102 Dalmatians, All About Eve, Conspirators of Pleasure, Live Nude Girls Unite!, Shampoo, Space is the Place, Unbreakable, Venus Beauty Institute


*The 6th Day
Ahh, the glory of the movie star! In The 6th Day, Arnold Schwarzenegger stars as a helicopter pilot who is mistakenly cloned, thus becoming a double. Of course, a dastardly corporation is behind it all, and Schwarzenegger must topple it single (or, in this case, double)-handedly. But just in case you are turned off by the thought of Schwarzenegger and his double, be assured that the true star of The 6th Day is Vancouver, B.C.'s fantastic new Central Library, designed by the great Moshe Safdie. Cast as the villain's corporate headquarters, this stunning building upstages everyone, especially in the action scenes. Let's hope Rem Koolhaas' new Seattle Public Library can put us on the action movie map as gracefully! (Jamie Hook) Opens Fri Nov 17. Varsity, Pacific Place

Ben Affleck and Gwyneth Paltrow star as a sexualized Tweedledee and Tweedledum (emphasis on "dum"). Opens Fri Nov 17. Metro

*Hell American Style
A selection of the more subconsciously perverse highlights from American '70s television. Fri-Sat only; see Stranger Suggests. Grand Illusion

How the Grinch Stole Christmas
Jim Carrey ruins one more treasured icon of our collective youth. Opens Fri Nov 17. Metro, Meridian 16, Oak Tree

From the aggressively obscure Robert Kramer comes this little seen sci-fi picture about urban guerrillas. Fri-Sun only. Consolidated Works

Me & Isaac Newton
The most terrifying thing about this Michael Apted documentary examining the work of seven super-scientists is that it claims to be from an idea by Paul Allen. Like the previous, tepid Inspirations, which examined the creative process with such artists as Roy Lichtenstein and David Bowie, Me & Isaac Newton presumes a sort of macho inevitability to its subjects' ultimate genius--which is where I start to get scared. Not because the subjects are not very, very smart, or don't bear up to scrutiny--they are and they do, easily--but because of that gross, creeping feeling that you are once again being raped by Paul Allen's strangely excessive desire to have you think he is smart and creative and cool. When will it end? Certainly not when his money runs out--it never will. Eww. (Jamie Hook) Opens Fri Nov 17. Varsity Calendar

Once in the Life
So, y'all, I'ma tell you 'bout this FILM, yo. Coz this fuckin' film is the BOMB, yo. It's based on a fuckin' play by fuckin' Laurence fuckin' Fishburne, bitch. I'll fuckin' waste you if you go fuckin' see this film, though. Yo! I'm not saying it's a bad film, sabes? I'm just here, yo--its like about fuckin' doin' crime, doin' time and shit, you know? Like, they like brothers, you know? On the streets of fuckin' Brooklyn and shit, livin' the life with my man "20/20" and "Nine Lives" and "Tony the Tiger." So, you wanna know if this fuckin' film is any fuckin' good? Then, yo! You don't fuckin' like this fuckin' genre? Back off, motherfucka! I'll fuckin' waste you, bitch! BoomBoomBoom! (Jamie Hook) Opens Fri Nov 17. Uptown

Pink Floyd: The Wall
The Wall has always been my least favorite Pink Floyd album--the lack of cohesion, the haphazard manner in which it sways from beauty to outright brutality without fully capitalizing on the sheer sensationalism of it's inconsistencies. The movie on the other hand plays out the album's lows with such a squalid menace and the album's beauty with such sickly sweet futility, that it positively bleeds. The storyline follows the descent of alienated rock star Pink from the social order into the bowels of madness. Charting the gradual construction of Pink's protective wall against society are a series of truly epic live action pictures combined disturbingly with the lyrical animation of caricaturist Gerald Scarfe. It's not easy to watch but it's rewarding. (Kudzai Mudede) Opens Fri Nov 17. Egyptian

Rugrats in Paris: The Movie
Finding a quality movie for your kid to watch is an idea that functions pretty much along the same lines as why a heroin dealer has a vested interest in providing only the finest smack for his clientele. He could cut his opiates with shoe polish and his patrons wouldn't really mind. But take heart! For this is the season when the entertainment industry presents it's most enticing new kiddy-crack. Why waste time dabbling in the waters of those fancy foreigners with their unintelligible offerings (Teletubbies, Pokemon, etc.) or those epileptic fit-inducing upstarts who employ every cheap trick involving violence, sex, and subliminal messaging (everything on Fox Kids, for example). Your child does not need variety--your child needs success! And you know full well that the Rugrats have been, are, and for some time to come will be the bearers of the formula for success. Sing when you're winning my friends, sing when you're winning. (Kudzai Mudede) Opens Fri Nov 17. Meridian 16, Oak Tree, Metro

Same Old Song
The first thing you see in Resnais' most recent film is an affectionate little cartoon dedicating the work to Dennis Potter; but the great English television writer might be looking down from heaven and thinking that a backhanded compliment--Resnais never captures the sensuality or perversity of Potter, which are essential to his genius. As a series of current and would-be lovers interact in Paris, they occasionally burst into fragments of classic French pop songs. It is typical of Resnais' intellectual approach to human feeling that he seems most concerned with finding the accurate lyric, and then only a line or two, rather than the musical moment that would best set free the emotions actually being concealed. Love those jellyfish, though. (Bruce Reid) Sat-Sun only. Grand Illusion

*Scandal Sheet
Newspaper scandals are a staple of the noir genre, as aptly demonstrated in the Samuel Fuller scripted thriller about a reporter caught in a web of intrigue. Plays as part of SAM's "Shadowlands" film noir series. Thurs Nov 16 only. Seattle Art Museum

The Specialist
The banality of evil is on trial in this portrait of Nazi war criminal Adolf Eichmann. Thurs-Sun only; see review this issue. Little Theatre

What's Cooking?
"What's cooking?" is the titular question in this cinematic smorgasbord, which takes the sacramental Thanksgiving feast as its raison d'etre. Opens Fri Nov 17; see review this issue. Broadway Market

*You Can Count on Me
Happy people have always been suspect to me. They don't seem to know what they're talking about, and more importantly, they lack rhythm. As a teenager, alone in my teenager room in America, my greatest longing was for a state of sadness. My craving was so strong it became clear that "sadness" was the very root of desire for me. Now with my thoughts gathered in full-blown adulthood, I realize that all I wanted in my quest for "sadness" was to be an adult. In Kenneth Lonergan's You Can Count On Me, "adult" and "sadness" and "American" become a knot of synonyms as the story focuses on the pure inability a brother and sister have communicating with one another now that they're adults. It is as though being an adult, and a member of a grownup American family, is the path of loneliness and sadness. Without any trendy embitterment, the sad path of the story is inspired, beautiful and desirable. And the case is made for Loneliness as the Great American Pursuit. (Paula Gilovich) Opens Wed Nov 22. Guild 45th, Harvard Exit


Trailer Training
WigglyWorld Studios presents an opportunity for King County artists to create an original trailer for the Grand Illusion or the Little Theatre through the Northwest FilmForum's Trailer Training program. Budget and honorarium included. Call 329-2629 for information. Application deadlines are Nov 30, 2000 and March 30, 2001.

Women in Film
Women in Film/Seattle seeks film, video, television, or new media work completed between Nov 1999 and Dec 2000 for the Seventh Annual Nell Shipman Production Excellence Awards. Entrants must live and/or work in the Pacific Northwest. Call 447-1537 to request an application; entries must be received by Dec 31.


Almost Famous
The truth of the matter is that this movie is nothing more and nothing less than a light and entertaining crowd-pleaser. Which is fine. Good, even. It's just that for a rock 'n' roll tour film set in 1973, the content comes across as so... clean--like R-rated content in a PG-13 package. (Andy Spletzer) Aurora Cinema Grill, Lewis & Clark, Meridian 16, Metro

Stumbling across Bedazzled is like finding a bucket full of moonshine in the woods. It's not that the film is great, but it's awfully nice to meander into something that is simply, confidently good. Plus, I never knew that Brendan Fraser was HILARIOUS! His goofy, unrestrained performance as a schmuck making Faustian deals with the devil is a joy to behold--humble, manic, tidy, and sloppy all at once. (Jamie Hook) Lewis & Clark, Meridian 16, Redmond Town Center

*Best In Show
Christopher Guest's latest with Eugene Levy follows several dog owners on their quest for the blue ribbon at the 2000 Mayflower Kennel Club Dog Show. A well-executed, ridiculous little film lovingly mining ridiculous little people's ridiculous little lives. (Jason Pagano) Broadway Market, Grand Alderwood, Redmond Town Center, Seven Gables

*Billy Elliot
As the BBC put it, "you are heartless if you don't love every minute of this film"--and I'm not heartless. Thirty minutes into this film, I gave in; there was no way I could hate it. I must make a confession: I almost cried during this film--yes, it's that touching. (Charles Mudede) Guild 45th, Harvard Exit

Blair Witch 2: Book of Shadows
A bunch of Blair Witch Project groupies pay to go on a tour of the infamous Black Hills of Burkittsville, Maryland, to see the sites from their favorite movie. There's no real psychological drama, no inexplicable creepiness, none of that Jesus-why-am-I-so-scared brilliance. This film is so bad, no amount of high-priced marketing tools, glitzy trailers, live webcasts, or star-studded soundtrack CDs can save it. (Melody Moss) Lewis & Clark, Pacific Place 11

The Broken Hearts Club
Let's be frank: This film is so profoundly awful that it inadvertently succeeds in performing the tremendous social service of euthanizing the subgenre of the once-viable "gay film." God, it's bad. I will waste your time by telling you that the film is about a group of gay men in L.A. looking for meaning in their lives. But I can write no more. This film simply doesn't deserve it. (Jamie Hook) Broadway Market

*Charlie's Angels
Completely brainless, God bless its heart. Drew Barrymore, Cameron Diaz, and Lucy Liu kick, chop, giggle, and dance their way through some sort of story involving technical thievery or... something. It doesn't really make sense, but then again, it doesn't really matter because director McG has created a world of lunacy where people levitate with relative ease, and there is absolutely no explanation for it. Hot chicks kick ass and fly, and either you accept it and have fun, or you don't. If you can't enjoy ludicrous fun once and a while, you may as well be dead. Choose life. (Bradley Steinbacher) Factoria, Lewis & Clark, Meridian 16, Metro, Oak Tree, Redmond Town Center

The Contender
In this Hollywood version of the Lewinsky affair (with the Clinton character recast as a woman), the Democrats make all the great speeches you wish they'd made during the 104th Congress, and the Republicans are as simply evil and as plainly hypocritical as you wish they were. The first hour of the movie--featuring murders, behind-the-scenes White House meetings, strong-arm politicking, and secret memos--is actually a blast, but once the trite sermonizing kicks in, you'll start wishing they'd just cut to more footage of the sex scandal. (Josh Feit) City Centre, Redmond Town Center

Dancer in the Dark
Dancer in the Dark is a wonderful film in theory. In exposition, however, it suffers gravely from director Lars von Trier's ingrained contrarian aesthetic and growing avant-garde laziness. When the film is not wantonly sadistic, it is simply sloppy in a poorly thought-out way. While von Trier maintains his unique facility for the direction of small, crying women, his other tricks seem woefully inadequate for pulling off the feat he sets out to accomplish. (Jamie Hook) Varsity

Dr. T & the Women
Robert Altman's newest film is a mishmash of the most frustrating variety. There is a great intro set in the lobby of Richard Gere's gynecological practice, and the coda at the end is amusing, but overall the picture is uneven (this is Altman, after all), and the joke--a man surrounded by the multiplicitous insanity of women--wears thin a bit too soon. (Jamie Hook) Uptown

*The Exorcist
Though the re-release of The Exorcist is unlikely to leave the same mark it did in 1973--when audience members purportedly vomited and ran screaming from theaters across the globe--it is nevertheless a great excuse to see the film in a dark theater, with the surround-sound effects of a remastered soundtrack. (Melody Moss) City Centre

The Ladies Man
This loose and loopy extended sketch about lisping Lothario Leon Phelps has all the slippery charm of a circa-'70s polyester shirt. Carried by the unlikely but undeniable charisma of SNL regular Tim Meadows and a script that seems almost accidental, this cinematic equivalent of a bag of bar nuts manages to coax forth just enough laughs to make a matinee viewing worthwhile. (Tamara Paris) Meridian 16

The Legend of Bagger Vance
Lying in the rough, Jack Lemmon starts to narrate a story about how, when he was 10 years old, he and a mystical caddy named Bagger Vance (Will Smith) helped keep local golfer Rannulph Junuh (Matt Damon) from embarrassing himself in an exhibition match against the two greatest golfers in America. You see, Junuh "lost his swing" when he saw his buddies die in WWII, and he needs the love of a pretty good woman, the faith of a child, and some Zen-like advice from a mystic. (Andy Spletzer) Cinerama, Factoria, Grand Alderwood, Metro, Oak Tree, Pacific Place 11, Southcenter

*Legend of the Drunken Master
Jackie Chan's best film is his 1979 breakout Drunken Master. This sequel from 1994 captures much of the high energy and goofy humor of that classic, and adds a greatly expanded budget that allows for some impressive sets, which the actors leap about and smash up to their hearts' content. The fight scenes are remarkable, but as always it's the throwaway bits that really blow your mind. Check out Chan's nimble leap up a wall and through an open transom; when you've picked your jaw up off the floor, remind yourself that's what movies are all about. (Bruce Reid) Lewis & Clark, Meridian 16

Little Nicky
Adam Sandler has always been smart enough to cloud his aggressive gross-out humor (and nasty racism and homophobia) in a ragged, slapdash improvisatory structure that makes the films almost charming. The best moments in Little Nicky, a clunking, amateurish, but occasionally quite funny succession of gags about Satan's son hunting for his evil older brothers on the loose in New York, come from such odd cameos as Jon Lovitz, Regis Philbin, John Witherspoon and Reese Witherspoon (no relation to the best of my knowledge), and that "nice, sweet man" Henry Winkler, who all obviously dropped in for a day and riffed on their lines to their heart's content. (Bruce Reid) Grand Alderwood, Metro, Northgate, Pacific Place 11

The Little Vampire
The Little Vampire is a magical and funny movie but I wouldn't recommend it to children under seven because it is pretty scary. The movie is about a kid that finds vampires and helps them find a certain stone so they can turn into humans. The only thing stopping them is the vampire killer. He is a pretty freaky guy and his truck is freaky, too. It has lights all over it because the vampires are scared of light. It also has a cross on it and a coffin on the side. (Sam Lachow, nine years old) Meridian 16, Redmond Town Center

Lucky Numbers
The simmering misanthropic narcissism that has curdled Nora Ephron's every attempt at romantic comedy is finally brought full boil, and the result is far and away her best film as a director. John Travolta is just fine as the low-rent Harrisburg weatherman who decides to fix the state lottery (including Tim Roth as the closest thing the movie has to a mastermind, and Bill Pullman as the closest it has to a hero), are all up to his level. An unrelieved blast of bilious, mean-spirited, utterly hateful disgust; I enjoyed it immensely. (Bruce Reid) Factoria, Oak Tree, Pacific Place 11

Meet the Parents
Ben Stiller plays Greg, a male nurse living in an unnamed metropolis, about to pop the question to Pam, his kindergarten-teacher girlfriend. But he realizes in the nick of time that he must first ask her father (played with vicious delicacy by Robert De Niro) for permission. Happily, a trip home to attend her sister's wedding presents the perfect opportunity. But wait! Complications invariably ensue, and each new catastrophic development drives a wedge ever deeper twixt Greg and his beloved. (Tamara Paris) Factoria, Grand Alderwood, Majestic Bay, Oak Tree, Pacific Place 11

Men of Honor
Why are you even thinking of seeing this movie (a biopic about the first black underwater salvage expert that soaks Robert De Niro, sinks Cuba Gooding Jr., and drowns the audience with every cliché of the military movie genre, never mind that they all contradict each other) when you haven't seen Bamboozled, the Spike Lee about the TV show with the guys in blackface? Bamboozled is a lead balloon, but interesting leaden. Oh, it closed already? Well, whose fault is that? (Barley Blair) Factoria, Grand Alderwood, Majestic Bay, Metro, Oak Tree, Pacific Place 11

Take three losers--a would-be bank robber, a convenience store clerk with rock 'n' roll aspirations, and an incompetent bodyguard. Involve them in a plot that also includes a missing gun, a toy gun, big knives, short swords, gangster groups, a car full of cops, and a gauze mask. Satirize all the movies that all of these movie characters wish they were in. That's the task that Sabu set for himself when he wrote and directed Non-Stop. It takes six seconds--seven, tops--to realize that you're in the hands of a competent filmmaker. So stop reading right now and just go see it. Uptown

Pay It Forward
After having been instructed by his social studies teacher to make the world a more benevolent place, Haley Joel Osment starts at the bottom, where the bums live amid burning oil cans, of course. About five minutes into his effort, Osment thinks he's failed and that the world is, in fact, shit. It's a performance that'll probably earn somebody an Oscar, but it just made me feel like kicking a kid in the teeth. (Kathleen Wilson) Factoria, Majestic Bay, Oak Tree, Pacific Place 11, Redmond Town Center

*Pizza & Movies
Join the wacky crew over at Second Ave Pizza in Belltown for their semi-regular movie "festivals"--where all things nostalgic, kitschy, and most of all fun, rule the screen (plus it's good eatin'). Second Avenue Pizza

*Pola X
Leos Carax remains the great poet of cinematic love, and Pola X is his finest testament to date. Casting off his life of comfort and abandoning his engagement to the privileged and lovely Lucie (Kathleen-Golubeva), young Pierre (Guillaume Depardieu), hustles himself and his newfound sibling, the dark haired and raven-eyed Isabelle (Kathleen Golubeva), off to Paris to make a living. The blonde and ethereal Lucie arrives in Paris. She and Isabelle come to represent for Pierre a battle between two would-be truths which is played out as the struggle between light and darkness. (Bruce Reid) Grand Illusion

Red Planet
This is not a good film. But that doesn't mean it is not brilliant. (See Flow chart on pg. ??) In American cinema, the worse the director, the more strangely symbolic the film becomes. Red Planet is a perfect example. For instance: the egg/sperm imagery throughout the film (this is a film about populating a barren wasteland, after all) is over the top. There is even a spaceship that blastulates just before hitting the surface of Mars--much as a zygote does before becoming embedded in the uterine wall. Plus, there is a great scene where sperm, represented by little bugs, which, in turn, represent God, attack Tom Sizemore and then explode. Strange things! (Jamie Hook) Aurora Cinema Grill, Factoria, Meridian 16, Metro, Redmond Town Center

Remember the Titans
Remember the Titans is set in the early '70s and based on real life, real people, the real America. It's a "problem film"--a movie about a black man (a football coach, in this case) who has to win the trust and love of angry, white racists. Incredible as this may sound, the movie is actually fascinating--not because it's well done or acted (nothing stands out in that regard), but because it has the manic pace of The Rock coupled with the content of Do the Right Thing. Now how in the world can you top that? (Charles Mudede) Aurora Cinema Grill, Factoria, Grand Alderwood, Lewis & Clark, Pacific Place 11

Requiem For a Dream
In Requiem for a Dream (based on the Hubert Selby Jr. novel of the same name, about the downward spiral of a trio of Brooklyn junkies), Darren Aronofsky opts to assault us with self-righteous imagery masquerading as some sort of daring bohemian technique. It is a conceit that manages to obliterate the few promising moments in the film. In the end, Requiem for a Dream comes off as so much high-school posturing: puerile; craven; and, in hindsight, embarrassingly tacky. (Jamie Hook) Neptune

Silent Cinema Classics
An evening of silent films, with Professor Hokum W. Jeebs providing musical accompaniment on the mighty Wurlitzer organ. Hokum Hall

A Time for Drunken Horses
Here's a carefully understated little melodrama about the bleak lives of children in Kurdistan--a chance to see into a world otherwise unknown (or at best mysterious) to us, handsomely photographed with a great soundtrack. And yet I know that most American moviegoers won't watch a foreign movie that ends on only the faintest note of hope, no singing violins, no jeweled sunset. (Barley Blair) Uptown

The Yards
Leo Handler (Mark Wahlberg) is a street kid freshly released from prison after taking the fall for his friend Willie Gutierrez (Joaquin Phoenix). He wants to get his life back on track, and appeals to his influential Uncle Frank (James Caan) for work at his train repair company. The return of the prodigal son is far from a fresh theme, but director James Gray has assembled an outstanding cast and had the good sense to stay out of their way. It is only in the last few minutes of the film that Gray's minimalist instinct derails, as each plot point is rushed ruthlessly toward completion. (Tamara Paris) City Centre