July 28, 2000, 12:07 p.m. CST
...but I don't care. I will use my considerable powers to obtain a maybe even previously non-existent but now available due to my request screener for my home enjoyment.
July 28, 2000, 1:06 p.m. CST
I am about to lose my mind over it. And please, no e-mails on how I have no life, I am just joking around.
July 28, 2000, 1:11 p.m. CST
but do we really need another foriegn love/sex arthouse film? Regardless, I love your articles.
July 28, 2000, 2:13 p.m. CST
by Fatal Discharge
There ain't nothing wrong with big blow-em-up action films but Leconte's films are emotional and visually stunning "stories" which I haven't been able to forget since first seeing them. MONSIEUR HIRE involves a lonely man who may be a serial murderer but whose intentions are totally different than expected. THE HAIRDRESSER'S HUSBAND has to be one of the most simple and moving films I've ever seen about a man with a fetish for being in a barber's chair and finding perfect love with a woman barber. They realise life can't get any better so.... The ending is totally unexpected and will stay in your mind for a long time. RIDICULE is also very funny but tragic as well, sort of Dangerous Liaisons with one-liners about French royal society members who play games at putting down others to increase their position in the court with tragic consequences. I can't wait to see this new one - after all these mostly forgettable summer films this will most likely be the one I'll treasure for years to come.
July 28, 2000, 2:17 p.m. CST
I caught one of SIFF's showings of GIRL ON THE BRIDGE a few months ago here in Seattle. I agree with everything Moriarty has to say about this film. My only complaint with the picture was the overly somber, surreal and tacked-on feeling final 6 or 7 minutes. [SPOILAGE AHEAD -- TURN AWAY IF YOU NEED TO) Gabor is in Turkey, broke and alone. Adele is in Greece jilted, lonely and also struggling. I love the way they seem to communicate across the distances telepathically, I have no problem with that particular artistic liberty. I was unhappy with the filmmaker's choice of having Adele magically show up at the very bridge in Istanbul where Gabor is about to end it all with no hint or explanation as to how she got there. I found it too Disney-esque. Throughout the film we see how she gets to Monte Carlo, how she gets to Athens, etc. But there is no hint of how she gets from Athens to Istanbul... nor is there an indication of significant time passed for her to make that journey. She magically appears in an overpopulated city at the right place and the right time and the audience is supposed to chalk it up to the 'power of love' or something. Yes, I know this IS a love story, and I TOTALLY enjoyed the other 95% of this film, but the end did NOT work for me at all. It was way too contrived.
July 28, 2000, 2:40 p.m. CST
Unfortunately, I'm not in love this weekend (or whatever weekend this will be at a theater near me). Consequently, a viewing experience like this will only cause me pain. I think I'm going to go stand on the edge of a bridge so that a knife-throwing beauty will talk me down...
July 28, 2000, 3:38 p.m. CST
looking for a new site to go hang out, well we just launced moviewatchers.com today and we need you guy's help. come tell us what you want in a site, read our reviews and articles, post your feedback to all of it, and join in on the forums which are coming soon. check us out and help us be the site that you all want... oh yea, and this movie sounds cool.
July 28, 2000, 3:57 p.m. CST
I really loved LA FILLE SUR LE PONT. French Cinema at its Best. (unlike my English :-)
July 28, 2000, 4:43 p.m. CST
I'll go and see it this week-end. Apparently Vanessa Paradis's performance is so good, Terry Gilliam immediately cast her in Man who killed Don Quixote when he saw it.
July 28, 2000, 5:05 p.m. CST
Sterling performance from Jean Rochefort as Antoinne too. It's such a well told story that we the viewer feel just as happy as Antoinne and you almost feel as if you are right there in that little hairdresser's you can practically feel the breeze when Mathilde walks across the room and you cannot help but angry when the shocking denoument arrives. I'll definitely be looking out for this film. Mathilde, *sigh*....
July 28, 2000, 5:23 p.m. CST
Oh, OK, a few more folks over here, yeah so anyway, as I was saying over at the Robo's review, I just saw this completely excellent french noir flick from '55 called RIFIFI(which was street slang for 'rough & tumble' or kind of 'sex with your tough-guy boyfriend who slaps you around' or something like that). It was by Jules Dassin, you know who made such American classics as NIGHT AND THE CITY and THE NAKED CITY before being blacklisted and sent packing. RIFIFI is really great with excellent characters, a lot of kinky humor in the first act, a killer 30-minute heist where nobody speaks in the middle, and the bitter finale when everything goes all to hell. It should be making the revival-house rounds, so keep yer eyes peeled!
July 28, 2000, 6:22 p.m. CST
This film is endearing and unusual, and there are some nice directorial flourishes from Leconte - but it is totally let down by a lazy ending that pretty much renders everything before it meaningless. Only the soppiest of romantics will leave the cinema without feeling short-changed and let down. This could have been an all time classic movie but it's just ends up as a sentimental, nicely shot love story that makes no sense.
July 29, 2000, 12:30 a.m. CST
July 29, 2000, 12:40 a.m. CST
Where is the forum to post our views of "TNP2:The Klumps"? I saw it after my parents dragged me to it (well, actually I'm always up for going to the movies, but I felt very "iffy" on this one). Well, it's not all that good, they needed more of the Klumps, less of Sherman (he's annoying), less of Janet (she's plastic, literally), and less of Buddy Love (he's.....I don't know what the hell he is , but it sure isn't funny). Try and count how many erection jokes there are, how many fart jokes there are, and how many times they say "titties", I bet it's in the hundreds. And men getting sodomized (or raped) is NOT funny, no matter how many movies say it is. Can you imagine the reaction if a woman being raped was played for laughs? That is all that I have say.
July 30, 2000, 11:23 a.m. CST
Felt that this film is a film for Godard lovers. I personally hate Godard with an absolute passion since usually his films involve caricatures of American films and nothing else. I could care less if he invented the "jump-cut." What I want to see is a good film. Girl on the Bridge is no exception. It takes the Hollywood glam (in French)of the 40's and converts it to a sense au faux pretentiousness. Great camerawork, though. But if Leconte fan are looking for another "Ridicule" or "Monsieur Hire," better luck next time!
July 30, 2000, 3:42 p.m. CST
by Obscure Homage
...but after reading your What Lies Beneath review, and the degree to which you bashed the movie, I will never invest credence in any of your reviews. You owe Bob Zemeckis an apology for making his film sound like it was on par with all the other crappy summer 2k films that have been released thus far. Atone for your sins DREW!!