Tag: Michelle Pfeiffer

  • With the Masterful “The Age of Innocence,” Martin Scorsese Dug Beneath the Surface

    In many Martin Scorsese movies, the characters’ frustrations and passions — Jake LaMotta’s jealousy, Jordan Belfort’s greed — bubble up to the surface, exploding in plain view. In The Age of Innocence (1993), Scorsese’s goosebump-good adaptation of Edith Wharton’s 1920 novel about the pomp and circumstance that dictated all aspects of life within the uppermost […]

  • “Ant-Man and the Wasp” Is No “Ant-Man”

    Every so often, Peyton Reed’s Ant-Man and the Wasp manages to channel the same kind of lo-fi irreverence that made the original Ant-Man so memorable. To the new film’s credit, those moments come regularly, welcome blasts of fresh air; to its detriment, they serve to remind us of a better movie that we could be […]

  • “Where Is Kyra?” Director Andrew Dosunmu on Filming New York and Working With Michelle Pfeiffer

    Nobody shoots New York like Andrew Dosunmu. Though born in Lagos, Nigeria, the photographer-turned-filmmaker has become, over the course of his last three features, one of the city’s most idiosyncratic and essential chroniclers — peering into corners rarely seen, through a visual style that brings both mystery and beauty to his subjects. In Restless City (2011), […]

  • Michelle Pfeiffer Gives the Performance of Her Life in “Where Is Kyra?”

    There has always been an air of loneliness about Michelle Pfeiffer onscreen. Even in her glamorous, gorgeous movie-star heyday, she often played women who were somewhat removed from the world. Catwoman, after all, was a cat lady; Countess Ellen Olenska in The Age of Innocence an outcast; Married to the Mob’s Angela de Marco a widow […]

  • Anemic Adaptation of Chéri Could Have Put Colette to Sleep

    ‘For the first time in my life, I felt morally certain of having written a novel for which I need neither blush nor doubt,” Colette said of Chéri, her 1920 novel of the Belle Époque Parisian demimonde. Stephen Frears’s anemic adaptation, written by Christopher Hampton (who also folds in 1926’s The Last of Chéri), would […]

  • Could Be Verse

    Cramming the Oprah-blessed doorstopper into less than two hours, White Oleander races from one tragic episode to the next with the abandon of a drunk speeding through a driver’s test, leaving hardships scattered like toppled orange pylons in its wake. Even before everything goes entirely wrong, 14-year-old Astrid (Alison Lohman) laments that she’s a burden […]

  • The Knobbies ’00

    In their fourth year, the Awards Formerly Known as the Hidekis™ have been rechristened and redefined, their original erstwhile Yankee namesake now meting out mediocrity in the pits of Montreal. The new Yankee honoree, having distinguished himself over the years as adept at princely cock-ups even under the best of circumstances, alters the nature of […]

  • Pumpin’ for Michelle

    The first thing you notice about the Spinatras’ @midnight.com is how Ross the Boss has packed all his old Dictator gee-tar licks into the first two songs. That’s OK, though, because hardly anyone outside o’ zealots and eccentrics has heard them. And if the licks are great—and they are—the owner should feel free to play […]

  • Hitchcockamamie; Kitsch-Doc Maiming

    There may not be a more soulless director in Hollywood than Robert Zemeckis—his entire purpose is the manufacture of empty distractions, and his mechanical authority is precisely why his movies date more wretchedly than any other high-flyin’ ’80s-’90s auteur. His new non-blockbuster What Lies Beneath dates in the pot, as he blanches the Sixth Sense-style […]