Filmmakers generally don’t aim to create a time capsule when they make a contemporary film, but some turn out that way. A case in point is writer-director Cameron Crowe’s “Singles” (1992), the title of which has three meanings: 1) It explores what it’s like to be a single person in a time when it’s becoming less of a societal stigma, and dating is becoming scarier due to knowledge of STDs; 2) It’s set in an apartment complex of single-occupancy units, a notion that also worked for TV’s “Melrose Place” that year; and 3) It’s about music singles – particularly songs by Seattle bands at a time when hair metal is giving way to grunge, and lyrics are becoming more infused with meaning.
Elizabethtown’s” existence in 2005 ticked me off, since, as a huge “Garden State” fan, I felt it was ripping off that film’s plot of a depressive young man who travels to a small town for his parent’s funeral and is saved by his dream girl. While the plot is indeed the same, Crowe is obviously not ripping off Zach Braff; it’s a coincidence. Still, I wasn’t ready to appreciate “Elizabethtown” then. But I like it quite a lot now that time has passed.
ndsu spectrum: movie review
‘Almost Famous’ makes you feel all warm and fuzzy
By JOHN HANSEN
Oct. 13, 2000
“Almost Famous” is so relentlessly warm and fuzzy that at times I just hoped for a character to slug another character just to create a little conflict. But writer-director Cameron Crowe immerses the viewer so much in his love for the music and feelings of the 1970s that you can’t help but be won over by the film’s big heart.
“Roadies” (10 p.m. Eastern Sundays on Showtime), the new series from Cameron Crowe, feels a little more like “Studio 60 on the Sunset Strip” or “Love Monkey” than it feels like “Almost Famous.” The pilot episode has more bark than bite; however, it’s better than, say, Crowe’s second-rate “Garden State” “Elizabethtown,” and the fact that it’s about the same subject as “Almost Famous” might allow him to recapture a bit of that old magic in upcoming episodes.