sometimes destroys the illusion, and despite its unique angle it just can't escape the mighty shadow of "This Is Spinal Tap." Nonetheless, it's very, very funny; people who hate country will roar at the jokes made at the genre's expense, and those who love it will laugh at the movie's knowing look at the industry. Surprisingly, "Dill Scallion" submits compelling evidence that Henry Winkler's career may actually be worth saving.

From its breathtaking opening credits sequence to its droll ENDE, "Lola rennt" is the epitome of late 20th Century cool. Scarlet-haired Lola must find 100,000 DM in twenty minutes for her criminal boyfriend-or else. Half an hour into the picture "or else" happens. The movie starts over, providing an alternate resolution to the situation. In all, Lola makes three different runs to three different conclusions, accompanied by a pounding trance-techno soundtrack. Clever animation and rapid fire still photography enhance the excitement. Some might find it too cool for its own good, brimming with youthful energy but carrying little substance. They said the same thing about F. Scott Fitzgerald. A masterpiece.

Dario Argento and George Lucas have a lot in common. Both combine fabulously inventive visuals with flat dialogue. Both couple "deep" symbolism with thrilling action. Both love to tell their stories through the eyes of young people. But with Dario there's always the promise that a tearful embrace will be cut short by a sudden decapitation, or that a woman might open her mouth to reveal a sharp object pushing its way through from the other side. Although many wish such fates would befall Jar Jar Binks, there is little hope that Argento will be employed to direct the next installment in the Star Wars series.

That noted, "Phenomena" isn't really very good. A testament to Argento's genius is his (usual) ability to take observers along with him on a horrific ride, no matter how preposterous the plotline. But it's extremely difficult to pull this off when your plotline revolves around a young girl who solves a series of murders by telekinetically appealing to the aid of insects. Yes, that's a humdinger. Add to that Argento's tendency to add blaring heavy metal to suspenseful scenes (thereby diluting the suspense) and you get one of the lesser works in the great director's cannon.

"Phenomena" does deliver at least a couple of real shocks, and Argento never fails to throw in a few dazzlingly inventive sequences (particularly Jennifer's first sleep-walking adventure--and its thrilling outcome). The ending could be interpreted as a sick homage to the first half-hour of Kubrick's "2001: A Space Odyssey." Also, there's a surprise guest appearance by the most ridiculous Bee-Gees T-shirt I've ever seen. But none of this makes it a great film.

ISKWYDLS's 2-D characters are so dim that you root more for the bad guy than is considered socially acceptable even in this cynical age. But bonus points are scored for preying on the celebrated intellectual dimness of today's teenagers by planting Brandy and Jennifer Love Hewitt on a Caribbean Island with a maniac after answering the question "What is the capital of Brazil?" incorrectly on a radio call-in show.

So-so movie with a satisfying ending. Features Dario's lovely daughter, Asia, as the troubled teen who, after attempting suicide at the beginning of the film is offered some ice cream by the protagonist (?). Plot revolves around a psycho who is cutting people's heads off. It seems strange that a movie built on this premise could be described as "slow," but slow it is. Oddly, Piper Laurie seems to have been asked to play exactly the same character she played in "Carrie" (vindictive, crazy mum). Fairly forgettable but, as with any Dario film, has its quirky charms.

The second best Dario film I've seen (after Suspiria), and actually a lot more coherent than that legendary earlier effort. Somebody is killing members of an opera company and is forcing a young woman to witness those murders (the killer's method of forcing her to observe is rather novel). Contains some quirky moments where one must exclaim, "Hey, it's Italian!" Seems to have three different endings; some floundering is evident. But overall it's a tremendously satisfying film, and the way they reveal the killer's identity is top-notch.

Some films considered great years ago age rather poorly. Witness "Gigi," the [insert proper musical adjective here: "enchanting!!!"; "delightful!!!!!"] musical about a French girl's transformation from spirited teen to soulless married woman. Some of the tunes are amusing ("I Remember It Well" is particularly charming), but changes in our society render the film's plot rather anachronistic: Rich and famous older man courts teenager; they tie the knot. The End. "Thank Heaven for Little Girls"? Ewwwww. There are several moments in the film that will chill the modern viewer. Stripped of these outdated charms, the remainder is a vapid piece of fluff. It wasn't even made with its heart in the right place; MGM couldn't wait for the movie rights to "My Fair Lady" so they sought a similar plot (Colette's 1948 story) and made this Frenchified version instead-cash in! Another sub-good "Best Picture" to add to the lengthy list. See "An American in Paris" instead.

A rare, rare treat: a film that really is so bad it's good. We're not talking about your intentionally campy flick (i.e. Sorority Babes in the Slime-Bowl-O-Rama). We're talking about a horror movie that takes itself seriously as it unwittingly unfurls the greatest laugh-fest of the 1980s. It stars Tony Roberts (!?) and the critically acclaimed Tess Harper (!?!!?!). The dialogue merited sampling by My Life With the Thrill Kill Kult (who borrowed such gems as, "Looks like some kind of gateway to hell," and "reality is the only word in the language that should always be used in quotes"). Did I mention that it stars Tess Harper (!?!?!?!). Oh yes, I did. But it deserves mentioning again: Tess Harper is in this one. It's dreadful, it's great, it's really worth a rental. And Tess Harper is in it.