Posts Tagged ‘Film’

White Material

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By Armond White Claire Denis’ African fetish goes wild in White Material, an artsy depiction of a white family (Isabelle Huppert, Christophe Lambert and Nicolas Duvauchelle) who try holding on to their coffee plantation, and colonialist pride, in an unnamed African country when the black natives begin a murderous political revolt
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For Colored Girls

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By Armond White Decades after the cultural moment when black American theater was thriving, the movie For Colored Girls—Tyler Perry’s “serious” film of Ntozake Shange’s 1974 “choreo-poem”—feels like a throwback. It doesn’t revive the post-Civil Rights, Black militant spirit of aggressive entitlement felt by radicalized (urban intellectual) black women who needed to talk back to [&hellip
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Every Man For Himself

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By Armond White Thirty years ago, Every Man For Himself was hailed as Jean-Luc Godard’s comeback. So its revival this week at Film Forum should be viewed as the same. After the confounding, insincere semi-honor from Hollywood’s Academy of Motion Picture Arts and Sciences and a recent front page smear in the New York Times, [&hellip
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127 Hours

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By Armond White After making Slumdog Millionaire, arguably the worst movie ever to win the Best Picture Oscar, Danny Boyle surprisingly comes up with a not-bad film. 127 Hours, the true-life story of Aron Ralston’s 2003 rock-climbing mishap, makes acceptable use of Boyle’s usually egregious flamboyance. The potentially off-putting facts and limitations of how 28-year-old [&hellip
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Due Date

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By Armond White For many people, the term Due Date means expiration for library books. For Todd Phillips and Robert Downey, it means car crashes, scatology and homo-nuttiness. The plot, in which Downey plays tetchy California architect Peter Highman, awaiting the fulfillment of his wife’s pregnancy, barely uses the term’s adult natal significance; it’s strictly [&hellip
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Monsters

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By Armond White Monsters is a love story between two shallow, annoying people, Sam (Whitney Able) and Andrew (Scoot McNairy), who resemble Cameron Diaz and Ethan Coen wannabes, the kind of hipsters you see at the Independent Film Awards. They’re stuck in Mexico when an extraterrestrial invasion attacks Earth. Crisis brings out the couple’s foolishness [&hellip
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Inspector Bellamy

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By Armond White After Claude Chabrol’s death Sept. 12, 2010, the French New Wave continues to pass into history even though the best films by Nouvelle Vague directors—Chabrol, Truffaut, Godard, Rohmer, Rivette and others—stay amazingly vital. Chabrol’s final film, Inspector Bellamy, is a good example: Chabrol re-imagines the detective genre in the course of practicing [&hellip
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Hereafter

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By Armond White Too bad the trailer for Hereafter doesn’t reveal how grindingly torpid this movie is. It opens with a CGI action scene in which Marie (Cécile de France), a French woman vacationing in South East Asia, is killed when her resort is swamped by a tidal wave. After she revives, the death experience [&hellip
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Jackass 3D

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By Armond White In 2002, the New York Film Critics Circle came close to naming Jackass the year’s Best Non-Fiction Film until more traditional-minded members (after some audible grumbling) pushed the vote to the since-forgotten Standing in the Shadows of Motown. (Some might call that a cop-out.) Now, Jackass 3D continues the prankster series that [&hellip
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Inside Job

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By Armond White For those who missed that unexpected satirical graphics lecture on the current recession that capped Adam McKay’s The Other Guys, Inside Job is the next best thing. With entertaining clarity, writer-director Charles Ferguson explains what caused the recession that began September 15, 2008. Not a comic like McKay, Ferguson seriously chronicles the [&hellip
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