Love and War

Channing Tatum’s ‘communicative shoulder blades’ work in this war romance

Dear John could be The Hurt Locker of romantic movies when Green Beret Staff Sergeant John Tyree (Channing Tatum) loses his stateside girlfriend Savannah (Amanda Seyfried) while serving his country in Iraq. The film has little feeling for military experience, or the sense of patriotic duty that John enunciates during the opening narration: “I am a coin in the United States Army. My edges have been rimmed and be...

Diplomatic Sense

Luc Besson and Pierre Morel revise the action movie genre and trump Tarantino in the process

DO YOU KNOW how to read action movies or do you simply obey advertising hype? From Paris With Love delivers the minimal spills and thrills to those who like action movies for escapist release, yet beyond its hype, it is also politically aware filmmaking—without the sanctimoniousness of Syriana, United 93 orThe Messenger.Those films pretend to address the post-9/11 crisis while From Paris With Love gets all up i...

Red Riding Trilogy

Michael Winterbottom brings his TV culture aesthetic to this ambitious project

SURELY IT’S SOME kind of joke that Roberto Rossellini’s War Trilogy (Open City, Paisan, Germany Year Zero) was released on the market in a newly restored Criterion edition the same time as the British noir Red Riding Trilogy. The joke’s on us, made by the gatekeepers of contemporary film culture who roll over for trendy garbage, ready to acclaim anything they think is new.

Happiness is a Warm Gun

A new Danish black comedy proves how dangerous small town life can be

The creepy-crawly Danish comedy Terribly Happy isn’t interested in satirizing small town life so much as casting a jaundiced eye on a tiny community’s rigidity, one that is more reminiscent of Shirley Jackson’s short stories or Thomas Tryon’s terrifying novel Harvest Home than Desperate Housewives.

District 13: Ultimatum

David Belle is back for more parkour antics to save a Parisian banlieu

To say that District 13: Ultimatum is the most socially conscious project former director-turned-screenwriter/producer Luc Besson (who also has his From Paris With Love in theaters at the same time) has undertaken would be a drastic understatement. More so than even the original District 13 or even the Taxi films, Ultimatum is hyper-aware of the racial underpinnings that support its gallic Escape from New York pastic...

 

Sex is Comedy: Fleshing Out What Japan's Identity Isn't Through Pink Eiga's

I never asked to be The New York Press’ go-to-guy for reviewing quirky porno on DVD. But here we are. Mind you, I’m not really complaining. It is more than a little embarrassing when I have to throw out films I never requested and frankly don’t like (I live in the suburbs (Queens), so saying that people talk about you behind your back is redundant, not to mention unduly polite). I’m not going to name names, but while I applaud the gusto of a certain no-budget group of “erotic” filmmakers that shall remain nameless, I can’t say I care for their films. Frankly, I don’t care much for porn or, at least, I don’t typically consider it to be worthy of critical thought. But I make an exception when it comes to the “Pink” films that Pink Eiga puts out. Read more

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Movie Morons Create Drama

There's a dust-up happening in Tinseltown as The Hurt Locker continues its march toward a pile of little gold statues. Read more

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Watch Four of the Five Oscar-nominated Shorts Online

Eventually one of the local cinemas may screen some of the Oscar-nominated animated shorts. But really you want to watch them online (or on a tiny screen while riding the subway). You can find four of the five at the links below. Read more

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Catching Up With Sahara Davenport

Last year, Logo went from the channel you mocked to the channel you made a point of once a week, for the fierce and fabulous RuPaul’s Drag Race. Combining the best aspects of America’s Next Top Model and Project Runway, RuPaul and a panel of judges watched and critiques as aspiring drag superstars sashayed, shimmied and bitched their way through every episode. Now the second season is finally here, and New York City has Sahara Davenport representing. Read more

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Oscar Nomiations Announced, World Prepares for Hours-Long Show

The ceremony isn't until Mar. 7, but The Oscars have already become a focal point of our daily conversations. Mostly, of course, we're discussing where to watch and what we'll eat, but as of this morning we have a complete list of nominees to spend our time yammering about as well. A list of the nominees for the top awards after the jump. Read more

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More Film Reviews
Love and War
By Armond White
District 13: Ultimatum
By Simon Abrams
Diplomatic Sense
By Armond White
Piq and Choose
By Linnea Covington
Red Riding Trilogy
By Armond White
Happiness is a Warm Gun
By Mark Peikert
Power and Passion
By Armond White
Diseased Desires
By Armond White
Creation
By Simon Abrams
Truth on Trial
By Armond White
The Book of Eli
By Armond White
The Last Station
By Armond White
Daybreakers
By Simon Abrams
Puppy Love
By Armond White
Bad Lieutenant
By Armond White
The White Ribbon
By Armond White
It's Complicated
By Armond White
Features
Better-Than List 2009
By Armond White
Sita Sings At Last
By Felicia Feaster
Pressed for Time: X: THC
By Joshua David Stein
Twirls on Film
By Susan Reiter
Springer Awakening
By Mark Peikert
Armond White Reviews & Features
Films Reviews

Automatic Pity for the People

Fish Tank reduces Britain’s great realist filmmakers to a morose message

The 1994 Nas song “Life’s a Bitch”— one of the most cynical, yet most admired rap singles ever made—has finally found its film equivalent.The song appears on the soundtrack of the new British movie Fish Tank as to authenticate its grim story of a teenage white girl’s alienation. But the pathetic, council-flat life of runty 15-year-old Mia (Katie Jarvis) doesn’t take place in Nas’ 1990s. Despite the film’s pretenses of social realism, its contemporary-set story merely borrows those once-fashionable postures of working-class alienation. It’s the same sullen despondency that makes “Life’s a Bitch” so irredeemably phony. Both song and film pander to underprivileged self-pity.

 
 
 


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