This is a great farce about filmmakers and filmmaking. Nothing is logical. Nothing is real. Welcome to filmmaking. The characters appear cliched, but are rooted in reality: the director (a hilarious Martin) who'll stop at nothing to make his movie, a self-absorbed leading man (surprisingly great Murphy), and the smalltown girl-actress who sleeps her way through the set (perfect Graham). Anyone who works in the film biz will recognize these characters and the desperate, giddy film shoot that Martin leads. Do anything to make your movie. "Bowfinger" ridicules, yet celebrates the spirit of indie filmmaking.
Reviews
6 Reviews
The Tuxedo
(2002)
Formulaic Jackie Chan movie lives up to previous films.
25 September 2002
Predictable, contrived, hokey, yet THE TUXEDO entertains. Jackie Chan delivers another easy-to-go mix of action, lovely women and laughs that will attract filmgoers of all ages. Jennifer Love Hewitt is a good foil (funny, smart and sexy) for the amiable Chan. Without giving away too much of the plot, the tuxedo transports our Ordinary Joe Chan into a wild adventure (something to do with corrupt water). A surprise cameo by James Brown is a plus. Take the family. Take a date. Or rent the DVD.
After Life
(1998)
brilliant
12 February 2002
One of the best movies I've seen in a while. In an age where CGI and explosions dominate Hollywood filmmaking, AFTERLIFE dazzles viewers with simple storytelling.
The central conceit -- taking your most cherished memory to heaven -- is genius. Watching it, you can't help but reflect on your own life, whatever your age or place you live in.
The characters are varied, warm and complex, and despite the large cast, the storyline is clean and uncluttered.
The director, who comes from a documentary background, shoots simply. No flashy camera moves or effects. More often he lets the characters tell the story.
Rarely has a film ever moved me like this.
The central conceit -- taking your most cherished memory to heaven -- is genius. Watching it, you can't help but reflect on your own life, whatever your age or place you live in.
The characters are varied, warm and complex, and despite the large cast, the storyline is clean and uncluttered.
The director, who comes from a documentary background, shoots simply. No flashy camera moves or effects. More often he lets the characters tell the story.
Rarely has a film ever moved me like this.
masterpiece
14 January 2001
CROUCHING TIGER has done the unlikely: legitimize a B-movie genre. The film works on every level: story, acting, direction. The action sequences are dazzling and the story is poignant. Michelle Yeoh and Chow Yun-Fat are thoroughly convincing as the two elder warriors, and their final scene is among the most touching and poignant in any film I have ever seen. There is much talk now about Oscar nominations for this film, and it is entirely deserved. This is all the more impressive when you consider that no one speaks a word of English. I hope this film wakes up Hollywood to the fact that American audiences will flock to good movies regardless of what language they're spoken in and what country they come from. Essential viewing in anyone's book. Period.
Double Happiness
(1994)
brave drama that is seldom told
14 August 2000
Mina Shum's Double Happiness bravely explores a group that mainstream film (read: Hollywood) continues to ignore: Asians in North America. That the film features strong acting, good writing and confident direction makes its accomplishments all the more greater.
You don't need to be Asian to enjoy this film, anymore than you have to be Italian to watch The Godfathers. Young women of whatever ethnic backgrounds are bound to identify with the lead character, finely played by Sandra Oh. The daughter-father conflict crosses all national boundaries, and is explored in this film through the eyes of Chinese-Canadians.
I'm a Canadian of Chinese descent, and found the characterizations of the family to be accurate overall. At times, the domineering Father is one-dimensional (tyrannical and cold) and needed to be fleshed out more. The role of the siblings--especially towards their parents--was underplayed and could have offered a contrast to the main relationship between the elder daughter and Dad.
Still, the strict traditionalism of the parents was on the nose, and the struggles of the daughter, Jade, ring true. In fact, I venture to say that Jade was played *too* obediently, and should have broken from her family sooner.
Following this line of thought, the film could have been expanded to explore Jade moving into her own home and finding her own career as an actress, then reconciling (perhaps) with her stern Father at the end.
As it stands, the movie ends abruptly and too soon. Shum and Oh do a fine job of getting Jade on the audience's side, only pull the carpet on her just as she leaves home. The movie begs for closure in the relationship between daughter and father.
Perhaps in the sequel.
You don't need to be Asian to enjoy this film, anymore than you have to be Italian to watch The Godfathers. Young women of whatever ethnic backgrounds are bound to identify with the lead character, finely played by Sandra Oh. The daughter-father conflict crosses all national boundaries, and is explored in this film through the eyes of Chinese-Canadians.
I'm a Canadian of Chinese descent, and found the characterizations of the family to be accurate overall. At times, the domineering Father is one-dimensional (tyrannical and cold) and needed to be fleshed out more. The role of the siblings--especially towards their parents--was underplayed and could have offered a contrast to the main relationship between the elder daughter and Dad.
Still, the strict traditionalism of the parents was on the nose, and the struggles of the daughter, Jade, ring true. In fact, I venture to say that Jade was played *too* obediently, and should have broken from her family sooner.
Following this line of thought, the film could have been expanded to explore Jade moving into her own home and finding her own career as an actress, then reconciling (perhaps) with her stern Father at the end.
As it stands, the movie ends abruptly and too soon. Shum and Oh do a fine job of getting Jade on the audience's side, only pull the carpet on her just as she leaves home. The movie begs for closure in the relationship between daughter and father.
Perhaps in the sequel.
Rushmore
(1998)
Wildly original comedy
5 August 2000
Though it borrows from many movies, altogether there's no movie like RUSHMORE.
The film is carried by lead character Max Fischer, who's a terrible student at the Rushmore private boys school, but is a member--often founder--of virtually every club on campus. Moreover, Fischer is a brilliant playwright, whose talents (he wrote a one-acter about Watergate) in grade two that landed this barber's son a scholarship at this elite academy.
Newcomer Jason Schwartzman is wonderful as the madly-driven, irrepressible misfit Max. Bill Murray plays Mr. Blume, the rich industrialist alumni of Rushmore, becomes unlikely friends (and a father figure) to Max. This is Murray's best performance to date. His deadpan portrayal is laced with melancholy that is touching and surprising. Olivia Williams portrays the young, recently widowed schoolteacher whom Max falls for. Williams handles this role with sensitivity and grace. The supporting characters are well-handled, all by child actors.
Extra points are awarded to the writers and filmmakers for casting such a racially eclectic film in which Asians, two Scots (though one portrays an American) and blacks share the screen as complex, realistic characters.
At times, Max is almost too clever for a boy of 15 and the believability of the film also strains, but sure enough the film bounces back with a fine story twist or touch of comedy to throw it back onto its twisted course.
Though RUSHMORE pays hommage to films such as "The Graduate" and "Barry Lyndon" it bears closest resemblance to the black comic classic, "Harold and Maude" in which a young man enters a relationship with a much older woman. In this case, the much-older Murray befriends the 15-year-old Max. In other words, two misfits find each other. Also, the soundtrack relies almost exclusively on mid-60s British invasion bands, such as the Kinks, the Who, the Stones and even solo John Lennon, who altogether add an intelligent, hopeful feel to the film along the lines of "Harold and Maude".
The highlights of the film are ironically staged plays of "Serpico" and "Heaven and Hell" performed by Rushmore's students.
A good film has good supporting performances. Sara Tanaka, Stephen McCole and Mason Gamble all come through as complex, believable characters.
The writing is witty and never falls into cliche. Wes Anderson's directing is lively with good use of music and moving camera and a good grip on actors' performances.
I didn't know anything about the film when I saw it, but came away championing its originality and verve.
The film is carried by lead character Max Fischer, who's a terrible student at the Rushmore private boys school, but is a member--often founder--of virtually every club on campus. Moreover, Fischer is a brilliant playwright, whose talents (he wrote a one-acter about Watergate) in grade two that landed this barber's son a scholarship at this elite academy.
Newcomer Jason Schwartzman is wonderful as the madly-driven, irrepressible misfit Max. Bill Murray plays Mr. Blume, the rich industrialist alumni of Rushmore, becomes unlikely friends (and a father figure) to Max. This is Murray's best performance to date. His deadpan portrayal is laced with melancholy that is touching and surprising. Olivia Williams portrays the young, recently widowed schoolteacher whom Max falls for. Williams handles this role with sensitivity and grace. The supporting characters are well-handled, all by child actors.
Extra points are awarded to the writers and filmmakers for casting such a racially eclectic film in which Asians, two Scots (though one portrays an American) and blacks share the screen as complex, realistic characters.
At times, Max is almost too clever for a boy of 15 and the believability of the film also strains, but sure enough the film bounces back with a fine story twist or touch of comedy to throw it back onto its twisted course.
Though RUSHMORE pays hommage to films such as "The Graduate" and "Barry Lyndon" it bears closest resemblance to the black comic classic, "Harold and Maude" in which a young man enters a relationship with a much older woman. In this case, the much-older Murray befriends the 15-year-old Max. In other words, two misfits find each other. Also, the soundtrack relies almost exclusively on mid-60s British invasion bands, such as the Kinks, the Who, the Stones and even solo John Lennon, who altogether add an intelligent, hopeful feel to the film along the lines of "Harold and Maude".
The highlights of the film are ironically staged plays of "Serpico" and "Heaven and Hell" performed by Rushmore's students.
A good film has good supporting performances. Sara Tanaka, Stephen McCole and Mason Gamble all come through as complex, believable characters.
The writing is witty and never falls into cliche. Wes Anderson's directing is lively with good use of music and moving camera and a good grip on actors' performances.
I didn't know anything about the film when I saw it, but came away championing its originality and verve.
Tell Your Friends