The Incredibly True Adventure of Two Girls in Love

This sweet, tender, exciting 1994 feature by writer-director Maria Maggenti is about the puppy love that blossoms between two high school seniors: a rebellious tomboy pothead gas-station attendant who lives with her aunt in an all-lesbian household and a popular wealthy black intellectual. Maggenti doesn’t always have her technique together–there are some awkward voice-overs, and a couple of secondary performances are overblown–but her feeling for the lead characters and for adolescence in general is so energizing that these become minor lapses. This movie triumphs even when it makes a sudden transition toward the end from romantic comedy to farce. With Laurel Holloman and Nicole Parker. Pipers Alley

Published on 30 Jun 1995 in Featured Texts, by jrosenbaum

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The Innocent

Though it wasn’t terribly well received when it first appeared, Luchino Visconti’s last film (1979) strikes me as arguably the greatest of his late works apart from The Leoparda withering autocritique of masculine vanity and self-delusion, adapted from a novel by Gabriele D’Annunzio, focusing on a well-to-do intellectual (Giancarlo Giannini) at the turn of the century struggling to justify his sexual double standards and his libertarian philosophy regarding his wife (Laura Antonelli) and his mistress (Jennifer O’Neill). Opulently mounted, dramatically understated, and keenly felt, this is a haunting testament, as well as one of Visconti’s most erotic pictures. Incidentally, the elderly hand seen on-screen during the opening credits is Visconti’s own. In Italian with subtitles. 125 min. (JR)

Published on 28 Jun 1995 in Featured Texts, by admin

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Judge Dredd

Another fascist action bash from Sylvester Stallone, this one based on an English comic book series and borrowing heaps from the set design of Blade Runner and, in at least one scene, the makeup of The Texas Chainsaw Massacre. In a future lawless America where James Earl Jones or somebody who sounds just like him still reads aloud roller titles, an appropriately semihuman Stallone administers his form of justice. It’s a camp performance decked out with a permanent sneer, twisted grimaces, and constipated line deliveries. Stallone wears a cartoon football outfit, worries about the fate of his brudder, and occasionally does battle with a growling robot thug. They paid Max von Sydow to appear in this as a father figure; also on hand are Armand Assante, Diane Lane, Jurgen Prochnow, Joanna Miles, Joan Chen, and, for teenage belly laughs, Rob Schneider. Directed without inspiration by Danny Cannon from a stupid script by Michael De Luca, William Wisher, and Steven de Souza (best remembered for his witty contributions to The Flintstones). (JR)

Published on 27 Jun 1995 in Featured Texts, by admin

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