Ed Gonzalez, Bill Murray has given many variations on defeated shells of men, but his work here is arguably most reminiscent of Lost in Translation’s Bob Harris. Far more than a polemic against the prison-industrial complex, Time reminds us in eminently cinematic ways that behind the numbers and procedures of a court case are actual lives existing in actual, human time. Hollow Man.
“Stronger” is one of the more galvanizing moments of contrast to the filtered soul of “Through the Wire” and “Touch the Sky.” Instead of trying to placate his oft-mentioned elders with Curtis Mayfield and Chaka Khan, the menacing Vocoder samples of Daft Punk cut through the hazard tape of “Stronger” and, if nothing else, form a much more appropriate match for Kanye’s blustering hubris.
In which a few recurring Verhoeven motifs—humiliated men, objectified women given agency, an unqualified respect for prostitution—are diagrammed with laser precision within the first few minutes, under the auspices of a lavish period setting: Vivre Sa Vie by way of Tess of the d’Urbervilles. This is a collection of the best movies directed by Paul Verhoeven as voted on by film buffs.
Unrestricted by the shackles of American studio input, the film, an adaptation of a 2012 Philippe Djian novel, takes a fairly straightforward revenge story and imbues it with slow burning, complex ideas around family and victimhood, while making a conscious effort to develop its characters beyond their ties to the central narrative. With Showgirls celebrating its 25th anniversary this month, and with a 17th film, Benedetta, on the horizon, we ranked the films of Paul Verhoeven, from worst to best: What should have been the film to bring down the curtain on Verhoeven’s 13-year fling with Hollywood with a bang instead came and went without so much as a whimper. The film shows no illusions about the extent of King’s affairs. The sexually explicit hallmarks are all there, but, from its jolting, violent opening (which later turns out to be a hangover fantasy), this quaint romantic dramedy, like his big-budget output years later, immediately works to dislodge its audience. Showgirls is a re tooled version of every showbiz drama you’ve ever seen only here the whole idea of your dreams coming true becomes uglier and uglier. The first half has an (intentional) air of the faintly ridiculous about it, embodied equally by Christopher Lee’s gloriously campy portrayal of the cult’s leader and the life-on-the-island sequences that are Pythonesque in their absurdist look at culture clash.
It would have been far riskier to ground the film’s narrative vantage with Edwina (Kirsten Dunst), Amy (Oona Lawrence), Alicia (Elle Fanning), or Martha (Nicole Kidman) and to keep it there.
This fear is similar to the terror that parents have of inadvertently destroying or disappointing their children, and Flanagan unites these anxieties with a ghoulishly inventive plot turn that he doesn’t fully explore. The people who cut the interview of themselves, they left in what was smart, intellectual, and coherent.
The best parts of the film slyly set up those tools and other objects, including a swing set and a rat trap, only to bring them back at some later, climactic moment. Maybe it’s in the overtly fable-like structure that reduces the characters to not just archetypes, but cutouts.
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