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Review: Pom Wonderful Presents: The Greatest Movie Ever Sold
Reviews
Lemming
A red herring
By
PETER KEOUGH
|
July 19, 2006
LEMMING
" alt="photo of 'LEMMING'">
2.5
Stars
Combining the generic precision of Claude Chabrol and the perversity of Michael Haneke, Dominik Moll makes some of the creepiest films in Europe. Like his
Harry, un ami qui vous veut du bien|With a Friend like Harry
,
Lemming
focuses on the unwanted guest, and how everyday politeness breaks down before the demonic. The title mammal is the first intruder, an objective correlative jamming Alain’s plumbing (though miraculously surviving) and serving as a precursor of the real troublemaker, Alain’s boss’s wife. Played by Charlotte Rampling with exquisite malice and misery, Alice makes dinner special by calling Alain’s spouse (Charlotte Gainsbourg) a whore and tossing wine in her husband’s face. And she’s just getting started. Unfortunately, so is Moll, who at first deftly employs horror movie conventions for Polanski-like atmosphere but then falls back on them to resolve his plot. Lemming proves to be a red herring.
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French disconnections
Last year's Boston French Film Festival featured Claude Chabrol's A Girl Cut in Two , and that, combined with this year's Chris Marker retrospective at the Harvard Film Archive and Agnès Varda's fine new The Beaches of Agnès , made it seem almost plausible that the New Wave might rise again.
Cannes goods
Quick — name a world-class film-festival administrator willing to reveal that at age 12 he was titillated by the sight of clodhopper-shod Minnie Mouse stomping on Mickey's tail in a French comic book.
Cherchez les femmes
Women have always dominated French cinema — just not from behind the camera.
The play’s the thing
A couple of weeks ago at the Oscars, the first Academy Award for Best Foreign Language Film to go to an Austrian went to the wrong filmmaker.
Politics as usual?
Conspiracy, corruption, catastrophe — politics and world events sure can be exciting. Even the mainstream news is taking an interest.
The medium is the movie
In almost every movie you go to these days you’ll see another screen — a television, a computer, even another movie screen — within the screen you’re watching.
Year in Film: Risky business
Every year the studios hold back their best until the end of the year, but this year they let us down.
Seven heaven
Who are the world’s greatest living narrative filmmakers, what I call the Magnificent Seven?
Critical lapses
Am I the only film critic with this vainglorious dream?
Review: The White Ribbon
The White Ribbon starts with a black screen and an old man's voice (Ernst Jacobi, who played Hitler in Jan Troell's Hamsun and in a BBC mini-series) relating a series of mysterious accidents and crimes that occurred in the German village where he was a schoolteacher the year before the outbreak of World War I.
No fooling
Congratulations, Robert Altman.
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ARTICLES BY PETER KEOUGH
REVIEW: FOLLOW ME: THE YONI NETANYAHU STORY
| May 29, 2012
Whatever your opinion of the policies of Benjamin Netanyahu, Prime Minister of Israel, you can't deny that his brother Yoni was a hero, a courageous man whose conflicts and triumphs mirror those of his homeland.
REVIEW: MOONRISE KINGDOM
| June 01, 2012
Wes Anderson should always make movies featuring characters who are pubescent or younger — like Rushmore , which until this film was his best.
REVIEW: WHERE DO WE GO NOW?
| May 22, 2012
Lebanese director Nadine Labaki's whimsical film about internecine slaughter has a tone problem from the very start: a group of widows engage in a goofy line dance while the voiceover narrator bewails the death toll of religious warfare.
REVIEW: MEN IN BLACK 3
| May 24, 2012
Griffin (Michael Stuhlbarg), a fifth dimensional alien, can see the infinite possibilities each moment possesses and the infinite contingencies that caused it to happen.
INTERVIEW: RICHARD LINKLATER MESSES WITH TEXAS IN BERNIE
| May 16, 2012
No matter how far he strays, Richard Linklater's heart remains in Texas.
See all articles by:
PETER KEOUGH
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