I love film. But I never had much of a passion for film reviews until I moved to New York and found Mike D’Angelo. D’Angelo was the sole reason I started reading Time Out New York, and the sole reason I have rarely picked it up since he left the magazine last year.
Not remotely anti-Semitic, but utterly anti-dramatic, Mel Gibson’s unprecedentedly bloody portrait of Jesus of Nazareth’s final day on earth arrives on a wave of pointless controversy that threatens to engulf the larger truth about the movie: that it has virtually nothing to offer anybody who doesn’t already believe that its hero died for their sins.
The Passion of The Christ, Time Out, NY, Mike D’Angelo
I definitely would not call myself a film expert but any ex-housemate would testify how picky I can be in a video store or at the cinema. I don’t care how much hype there is, if I don’t like it, I won’t watch it. Hence the concluding parts to the Matrix and LOTR trilogies passed me by after disappointing sequels. I’d rather take a chance on earth-shatteringly depressing films like Love Liza, than coast through a “must-see” film that leaves little or no impression on me at the end.
Of all the filmmakers currently working, perhaps only Von Trier has both the courage to employ such a baldly theatrical conceit and the skill to transform it into something triumphantly cinematic. Simple, magical, ferocious and visionary, Dogville makes most other recent movies—even the handful of really good ones—seem anemic by comparison. Its formal audacity is matched only by its metaphorical potency. Better still, it’s just a humdinger of a yarn, exacting and relentless; at a few minutes shy of three hours, it feels shorter than movies less than half its length. Narrated with amused detachment by John Hurt, possessor of the most magnificent voice in Hollywood since the death of Orson Welles, the story unfolds with the economy and inevitability of one of Grimm’s fairy tales, though I can’t recall the brothers devoting an entire narrative to the systematic plucking of the fairy’s wings.
Dogville, Time Out, NY, Mike D’Angelo
So, imagine how thrilled I was to find a critic who I could not only trust, but also one who could encapsulate the best and worst in a movie with a nifty turn of phrase. And imagine how happy I was to discover not only that Mike has his own website, his own weblog, and that he is currently reviewing films online at Nerve.com, but also that he lives somewhere nearby. So, if you’re out there Mike. Thanks a bunch. And keep on writing!
Near the end of Scott Caan’s improbably electrifying directorial debut, the main character, Rusty (Shawn Hatosy), sits talking to his mother, Mary (Kelly Lynch), about some impending upheavals in their lives — her sudden engagement to her psychiatrist boyfriend, his desire to return to Texas and pursue a career as a rodeo cowboy. It’s a fairly straightforward heart-to-heart, sharply written and beautifully acted but still potentially something of a Hallmark moment. As mother and son converse in the foreground, however, quiet magic unfolds in the background, out of focus: About halfway through the scene, Mary’s fiancé, Bob (Jeff Goldblum), who’s been doing double duty as Rusty’s shrink, wanders out to greet them, but stops dead upon sensing that he’s about to intrude upon The Big Talk. He watches briefly from afar, then turns and beats a hasty, positively giddy retreat — all of this conveyed solely via Goldblum’s gangly body language. Tender and goofy, it’s the kind of detail that most novice filmmakers would underline with a close-up or a focus pull; Caan simply lets it happen, and has the confidence never to refer to it again.
From D’Angelo’s latest review, of Dallas 362, at Nerve.com Screening Room
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