Author Archive

Altman on Women; The Broken Hearts Club Is a Generous View of Gay Life; Two Family House, a Small, Fine Achievement

Written by Armond White on . Posted in Arts & Film, Posts

Suggestively titled after The 5000 Fingers of Dr. T., Robert Altman’s Dr. T & the Women will probably provoke controversy. Stupid people can be expected to cry foul at the love for women that naughtily bounces all over the film’s screen space, simply because it is jokey rather than sentimental. (For sentiment jump on the [&hellip
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More Trash by Spike Lee

Written by Armond White on . Posted in Arts & Film, Posts

Bamboozled directed by Spike Lee Last year’s Spikathon, Summer of Sam, couldn’t resist exploiting the history of a real-life urban bogeyman (despite Lee’s frequent claims the movie wasn’t about "The Son of Sam"). Unfortunately, Lee aligned the serial killer’s sickness with the fears and degenerate prejudices of stock-figure Bronx Italian lowlifes. He got Jimmy Breslin [&hellip
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Human Resources is Admirable; Almost Famous Panders to Aging Adolescents

Written by Armond White on . Posted in Arts & Film, Posts

Human Resources directed by Laurent Cantet Cantet argues for Franck’s awakening through means similar to Ken Loach’s dramatic verite. Franck’s acted-out solipsism (the right overanxious manner) is planted in the midst of nonprofessional performers who vent their own workplace experiences and (probably) their senses of justice regarding labor and exploitation, especially that defensive sparkplug Mrs. [&hellip
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The Way of the Gun; Bring It On

Written by Armond White on . Posted in Arts & Film, Posts

The Way of the Gun directed by Christopher McQuarrie Christopher McQuarrie, screenwriter of The Usual Suspects, makes an inauspicious directing debut contrasting two generations of gun enthusiasts–young hotshots (Taye Diggs, Nicky Katt, Benicio Del Toro, Ryan Phillippe) working for or against older goons (James Caan, Scott Wilson, Geoffrey Lewis). McQuarrie’s wild plot includes the kidnapping [&hellip
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The Original Kings of Comedy Will Make a Good $5 Bootleg Tape

Written by Armond White on . Posted in Arts & Film, Posts

Ever since Vanity Fair proclaimed Chris Rock "The Funniest Man in America"–a tribute never accorded Richard Pryor, Eddie Murphy, Lenny Bruce, Jack Benny–black comedians have labored under strange pressure. (Hardly the funniest man in America, Rock isn’t even the funniest black comic. That raceless appellation was Vanity Fair’s way of congratulating Rock’s lack of wit [&hellip
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Gross National Madonna

Written by Armond White on . Posted in Posts

Gross National Madonna At one time, if you said people who care about Madonna don’t care about music, you’d be a snob. But her new single "Music" proves it’s now true. The word "music" becomes Madonna’s euphemism for record industry capitalism. When she bleats the homiletic chorus, "Music makes the people come together," it’s such [&hellip
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The Tao of Steve: How Does this Bum Score?

Written by Armond White on . Posted in Arts & Film, Posts

The Tao of Steve directed by Jenniphr Goodman That most buoyant of Tanner-Berger collaborations (though today The Middle of the World might seem more prescient, La Salamandre more timely), Jonah Who Will Be 25 gave rigorous lyricism to the subject of 60s goodwill. It was equally, admirably, charming and precise about friendship: strangers connected through [&hellip
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The Klumps Showcases the Best Actor in America; Techine’s Poetic Alice and Martin

Written by Armond White on . Posted in Arts & Film, Posts

Nutty Professor II: The Klumps Directed by Peter Segal Time has come for everyone to recognize Eddie Murphy’s great acting talent. Nutty Professor II: The Klumps showcases Murphy in the most daring multiple-character act since Peter Sellers in Dr. Strangelove and Lolita, but Murphy’s even more accomplished. He plays a wide range of ages and [&hellip
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Scary Movie is Funny; Shaft is Scary

Written by Armond White on . Posted in Arts & Film, Posts

Shaft directed by John Singleton Scary Movie directed by Keenen Ivory Wayans Jackson has advanced to near-raceless status. No longer simply an "Other," it’s he, not Mel Gibson, who is "the patriot." Swaggering in Armani through a big-screen urban abattoir, Jackson’s Shaft exemplifies the most lunatic contemporary American virtues: arrogant, boastful and abusive; with no [&hellip
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