By Kam Williams
Waist Deep
No Stars
Waist Deep A Waste Of Time
Recently-paroled Otis, aka O2 (Tyrese) is looking forward to spending some quality time with his adolescent son, Junior (Henry Hunter Hall), after finishing up a six year prison sentence for dealing drugs. With two strikes against him, the ex-con knows that getting convicted of another felony in California will mean he’ll spend the rest of his life behind bars.
To help himself stay on the right side of the law, O2 took a job as a security guard and was somehow cleared to carry a gun. Junior finds the revolver in the glove compartment of his father’s classic convertible while cruising the ‘hood right after their short-lived reunion.
Then, almost as soon as he snatches the automatic away from his curious kid, Otis finds himself carjacked by a horde of thieves who drive off with his young boy in the back seat. But they just happen to leave behind Coco (Meagan Good), a sexy confederate who helped set up the robbery. Fortunately for O2, Coco is the proverbial prostitute with the heart of gold. The Sunset Strip ho immediately spills the beans and decides to switch allegiances in order to help rescue Junior from the clutches of Meat (The Game), her bloodthirsty boss.
This is easier said than done, because Meat wants $100,000 ransom, and gives Otis only one day to come up with the cash. Rather than report the crime to the LAPD, the pair proceeds to embark on a crime spree of their own, robbing banks and illicit businesses located in the ghetto, behaving like a latter-day Bonnie and Clyde.
This is the preposterous premise of Waist Deep, the most mind-bogglingly bad, blaxploitation flick to arrive in theaters in recent memory. From its excessive use of profanities and the n-word (over 200 by my count), to its sadistic celebration of gratuitous gore (such as the gleeful display of a chopped-off arm) to its Swiss cheese script riddled with an array of utterly illogical plot developments, this picture is not so much a movie as a 90-minute version of a brainless gangsta’ rap movie video. An unapologetic tribute to misogyny, bling, gratuitous violence, and Black-on-Black crime.
Next time, I hope Juilliard-trained, writer/director Vondie Curtis-Hall cracks open his brain and uses it. A big payday is the only explanation I can think of for his foisting such an absurd insult to the intelligence on the unsuspecting public. If this is truly the best he can do, then he better take some filmmaking tips from his talented wife, Kasi Lemmons, director of Eve’s Bayou and the upcoming Talk to Me.
A waste of time.
Rating: R for some sexuality, gruesome violence and pervasive use of profanity and ethnic slurs.
Running time: 97 minutes
Studio: Rogue Pictures
Meagan Makes Good
The Waist Deep Interview
Meagan Monique Good was born on August 8, 1981 in Panorama, California which is where she developed her interest in show business at a very early age. Meagan began doing TV commercials at the age of four, and added acting to her repertoire by 1994, when she made her feature film debut in House Party 3.
But her spellbinding performance as Cicely Batiste in Eve’s Bayou proved to be the breakout role which would really kickstart the talented teenager’s career. From there, the photogenic phenom landed on such popular television series as Touched by an Angel,The Parent ’Hood, Moesha, The Steve Harvey Show, Raising Dad, The Division and My Wife and Kids. And Meagan has met with even more success on the big screen, landing appearances in a wide variety of films which has ranged from Roll Bounce to Venom to D.E.B.S. to The Cookout to You Got Served to 3 Strikes to House Party 4 to Biker Boyz and beyond.
Here, she chats about her latest outing in Waist Deep as Coco, where she co-stars with Tyrese as a 21st Century version of Bonnie and Clyde.
KW: Waist Deep is your first action movie. Was it fun to make?
MG: Yeah, it was fun. But I got hurt.
KW: How?
MG: I got punched in the stomach twice, in the garage scene. And my feet were destroyed, because the heels that I wore had no give. My feet were, like, horrible after the fact, from running up and down the alley in the hot sun. My sweating feet were attaching to the shoes like they were one, and that was not good.
KW: You got punched in the stomach twice? Why didn’t you ask them to use a stuntwoman after the first one connected?
MG: After the first one, it took us a long time to get the second one, because I was really scared that I was going to get punched in the stomach again. So, every time he’d go in for the blow, I’d jump back extra quick. Finally, I said to myself, “Okay, I getta get this right. We did it once, that’s what happened, but I’ve got to relax and get it a second time.” Well, after they shot it again, they checked the gate and said, “We got it.” I was like, “Yeah, you’re damn right, you got it.”
KW: Was making an action movie very different from what you expected?
MG: No, it wasn’t very different from what I had anticipated. I expected to work very hard, to possibly get hurt a little, and to not be exactly comfortable with everything I was asked to do, but to do it.
KW: Which scene from the movie is your favorite?
MG: My favorite scene is when we first separate. Where he takes the car, and has the police follow him, and he has me and his son pull off the opposite way.
KW: When you watched the movie, were you able to get caught up in the story and the action, or were you constantly critiquing yourself?
MG: Well, I’ve only seen it once, so that first time I was just criticizing myself. I haven’t really seen the “movie” movie yet. I have to see it a couple of times first. Then, I’ll start watching for a million different things.
KW: You’ve been in show business basically all your life, and I’m sure you tend to get praised and put up on a pedestal for everything you do. Do you have someone close to you who helps keep you grounded? A friend who can be honest with you even if a performance wasn’t your best?
MG: I don’t think she knows it, but my mom is my harshest critic. If I ask her, “What did you think of that one scene where…” She’s like, “You mean, where you overacted?” And I go, “No, that’s not what I meant, but what scene are you talking about, now that you mentioned it?” She’s very honest with me, and I appreciate that, because a lot of people aren’t.
KW: If you could get a break from showbiz for awhile, what would your ideal vacation be like?
MG: Gee, I’d wanna go somewhere in Hawaii, like to a small island that nobody knows of, and just live there for three months.
KW: Was it awkward watching yourself kiss Tyrese onscreen, since the two of you are long-time friends, sort of like brother and sister in real-life?
MG: No. When I watched it onscreen, I wanted to cover my mom’s eyes, but I don’t mind it so much. I didn’t see us as Meagan and Tyrese, but as Coco and O2. So, I was more concerned with whether my character was always consistent, because if I’ve accomplished that, then I’ve done my job.
KW: I’m sure Tyrese has a lot of young female fans who’d like to know whether he’s a good kisser.
MG: I was in character, so I don’t know.
KW: What would your character say?
MG: She’d definitely say, “Yes.” He’s a sweetheart.
KW: Are you different from your character, Coco?
MG: I had to learn her mentality, which was something completely different from what I know. And I had to learn how she would think and how she goes about things, which was different from how I think and go about things. One isn’t better than the other, but they’re just different. And I really, really had to learn that, in order for me to maneuver her as a character.
KW: Why should women want to see Waist Deep, an action flick with a lot of male appeal?
MG: I think women, first of all, are going to like it because of (co-stars) The Game (aka Jayceon Taylor), Larenz (Tate), and Tyrese. Also, I think they will relate to what my character, Coco, has been through, losing someone that she loves and kind of doing it all by herself. I think a lot of women can comprehend this and relate to her on one level or another. Hopefully, they will love the fact that Coco doesn’t play, but she does what she has to do to get it done. And I really think they should see this movie because everyone enjoys a Bonnie and Clyde flick.
Nacho Libre
No Stars
Jack Black Miscast As Fighting Friar In Misfiring Misadventure
Jack Black has led a checkered career since the Hollywood studios decided the gifted, comic character actor was capable of carrying a picture as a leading man. While he did receive rave reviews as the substitute teacher who inspired his prep school students to “bring the noise” in School of Rock, he has more frequently been dubbed a disappointment due to a string of embarrassing outings which has included Shallow Hal, Orange County and Envy. Some even say that his sophomoric mugging for the camera was a distraction which marred the recent remake of King Kong.
Nacho Libre is another easy-to-digest, easier-to-forget adventure for Black to add to his burgeoning resume’ of vapid vanity vehicles. Here, he’s as nauseatingly obnoxious as ever in the title role as a friar frustrated by a couple of desires which have him questioning his religious calling. By day, he is Padre Ignacio, a dedicated servant of God who toils away tirelessly as the cook at a Mexican monastery which caters to orphans.
But by night, because the Catholic Church frowns on fighting, he must secretly don a mask, cape, and “stretchy pants” to morph into his alter ego, a professional wrestler known only as Nacho Libre. Barrel-chested Nacho along with emaciated Esqueleto (Hector Jimenez), aka The Skeleton, comprise a hapless, unsightly tag team who appear capable of little more than compiling a woeful record as they lose match after match.
Ignacio’s other interest is Sister Encarnacion (Ana de la Reguera), an angel of mercy who has been newly-assigned to the orphanage. This infatuation has the priest pining away for the pretty, young nun’s affections and questioning the wisdom of his vow of celibacy, while he summons up the nerve to seduce her.
Relentlessly irreverent, unrepentantly mean-spirited, and wantonly crude, Nacho Libre never made me chuckle even once. Granted, I’m probably not part of the target audience which appears to be the teens who went gaga over writer/director Jared Hess’ previous picture, Napoleon Dynamite, another homage to a social misfit.
But excuse me for failing to find the humor in this sick, sadistic flick in which an ear of corn is impaled in someone’s eye, excrement is inexplicably smeared on another person’s face, and a bee hive is tossed at an innocent man with nary an explanation for the motivation. Hess’ directorial style apparently amounted to placing Black in front of the camera and having him improvise with a series of cheap props. What ended up on screen is an awful lot of awkward slapstick, forced sight gags, and tiresome feces and fart jokes, all of which fall flat.
What is most remarkable about this morally-bankrupt movie is its utterly undeserved PG rating, which suggests that it’s a kid-friendly film, when nothing could be further from the truth. Besides the obvious impropriety of a priest constantly soliciting a nun for sex, the film’s fairly-graphic violence alone warranted a PG-13. At the screening I attended, a child could be heard crying after the aforementioned eye gouging scene, prompting his mother to escort the disturbed youngster up the aisle and out of the theater immediately.
Any production featuring Jack Black in spandex and showing off his belly full of stretch marks should never have made it off the drawing board in the first place.
Rating: PG for adult themes, graphic, cartoonish violence, gruesome images, crude humor and off-color dialogue.
In English and Spanish sans subtitles.
Running time: 91 minutes
Studio: Paramount Pictures
A/K/A Tommy Chong
PPPP
Drug Comic Turns Drug Convict In Patriot Act Era Documentary
Cheech & Chong were a celebrated comedy duo whose sophomoric brand of humor appealed to stoners because it basically revolved around smoking pot and behaving like they were pointy-headed cretins. They came to fame in the Seventies, appearing in a seemingly neverending series of marijuana movies such as Up in Smoke, Cheech & Chong’s Next Movie, Nice Dreams, Things Are Tough All Over, Still Smokin’, Yellowbeard, Cheech & Chong’s The Corsican Brothers, Get Out of My Room and Far Out Man, till Cheech tired of being typecast as a hippie whose brain had been burnt out by narcotics.
While Cheech reinvented himself as a legitimate actor and found work in a variety of roles, Chong chose to milk the theme that had made the duo famous, at least until that well ran dry. Then, when the public finally tired of his asinine antics, he decided to start selling a line of bongs and other drug paraphernalia over the Internet under the Tommy Chong logo.
The business flourished for a while, until President Bush came into office and decided to make an example of the 66 year-old head shop supplier. Attorney General John Ashcroft set up a sting operation in Pennsylvania, one of only two states where it’s illegal to sell pipes and rolling papers. From there, federal agents called Chong in California over 20 times, trying to entrap him into sending some contraband across state lines.
Because Chong, mindful of the law, repeatedly refused, the frustrated agents finally traveled west to place a mammoth order in person. They picked plenty of stuff from catalogues, none of which was in stock, paying for it all in advance, and promising to return to pick it up. Then, after it arrived, rather than returning, the government began nagging Tommy to mail the goods to an address outside Pittsburgh. After eight months, against his better judgment, he capitulated, since the boxes were taking up half his valuable storage space.
Well, that technical infraction was all that Ashcroft needed, and immediately, helmeted DEA agents with guns drawn swooped down on the house, arresting the entire Chong family. This frightening nightmare ends with Tommy behind bars after pleading guilty only to save his wife and son from a long stint in Federal prison. A/K/A Tommy Chong is a very scary documentary, considering the carte blanche accorded Big Brother by the Patriot Act.
Unrated
Running time: 78 minutes
Studio: Film Forum
Canine In Driver’s Seat
Bow Wow: The Fast And The Furious 3 Interview With Kam Williams
Shad Gregory Moss, aka Bow Wow, made an impressive screen debut, back in 2002, starring in Like Mike. Since then, the young, hip-hop sensation has also appeared in Johnson Family Vacation and Roll Bounce. Though now 19 years old, he’s listed in the Guinness Book of World Records as the “youngest solo rapper to ever hit number one.”
On its way to going double-platinum, his most recent album, Wanted, featured number one hit duet singles with Omarion (“Let Me Hold You”) and with Ciara (“Like You”). Besides acting and music, Bow Wow has developed his own clothing line (Shago) and a variety of other business ventures, which helps explains why, in July, he will be receiving an award from Hollywood Life for being the most exciting crossover artist.
Here, he talks about his latest role, as Twinkie, in the Fast and the Furious 3, a picture shot in Tokyo, which brings to the screen for the first time the phenomenon known as “drifting,” which is a style of modified car racing first popularized in Japan.
KW: What interested you in making this movie?
BW: There hasn’t been a movie about drifting. And especially for The Fast and the Furious and for us to come out and do something big like this, it just opens a whole new wave of racing. I’m sure a lot of people up here in the States probably don’t know about drifting that much. But it’s big over in Japan. So, hopefully, we’ll just open up a lot of people’s eyes, and they can see what this whole drifting thing is all about.
KW: Were you familiar with the phenomenon before you were offered the role?
BW: No, I was one of those guys that didn’t have an idea what drifting was. But I went to Japan and worked with all the stunt drivers and stunt coordinators, who are actually drifting champions, and they taught me and Lucas(co-star Lucas Black) and everybody about this whole world that we didn’t even know existed. So, it’s crazy.
KW: What’s drifting about? It’s not the same as conventional car racing?
BW: Honestly, in my opinion, it’s all about the driver. It’s all about how you maneuver that car and make everything look great. How you make yourself look good, and make that car look good, without any scratches or dents in it.
KW: What do you think of this style of racing now?
BW: It’s just wild, man, the way these drivers can just step in these cars and do what they do best. I mean it amazes me.
KW: Were you tempted to try to do some of your own drifting stuntwork?
BW: Lucas, he loved it. He tried to drift anything and everything on set. Every car he saw, everything. Me? I’m more like, “I’ll watch. I’m a stay back and watch. I’ll watch a couple times then yaw’l can teach me.” I mean, it was crazy, man. It’s definitely an adrenaline rush.
KW: What was it like working with Taiwanese director Justin Lin?
BW: Aw, man, Justin is the best director I ever worked with, and so far, in my career, I’ve done seven movies. The guy’s incredible. He moves at a fast pace, definitely at a pace I like moving at. He doesn’t really like to stay on things too long. He likes to get things done, and just keep it moving.
KW: Is there any truth to the rumor that he beat you in basketball?
BW: No, he talks a lot of smack about basketball. He thinks he can beat me, but Justin can’t beat me. And he knows that. (laughs)
KW: Do you think drifting could catch on in this country after this movie?
BW: I think it definitely will, because there hasn’t been a movie which really represented drifting. This is a big deal. It’s almost like a tribute. I think when people see it, that really get down with this drifting thing, they’ll get a kick out of it. They’re gonna love it.
The Break-Up
PPPP
Jennifer Aniston And Vince Vaughn As Couple In Crisis In Battle-Of-The-Sexes Comedy
Brooke (Jennifer Aniston) and Gary (Vince Vaughn) are a thoroughly mismatched couple. She hails from a fairly well-to-do family and is gainfully employed at a posh art gallery in downtown Chicago where all that is asked of her is to look good and smile. Gary, by contrast, comes from a poor Polish background, and is working feverishly with his brothers (Cole Hauser and Vincent D’Onofrio) with dreams of building their fledgling, sightseeing bus business into an air, sea and land tour empire.
Besides their jobs and backgrounds, Brooke and Gary are also different when it comes to how they’d like to spend their free time. She’d prefer to pursue artsy and upscale endeavors like the opera, ballet and fancy restaurants, while he’s inclined to get drunk with his friends at a bar while playing pool or watching strippers.
One would think that such polar opposites would never meet, let alone fall in love, but that is exactly the scenario we are presented with in The Break-Up, a battle-of-the-sexes, or should I say exes comedy directed by Peyton Reed (Bring It On). At the point of departure, we learn that Brooke and Gary already own an expensive condo together, despite the fact that they’re just dating and that their parents have yet to meet each other.
The plot thickens about ten minutes into the movie, when the miserable pair decides to end the relationship. But because neither is willing to vacate the premises, they both stay and proceed to drive each other crazy. He invites floozies over to get drunk and play strip poker till the wee hours of the morning. She dolls herself up to date rich guys willing to wine and dine her like a lady. You get the idea.
Gary has a vengeance coach in bartender Johnny O (Jon Favreau), while Brooke has a shoulder to cry on in the equally-scheming Maddie (Joey Lauren Adams). To the extent that you are willing to buy this flick’s preposterous premise, you are likely to enjoy all the vindictive behavior which unfolds onscreen.
How these two ever came together in the first place would probably make for a more interesting movie. Still, The Break-Up ranks right up there with the best of the revenge genre, and earns praise from this critic for its sophisticated brand of humor which kept me in stitches from start to finish.
Rating: PG-13 for nudity, sex and expletives.
Running time: 98 minutes
Studio: Universal Pictures
The Heart of the Game
PPP 1/2
Basketball Bio-Pic Chronicles Rise Of Teen Phenom With WNBA Dreams
In 1995, Hoop Dreams was nominated an Academy Award in the Best Documentary category. That fascinating flick followed five years in the promising careers of a couple of 14-year-old, Black basketball phenoms from the slums of Chicago who were recruited to play for an otherwise lily-white high school located in the suburbs.
What made that picture particularly poignant was the sharp contrast between the subjects’ campus and disastrous home lives. For instance, during the film, we see one kid’s father become a crackhead and get carted off to prison. If that movie delivered any message, it was to indict the practice of treating athletes like commodities while questioning the wisdom of allowing even a talented basketball prodigy to put all his eggs in one basket.
The Heart of the Game might best be thought of as a female version of Hoop Dreams, except that it is set in Seattle and focuses primarily on the plight of only one player instead of two. In this case, that talented teenager is Darnellia Russell, a shooting sensation who, with the blessing of her mother, April, opts to attend Roosevelt High instead of Garfield, the inner-city school located in the ‘hood.
Early on, we see Darnellia adjust to her new surroundings (“I’ve never been around so many white people before.”) and to her new coach, Bill Resler, a 54 year-old clairvoyant who readily admits, “She’s my only chance to be famous.” The charismatic Ressler, a tax professor by trade, is relatively new to the sport, having first volunteered for the job the season before. But half drill sergeant, half pop philosopher, he’s obviously up to the task.
Unfortunately, Darnellia develops a complication in her personal life, namely, a pregnancy, which causes her to drop out of school after her junior year. Then, when she’s returns as a senior, the Board of Ed declares her ineligible to play anymore because of her newborn. The snubbed single-mom has to sue to get reinstated and ends up spending more time in the court of law as on the court of basketball.
Her lawyer argues that it’s an unconstitutional double-standard to allow girls who get abortions and baby-fathers to remain in good standing. At this juncture, the question becomes, “Will Darnellia ‘s future blow up in her face, or will justice be served just in time for her to lead her team to the state championship, so she can continue to pursue her dream of playing in the WNBA?”
Here’s a hint. This is a Miramax film, and Miramax is owned by Disney.
Rating: PG-13 for brief profanity.
Running time: 97 minutes
Studio: Miramax Pictures
The Hidden Blade
(Kakushi-ken: oni no tsume)
PP
Samurai Saves Servant In Character-Driven Historical Drama
This costume drama is set in mid-19th Century Japan, at the twilight of the Shogun Era, a time when many time-honored cultural traditions were disappearing in favor of recently-arrived Western influences. This development did not bode well for the samurai who adhered to a strict moral code no longer appreciated by their rapidly-modernizing society. Worse, these warriors’ weapons were even becoming obsolete, given that their swords didn’t stand a chance against guns and cannon.
It is against this backdrop that we meet Munezo Katagari (Masatoshi Nagase), a young samurai from the northern coast. He is in love with Kie (Takako Matsu), his family’s maid, but he dare not approach the peasant girl because she is from a lower class. Eventually, she marries a merchant and moves away and Munezo remains melancholy for the next three years.
Then, when he learns that this object of his affection is in ill health due to her abusive husband, he impulsively ignores the dictates of the confining caste system, and rescues Kie and carries her to his home to recuperate. But just as his domestic situation improves, Munezo finds himself implicated in a plot to overthrow a Shogunate.
To clear his name, however, he is ordered to kill the mastermind of the conspiracy, Yaichiro (Yukiyoshi Ozawa), a close comrade with a wife who wants her hubby’s life spared. And again, our surprisingly-introspective hero finds himself emotionally-gored by the horns of an ethical dilemma. Should he behave in accordance with what is expected of him, out of a sense of duty, or should he throw over the old ways and behave in accordance with his conscience?
Such contradictions abound in this character-driven drama based on the novel by Shuuhei Fujisawa and adapted to the screen by Yoji Yamada. Clocking in at well over two hours, The Hidden Blade is designed with the cerebral cineaste in mind. A martial arts adventure more concerned with motivations than karate moves.
Rating: R for martial arts violence.
In Japanese with subtitles.
Running time: 132 minutes
Studio: Tartan Films
Lower City
(Cidade Baixa)
PPPP
Best Friends Battle For Ho’s Hand In Brazilian Love Triangle
Deco (Lazaro Ramos) and Naldinho (Wagner Moura), best friends since childhood, are petty thieves who scratch out a living hustling contraband up and down the river on their modest motor boat. One Black, one white, their bond is so close that Naldinho was willing to fight, barehanded, the knife-wielding racist who had referred to his pal by the N-word in a bar.
So, it seems that nothing would ever come between the two, at least until the fateful day that the pair crosses paths with Karinna (Alice Braga), a frisky, flirtatious whore in need of a ride to the City of Salvador where she planned to find customers by working at a strip club. A deal is struck when she agrees to pay for her passage with sexual favors. However, both guys fall passionately in love with the pretty prostitute when she turns their contraband runner into a pleasure craft, so to speak.
A tortured love triangle, marked mostly by jealousy and obsession, ensues, undermining Deco and Naldinho’s partnership and trust of each other. Karinna, meanwhile, appears to enjoy the attention of two sensitive men capable of seeing her as more than a quick score. Still, she always appears to be debating whether she might be better off just dumping these two losers for a gringo sugar-daddy she could fleece.
Lower City is as visually-captivating as City of God, another gritty, Brazilian, ghetto-based drama. But this flick is actually a more engaging film, given its alternately steamy and sophisticated storyline, combined with the palpable chemistry generated among its three lead characters.
For Messrs. Ramos and Moura also happen to be best friends in real-life, while Ms. Braga (niece of Sonia Braga) threw herself with abandon into a demanding role which called for her to be naked and in heat nearly non-stop, whether in a bed with a boyfriend or one of her assortedy Johns.
Hot! Hot! Hot!
Rating: R for nudity, profanity, violence, graphic sexuality, and drug use.
In Portuguese with subtitles
Running time: 97 minutes
Studio: Palm Pictures
Changing Times
(Les Temps qui changent)
PPP 1/2
Gerard Depardieu and Catherine Deneuve Co-Star in Bittersweet Second-Chance Romance
Antoine (Gerard Depardieu) is an engineer who has just been transferred from Paris to Tangiers to oversee the construction of a new facility for an Arab TV network. But the only reason he accepted the assignment was because Cecile (Catherine Deneuve), the only woman he has ever really loved, lives in Morocco.
The problem is that more than 30 years have passed since their affair ended, and she is presently married to a handsome and successful doctor (Gilbert Melkhi) with whom she shares a family. But this doesn’t prevent the obsessed Antoine from tracking her down in order to try to seduce her all over again.
First, he starts stalking Cecile and sending her flowers anonymously on a daily basis. Then, when she finally spots him in a supermarket, they reacquaint themselves, and thus begins Antoine’s determined effort to reignite a relationship with his old flame, despite the passage of time and an assortment of seemingly insurmountable obstacles.
For Cecile not only has a hubby, but a job as a radio DJ, plus children with some serious issues of their own. Yet, she does decide to devote a little attention to Antoine, even if only to deconstruct what led her to dump him many moons ago.
This poignant, flashback flick, is worthwhile for the opportunity to see a couple of seasoned pros, its very well-acquainted leads, Oscar-nominees Gerard Depardieu (Cyrano de Bergerac) and Catherine Deneuve (Indochine), opposite each other again, for the seventh time in their careers. In sum, Changing Times is a bittersweet, second-chance romance which ultimately turns on an odd twist right out of Pedro Almodovar. Instead of Talk to Her (2002), think Talk to Him.
Unrated
In French and Arabic with subtitles.
Running time: 98 minutes
Studio: Koch Lorber Films |
