Jude Law

ON THE SILVER SCREEN: THE UNBEARABLE SADNESS OF BEING (SIDE EFFECTS)

By Brian Lafferty

February 8, 2013 (San Diego) – The press screening announcement for Side Effects read "Please note that due to the non-linear nature of this film, we will not let anyone into screenings of Side Effects if they arrive LATE.”  The impression I got was that Soderbergh's last theatrical release - his final project is a Liberace biopic that will air on HBO later this year - would be a mind-bender like Cameron Crowe's Vanilla Sky or Christopher Nolan's Memento.  I was wrong, but the publicity people were right to deny entry to latecomers.  (Even if they didn't, I can't grasp how any critic could feel comfortable reviewing any movie they're late for.  In many cases and for many reasons too irrelevant and lengthy to list, the first few minutes are a film’s most important.)

ON THE SILVER SCREEN: HEATH LEDGER’S SWAN SONG, “DOCTOR PARNASSUS,” A VISUALLY SUMPTUOUS, WELL-ACTED TREAT

 

By Brian Lafferty

January 12, 2009 (San Diego’s East County)--While watching The Imaginarium of Doctor Parnassus I could not help but remember a film with elements similar to it. That film would be The City of Lost Children, a 1995 French film co-directed by Jean-Pierre Jeunet (Amelie) and Marc Caro. Like The City of Lost Children, Doctor Parnassus contains eccentric characters (in both physical appearance and personality), lush cinematography and set design, and an interesting narrative that is barely coherent yet rewarding at the same time. I loved it.