The House That Jack Built
Ultimately, it’s more of an inconsistent cry into the void than the conversation starter it could have been.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
A report from the Venice Film Festival on the latest from directors Brady Corbet, S. Craig Zahler, and Julian Schnabel.
Jan de Bont's "Speed 2: Cruise Control" is one of the most maligned movies of all time, earning the wrath of critics and audiences alike. It has a Rotten Tomatoes rating of two percent and an average IMDB grade of 3.5--levels usually reserved for such monstrosities as The Village People's "Can't Stop the Music" (8/ 3.7) and the insult to all things good and decent that is Adam Sandler's "That's my Boy" (21/ 5.5). Judging from its box office performance, more people hated "Speed 2" than actually saw it. Yet I have to admit that after watching it on its opening weekend in 1997, I left the theater more than happy and was not surprised by the thumbs-ups it received from Siskel & Ebert. Then all hell broke loose. When I dis a movie a friend likes, all he has to do is bring up "Speed 2."
No favorable review I've ever written has inspired more disbelief than my three stars for "Speed 2." Even its star, Sandra Bullock, started mentioning in interviews her disgust with herself for agreeing to star in it. It's frequently cited as an example of what a lousy critic I am. (Note well: Siskel also gave it thumbs up.) All the same, I'm grateful to movies that show me what I haven't seen before, and "Speed 2" had a cruise ship plowing right up the main street of a Caribbean village.
I love a black comedy. Always have. You know, all those tragic mishaps that seem to befall Alec Guinness in the English countryside when no one is looking? But then who doesn't love an Ealing comedy. I also like "Dexter" and for similar reasons; it too, has an air of subversive glee about it, albeit darker and more graphic in nature. The appeal is never about seeing people die, though (where's the fun in that?). Nor in watching mindless torture porn like Hostel; a genre increasingly viewed as the favorite pastime of failed experiments in parenting, moreover, and thus to be avoided at all costs. I loathe the entire genre aka "Women in Danger" films as Gene and Roger once termed them. American Psycho however, is anything but a slasher film.
Ebert's Best Film Lists1967 - present