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The Wolfman Review


OK
This B-movie made on an epic budget is so over-the-top that the earlier you start giggling the better. Even though it's played dead straight, it's an old-style monster romp that couldn't be any more camp if it tried.

American-raised actor Lawrence (Del Toro) returns to his family manor on an English moor, where his wild-haired father Sir John (Hopkins) lives with his Sikh servant (Malik). Lawrence discovers that his brother has just been killed in the woods by a vicious creature, which later wounds him as well, turning him into a werewolf. And on the first full moon, he finds himself on the hunt as well as chased by a Scotland Yard detective (Weaving). But maybe a gypsy woman (Chaplin) and his brother's ex-fiancee (Blunt) hold the key to his salvation.

Continue reading: The Wolfman Review

You Stupid Man Review


Weak
You Stupid Man. Well that's a title that is going to make people rush to Blockbuster. What sounds like a sex comedy (a sultry Denise Richards on the cover doesn't help) turns out to be a semisweet, if goofy, romantic comedy, albeit a nerdy David Krumholtz and a blank-slate Milla Jovovich don't exactly make for cinema's most energetic couple.

Krumholtz starts the film with Richards, an up-and-coming actress who's soon in New York as a headliner on a new sitcom. Soon she's having an affair, gets busted, and sends poor Davie home alone.

Continue reading: You Stupid Man Review

Sidewalks Of New York Review


Very Good
Edward Burns' best movies rarely show the busy intersections and tall buildings of New York City. He covers the blue-collar attitude perfectly, representing a side of the Empire State most moviegoers rarely see anymore. I think that's why his first film, The Brothers McMullen, was so appreciated. It's also why I own No Looking Back, a telling look of working class malaise, on videotape.

Like a lot of other New Jersey and New York residents, Burns can't help but be tempted by the city life. In his fourth film, Sidewalks of New York, he examines three men and three women whose romantic lives intersect. It's a pleasant and amusing turn after the potent dreariness of No Looking Back. But why do I get the feeling that anyone could have directed Sidewalks? I guess it's because setting a romantic comedy in New York City seems silly, if you can't capitalize on the atmosphere. And Burns can't. Try as he may, he's still a big city outsider. And I think he's better off that way.

Continue reading: Sidewalks Of New York Review

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