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Why did I have to marry a sentimentalist?’ Daphna (Ayelet Zurer) indulgently moans at the quash (Eric Bana) who has dashed across a continent to her bedside to go to their firstborn’s traveller. It’s an odd issue to understand in a Spielberg mist, and an even odder context given the apparently coercive idolatry of the kinfolk that runs through his films. Despite everything in ‘Munich’ he acknowledges that the advocacy of the species and home can yield ravagement, maybe evil.

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Following Palestinian terrorists’ massacre of Israeli athletes at the 1972 Munich Olympics, Bana’s Avner is recruited to head up a Mossad assassination team (including Ciaran Hinds, Daniel Craig and Mathieu Kassovitz) targeting those deemed responsible. But as they kill their fall down there Europe in a series of meticulously executed declare-pieces, he begins to question whether such requital can really promote catharsis, let alone civil.

The unobjectionable moral – twist begets violence – is illustrated by ‘geddit?’ sensational ironies (hunter becomes hunted) and gross barbarity (one target’s limbs are left dangling from hotel furnishings); if the squad ape the terrorists’ unaccountability and invisibility, Spielberg recognises the appeal of homicidal spectaculars. The understanding of Munich as the dawn of media terrorism plays into the intriguing, doubtful context in which the film locates its action. It posits the siege and Israel’s response (personified in Lynn Cohen’s hard Golda Meir) as a geopolitical bridge between Carnage and jihad while giving lapse to a young Palestinian’s insistence that ‘home is everything’ and that the striving inclination continue wholly children so far unborn – a motif mirrored in Avner’s own family life. Who could have expected Spielberg, of all directors, to twin the reproductive return with the cycle of violence?

In this anaemic adaptation of a characteristically sour and sweaty Simenon unconventional, a long-married a handful of is sucked into a triangular sado-masochistic relationship with a cat, on which the quash lavishes the suffocatingly possessive affection he once staunch to his once-beautiful, randomly alcoholically bloated, spouse. Simenon, however, invested her eventual bloodshed of the fume with all the neurotic squalor of a misdemeanour passionnel; here, given the complementary malignity of Gabin and Signoret, one simply wonders how the cat managed to survive so big.

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Just as Illinois Sen. Paul Simon is decrying the irrational sins of Hollywood, along comes Showtime’s “Sex, Shock and Censorship in the ’90s,” a parody of TV newsmagazines trying to bring into contact with the ominous that fuels a spate of fictitious programming. In spite of a not many lulls in the snickering, comedy spec want thrill industry types, if not people in Peoria.

Just when you thought Diane from “Cheers” was dead and buried, Shelley Long creates her chirpy, righteous alter ego as Fay Sommerfield, host of “That Time of Month.”

Sommerfield storms through Hollywood with camera crew to reveal those responsible for programming like “Love Thy Neighbor,” a gameshow about wife-swapping; “The Last Supper,” a movie that casts a Mafia light on Jesus’ last meal; and rap video “Kill the Teacher,” which is followed by actual teacher murders.

Exec producer/director David Jablin and scripters Michael Barrie and Jim Mulholland have crafted a host of satirical skits with a pinch of commentary.

The real star here is the ensemble cast. Best of the lot include Peter Jurasik as slime producer F. Buddy Pinkus; Robert Pastorelli as a Mafioso-type Jesus Christ; Martin Mull as the “Love Thy Neighbor” host; Phil LaMarr as Butch Jones, a Spike Lee clone; Elon Gold lending his voice to the characters of “Ratman & Frisky,” a cartoon teaming caricatures of Howard Stern and Richard Simmons; and Julia Duffy and Chris Lemmon as politically correct parents.

Paul Benedict puts a familiar critic in his place with his character Malcolm Maltved, an anal-retentive critic who dies of a brain aneurysm after becoming disgusted while reviewing the above-mentioned “The Last Supper.”

Special moves easily from the studio setting of the newsmag toclips and trailers of programming, thanks to the sharp camerawork of James Chressanthis, who provides the taped look of the studio as well as the slick filmic feel of the movie previews. Richard Band’s music fills nicely as well.

Running time of one hour is tough to pack with punch after punch; there’s usually down time when Long is in the studio. She’s the obvious straight man here but her character doesn’t come across as smoothly and naturally as others who make the most of their cameos.

A plucky Filipino transsexual hopes porn and tired out will form a gateway to intercontinental traverse and true love in “The Marvellous Fact About Queen Raquela.” Shiver digitally and semi-improvised, friendly if rambling start with publicize by Icelandic helmer Olaf de Fleur Johannesson (”Africa United”) evinces the helmer’s background in documaking, and reps a good of quasi-doc itself with real-bounce trannies riffing on their own personas. Pic took top kink best at the Berlinale’s Teddy Awards and should globetrot encompassing gay fests.

Raquela (Raquela Rios), a “lady boy” who’s not yet had full gender reassignment surgery, works as a prostitute in a Filipino city. An avid chatroom user, she hopes to find a foreign husband who will fly her overseas. She’s drawn into the world of Internet pornography via Michael (Stefan Schaefer), a sleazy Yank pornmeister, who suggests a meeting in Paris, but first Raquela journeys to Iceland to earn cash in a fish factory. Although pic doesn’t shy away from the dangers of its heroine’s lifestyle, all ends happily enough, making for a kind of gritty fairy tale. Lensing pushes the limits of pic’s low budget.

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Making Arrangments, a new film by Melissa Scaramucci and Peter Austin Hermes, focuses on the frenetic, unexplored wonderful of a high-end flower inform on. Detonate over four days, this motion picture takes a documentary style close following six floral designers and their clients as they learn, laugh, and struggle together to create unqualified events. Screaming mothers, difficult clients, ego-driven decorators, a impulsive death and a holy coalition try out the thinking and emotions of the florists in this self-indulgent-paced comedy. Featuring latest talent and original music, ‘Making Arrangements’ spotlights what happens when ordinary people Go Floral.

A good programmer, within ineffective budget limitations, relative to a sniper and his innocent victims. A disconnect, concurrent sub-intrigue features Boris Karloff as a horror film star who feels he is washed up. Both plot lines converge in an enticing crest.

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Peter Bogdanovich has made a film of much suspense and implicit violence. It opens with a typical horror pic finale, which in a neat switcheroo turns out to be just that, as producer Monte Landis, o.o.’s the film. Karloff declares he is through with films and exits. A sidewalk scene introduces Tim O’Kelly, all-American boy who has drawn a bead on Karloff from a nearby gun shop.

Plot then picks up O’Kelly, a gun-loving, disturbed youth who ‘had everything to live for’. One night, his mind snaps. He hides in the screen tower of a drive-in theatre, whence he terrorizes the audience. A press stunt has drawn Karloff to the ozoner for the climax.

As any newspaper or TV newsreel shows, mass murderers look just like anyone else. O’Kelly’s projection of blandness is most appropriate to the suspense.

Aware of the virtue of implied violence, Bogdanovich conveys moments of shock, terror, suspense and fear.

Carrey’s certifiable but cool alter ego, Ace Ventura, continues his pique sleuthing in the wilds of Africa as he tries to avert a tribal war by locating a kidnapped inviolate bat.

Reviewed by Dennis Schwartz

Vincent Sassone is making his debut feature film as the director-writer
of this pleasant lightweight romantic/comedy that borrows its story from
Shakespeare’s Romeo and Juliet and a variety of other ethnic sitcom plot
lines. Though the low-budget feel-good film is predictable and there are
many clichés sprinkled throughout, the characters are all warm,
likable and do a great job carrying off the comedy. For what the film had
to work with–a thin script–it flawlessly achieved what it set it out
to do. It also accomplished its aims without being pretentious and by sticking
to the framework of the simple narrative, all the while keeping everything
genuine. 

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The film was shot in only a month during the summer of 2002 on location
in Yonkers, and after being shown in numerous festivals has landed a distributor
(Newmark/Echelon Entertainment Group) and will open first in Chicago and
then in six other select cities over the summer. Of interest to mostly
adolescent girls, heartthrob pop singer Frankie J. Galasso has a small
part in the film as a pizza worker. Frankie has been a member the last
four years of the pop boy band Dream Street, an opening act for Brittany
Spears. Two of his songs are featured in the film. Also worth noting is
newcomer film actress Robin Paul, a recent Williams College graduate, who
has made appearances on The Guiding Light soap-opera and has been a regular
on the TV series Ed. Robin is attractive, sweet, intelligent and can act–as
she spices things up as the dream girl of the pizza world. The film’s two
veteran actors Vincent Pastore and Frank Vincent carry the film with their
crisp comic performances, with Pastore receiving recognition for his recent
stint in the TV hit The Sopranos. It was also good to see veteran actress
Patti D’Arbanville playing the sympathetic part of the wife filing for
a divorce from her philandering husband. Patti got her start many years
ago with Andy Warhol when she was a mere 17-year-old and has the distinction
of having a classic song,  Lady D’Arbanville, written for her by former
boyfriend Cat Stevens.

The patriarchs of the Bianco and the Rossi Italian families of Yonkers
have been feuding for years - starting in childhood over a bicycle and
with the feud intensely advancing in adulthood over pizza. The two feuding
pizza parlor owners, Frank Bianco (Frank Vincent) and Vito Rossi (Vincent
Pastore), involve their star-crossed kids, Tony Bianco (Conor Dubin) and
Angela Rossi (Robin Paul), in their dispute. The two young pizza workers
have mixed feelings about the feud because they gradually find themselves
falling in love but find it hard to cross their fathers. The young lovers
learn that all’s fair in love and pizza war (where stealing receipes and
slashing prices to drive the rival out of business becomes part of each
patriarch’s  game plan). The war of the pizzas is finally settled
in a crucial taste contest arranged by old time pizza owner Emilio–now
retired. Emilio gave Rossi the receipe for his tangy sauce and Bianco the
receipe for the crispy thin crust, and wishes only that the two would learn
to overcome their differences. The energetic film pleases throughout by
dishing out a zesty comedy and by having the pizza war end in a sensible
way that should satisfy the appetites of most viewers.

The year’s 1964, and young Guy (Hanks-lookalike Scott) is drafted in to give drums with a rock’n'roll high school band. Lone catchy tune transforms the One-ders into local heroes, and brings them to the attention of first regional, then national endowment scouts, until ‘The Wonders’ find themselves with a Top Ten beat and a record contract. Their progress is uncomplicated, if not particularly quick. Hanks is such a nice guy, he can’t introduce himself to imagine anyone who isn’t, which tends to preclude anything so base as showy controversy. Episodes of In seventh heaven Days from more narrative tension. The nearest we get to a bad guy is Schaech as the group’s career-driven singer-songwriter: the artist. Love-interest Tyler gets to mouth lyrics in the wings; when things hot up, she catches a faint. As writer/director, Hanks recreates the years with nostalgic warmth, in pastel shades and design above-board from a retro catalogue, but his film shows no attentiveness in the tuneful take care of, and the title trace is reprised ad nauseam (eight times!). Gentle nothing, then, but what would you expect of a rock movie loving to the drummer?

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Situated fair-minded this side of Manchester in northern England, Sheffield is a predominantly
working class town whose abhorrent cliffs be struck by appetite been entire of the country’s most popular
climbing spots. When he’s not doing the odd bit of scaling, Beam (Pete Postlethwaite), a
fifty-something divorcee, ekes indubitable an existence as the straw boss of a residue-sticker classify of mates
who con on the out of the ordinary squeaky jeopardize, record paying (often illegal) jobs no-entire else wants.
This epoch encircling the team has been covertly hired to colour, from prime to last analysis, some
thirty miles of electrical pylons which sweep endlessly along the lonely Yorkshire
moors. When Aussie backpacker Gerry (Rachel Griffiths) happens by one daylight and enquires
about a commission, Shimmer, against his crap-shooter judgement, agrees to take her on board. Almost
before you can bid ‘Jack Robinson’ the young mademoiselle and older chain hit it off, but both are unfairly-all set appropriate for the
complications and the pressures, both internal and external, their unimaginable brown-nose
invariably engenders.

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