Matthew Faber Movies

In the tradition of This Is Spinal Tap, producer/ director/ star Tim Robbins' Bob Roberts is a satire disguised as a documentary. Robbins plays the titular Roberts, a wealthy, well-connected young man running for a senatorial seat in Pennsylvania. On the surface, Roberts is an ingratiating glad-hander, a sincere believer in the restoration of such intangibles as national pride, family values, etc. But the longer Roberts is followed about by documentary filmmaker Brian Murray, the more we become aware that the candidate is a textbook case of cynicism and contempt. Only Giancarlo Esposito, a reporter for an underground newspaper, is willing to dig beneath Roberts' veneer--a habit that leads to the film's ironic conclusion. Several well-known actors make cameo appearances as TV commentators, notably Tim Robbins' longtime partner Susan Sarandon. Bob Roberts started out as a Tim Robbins-directed short subject for the TV series Saturday Night Live, then was expanded into a $4 million feature. ~ Hal Erickson, All Movie Guide

A bright young African-American boy attempts to survive life in the city by acting as an errand boy for a drug dealer in this thoughtful, sharply plotted drama. Known as Fresh, the young man must use his delivery jobs to support himself and his troubled sister, receiving nothing from his distant, alcoholic father but the occasional chess lesson. His intelligence and quiet determination serve him well, as he wins the trust of his employer and settles into an unpleasant but survivable routine. Even this small comfort disappears, however, when Fresh accidentally witnesses the killing of a classmate and becomes a potential target himself. Forced into an impossible situation, he puts his experience and strategic ability to good use, developing a tricky plan to protect his own life and defeat the killers. First-time director Boaz Yakin emphasizes restraint and realism, presenting potentially sensationalistic material with a minimum of violence and flash. Instead, attention is placed on the strong, layered performances, particularly Sean Nelson as Fresh and Samuel L. Jackson as his embittered father. While some have questioned the film's treatment of inner city life, the film was generally acclaimed, thanks to its seriousness and complexity. ~ Judd Blaise, All Movie Guide

After a coed is murdered, a detailed description of the crime appears online. Once again, detective Briscoe (Jerry Orbach) must rely upon the computer savvy of his partner Curtis (Benjamin Bratt) to track down the perp. Once the accused is in custody, Assistant D.A. McCoy (Sam Waterston) must deal with the stonewall tactics of the defense attorney. ~ Hal Erickson, All Movie Guide

A frenetic, bloody look at mass murder and the mass media, director Oliver Stone's extremely controversial film divided critics and audiences with its mixture of over-the-top violence and bitter cultural satire. At the center of the film, written by Stone and Quentin Tarantino, among others, are Mickey (Woody Harrelson) and Mallory (Juliette Lewis), a young couple united by their desire for each other and their common love of violence. Together, they embark on a record-breaking, exceptionally gory killing spree that captivates the sensation-hungry tabloid media. Their fame is ensured by one newsman, Wayne Gale (Robert Downey, Jr.), who reports on Mickey and Mallory for his show, American Maniacs. Even the duo's eventual capture by the police only increases their notoriety, as Gale develops a plan for a Super Bowl Sunday interview that Mickey and Mallory twist to their own advantage. Visually overwhelming, Robert Richardson's hyperkinetic cinematography switches between documentary-style black-and-white, surveillance video, garishly colored psychedelia, and even animation in a rapid-fire fashion that mirrors the psychosis of the killers and the media-saturated culture that makes them popular heroes. The film's extreme violence -- numerous edits were required to win an R rating -- became a subject of debate, as some critics asserted that the film irresponsibly glorified its murderers and blamed the filmmakers for potentially inciting copy-cat killings. Defenders argued that the film attacks media obsession with violence and satirizes a sensationalistic, celebrity-obsessed society. Certain to provoke discussion, Natural Born Killers will thoroughly alienate many viewers with its shock tactics, chaotic approach, and disturbing subject matter, while others will value the combination of technical virtuosity and dark commentary on the modern American landscape. ~ Judd Blaise, All Movie Guide

East meets West in the changing landscape of Beijing on the cusp of the 21st century in this romantic comedy-drama. Leah Quinn (Catherine Kellner) is an American in her early 20s who has decided to spend some time in China. While studying weiqi, she becomes romantically involved with her teacher, Sun Zhan (Geng Li), a self-styled hipster by night who, during the day, hosts a tacky television program. Meanwhile, Richard Kao (David Wu) is a young American of Chinese heritage who is visiting the country for the first time. He's brought with him the ashes of his grandfather, who wanted them to be scattered in the Chinese village of his birth. As he acquaints himself with the family he's never known, Richard gains a new appreciation for his cultural heritage -- and becomes infatuated with a neighborhood girl, Lin Qing (Shiang-chyi Chen). Restless was the first ever American-Chinese co-production, and marked the first feature for writer/director Jule Gilfillan. ~ Mark Deming, All Movie Guide

The birth of the gay rights movement gets a fictionalized treatment in this drama based loosely on the acclaimed documentary of the same name by Martin Duberman. In 1969, Matty Dean (Fred Weller) arrives in New York City's Greenwich Village hoping that life there will provide the sexual liberation forbidden to him by his small town upbringing. Matty falls in love with LaMiranda (Guillermo Diaz), a cross-dresser who introduces him to the regulars at the infamous Stonewall Inn, a popular gay bar. He is shocked, however, to learn that the NYPD regularly raids the Stonewall, harassing the clientele and closeted owner Vinnie (Bruce MacVitte). After one such incident, Matty ends up in jail, where he's attracted to Ethan (Brendan Corbalis), a gay activist preaching a moderate policy of conformity and peaceful protest. The latter is not possible, however, when police storm the Stonewall yet again and, led by Vinnie's lover Bustonia (Duane Boutte), enraged drag queens fight back in a riot of historical significance. ~ Karl Williams, All Movie Guide

Twelve-year-old Dawn Wiener (Heather Matarazzo) is perhaps the most put-upon adolescent in film history in Todd Solondz's bitterly hilarious black comedy Welcome to the Dollhouse. Dawn is bright but awkward, both physically and socially, and is appallingly unpopular among her peers, to whom she's better known as "Wienerdog." Possessing little charm or grace and perhaps the most misguided fashion sense of her generation, Dawn is not an easy girl to like and practically no one seems interested in making the effort. If life is tough for Dawn at school, it's hardly any better at home. While her folks dote on her gratingly cute younger sister Missy (Daria Kalinina) and look with pride to her bookish older brother Mark (Matthew Faber), Dawn is either ignored or treated as an annoyance. Dawn has developed a crush on Steve (Eric Mabius), the hunky guitarist Mark has drafted into his rock band (significantly, Mark is less interested in making cool noise or unloading teenage angst than in having another extracurricular activity to put on his college applications); Steve is polite but obviously not interested in her. However, Dawn has attracted the attention of a boy at school -- Brandon (Brendan Sexton), a mean-spirited junior thug whose idea of a good time is threatening Dawn with rape. A painfully accurate account of life in junior high (what Matt Groening called "the lowest pit of hell"), Welcome to the Dollhouse is also very funny, but writer and director Todd Solondz never lets the film's humor dilute the agony of its leading character; anyone who has ever been 12 years old will doubtless laugh at Dawn while uncomfortably recalling the horror of their own preteen years. ~ Mark Deming, All Movie Guide