Before Sunrise

Before Sunrise

This romantic, witty, and ultimately poignant glimpse at two strangers (Ethan Hawke and Julie Delpy) who share thoughts, affections, and past experiences during one 14-hour tryst in Vienna somehow remains writer/director Richard Linklater’s (Dazed and Confused, Slacker) most overlooked gem. Delpy, a stunning, low-key Parisian, meets the stammering American Hawke, as the two share a Eurorail seat–she’s starting school in Paris, he’s finishing a vacation. Their mutual attraction
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Henry Fool

Henry Fool

Simon (James Urbaniak), a shy garbage man, lives with his sister (Parker Posey of Party Girl and Waiting for Guffman, among dozens of other movies) and mother, who both treat him with minimal respect. Into Simon’s life comes Henry Fool (Thomas Jay Ryan), a heavy-drinking self-proclaimed great writer who goads Simon into writing an enormous poem. The poem becomes the source of great controversy, proclaimed by some as a great work of art, denounced by others as perverse trash. As
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In the Soup

In the Soup

This is a low-key gem that is at once about the power of dreams, the power of suggestion, and the tyranny of artistic vision (when there really isn’t one to fight for). This disarming comedy by director Alexandre Rockwell was a hit at the Sundance Festival but barely registered commercially. Steve Buscemi stars as a hard-luck case: Adolpho, a wanna-be filmmaker with a phone-book-sized screenplay and no money. He lives in a hellish Lower East Side apartment and has a thing for hi
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The Babysitters (2007)

The Babysitters (2007)
Director: David Ross
Starring Katherine Waterson and John Leguizamo

The Babysitters is a curious movie that is entertaining yet doesn’t quite achieve coherence. It could be a dark satire about modern suburbia, an amoral, hedonistic comedy about teenage prostitution or a cautionary, moralistic tale about teenage prostitution. Instead of settling on one of these modes, Babysitters hedges its bets and veers awkwardly among them.

The movie starts with high school student Shirley (Katherine Waterson) babysitting for a family and becoming romantically involved with the father, Michael (John Leguizamo). Shirley appears to be a shy, demure teenager who develops a crush on an older man, while Michael is an unhappily married businessman.

After Michael kisses Shirley after driving her home, he gives her money, presumably out of guilt. From this, Shirley develops the idea to start a prostitution ring at her high school and proceeds to recruit her friends. Michael, meanwhile, tells his friends about the new kind of “babysitting” service and things move quickly from here.

Both Shirley and Michael are played a bit too sympathetically for the movie to really work as a dark satire. Shirley doesn’t seem like someone who would suddenly turn into a streetwise madam overnight, while Michael seems too guilt-ridden to be telling all of his neighbors and business associates about his new vice.

The Babysitters cannot help but be an essentially amoral film that seduces the audience with the taboo subject of sex between middle-aged men and high school girls. The moralistic tone it takes at times, and especially at the conclusion, seems disingenuous in a movie that mostly treats its subject with such flippancy.

The performances, especially by Leguizamo and Waterson are good, but their characters really don’t gel with the script. The lesson here is that if you are going to make a movie about a controversial subject, you may as well take it to an extreme rather than do it halfway and try to please everyone. The problem with The Babysitters is that it will not really please anyone; it will offend those who find the subject matter intrinsically distasteful, and it will disappoint anyone looking for cutting edge satire or hedonistic fun.

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The Great Movies II

The Great Movies II

From Publishers Weekly

At times, Ebert’s second collection of 100 essays on great (but not, he’s careful to point out, the greatest) movies reads like an anthology of recycled reviews from his Chicago Sun-Times column, especially when he gets talking about the bonus features on DVDs. But anyone looking for a crash course in cinema viewing—regardless of whether they’ve been through Ebert’s first Great Movies collection (published in 2002)—will find plenty of rewards here. Some
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