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Thursday, February 20 2003

Divine Intervention (2001)

Suleiman proves himself an essential voice in world cinema because his formalism is inextricable from the political moment it documents.


Daredevil (2003)

It's unlikely that this gloominess accounts for Daredevil's big success. There are any number of plausible explanations -- the 'Sexiest Man Alive' and his J. Lo glow, the promotional blitz, the Marvel machine. No matter. Bring the pain.


Dark Blue (2003)

This is a scary city, where scary figures hang out on scary corners and slouch with scary insouciance. No wonder the cops are tense.


Wednesday, February 19 2003

Unknown Quantity by Paul Virilio

A work of mourning -- mourning for a humanity, an earth which has lost control through globalisation, through the irresponsibility of power-crazy politicians and businessmen.


She’s Not There by Mary-Anne Tirone Smith

It is sparkling, sophisticated and heady -- and more than a little addictive.


Our Votes, Our Guns: Robert Mugabe and the Tragedy of Zimbabwe by Martin Meredith

An intense extrapolation of the crises that have sullied Zimbabwe over the last three decades.


Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones by Stephen Davis

Deserves a spot on every bookshelf (Stones fan, or no Stones fan). And to the gentlemen of the Rolling Stones we have this to say: Thanks, and for our sake, please keep rockin'.


The Fall by Simon Mawer

Has little to do with mountain climbing and a lot to do with the general situation of humankind.


Tuesday, February 18 2003

Paul van Dyk: Global

The kind of techno music called trance, in the hands of Paul Oakenfold and other similar artists, is incredibly unpopular right now with a lot


The Violents: Rebecca’s Morning Voice

Anni Poppen, Aimee Rickman, and Sally Mundy of the Violents know you don’t need to trash a mall or wear a snarl to be


Sigur Rós: (  )

Rarely has the controversial (to reviewers and critics, at least) and variously-attributed adage—“writing about music is like dancing about architecture”—seemed more appropriate than


Lou Reed: The Raven

“The angels haggard and wanUnveiling and uprising affirmThat the play is the tragedy ‘Man’And its hero the Conqueror Worm.” > As I write this review,


Tom McRae: Just like Blood

Northern poet Simon Armitage’s “Say Say Say” is addressed “to those in the dark, at the back”. Tom McRae evidently views himself as one


El Guapo: Super/System

There’s a buzz fuzzing throughout El Guapo’s debut release on Dischord Records. Equal parts klezmer jazz, experimental dance-rock, fractured synth-pop, and cocktail noir,


The John Entwistle Band: Left For Live Deluxe - The Complete Live Performance

In the days following the tragic and untimely passing of the Who’s John Entwistle, classic rock radio stations aired numerous tributes to the legendary


The Donnas: Spend the Night

They’re cool, they’re photogenic, they get a ton of video air time, and their single “Take It Off” is immensely catchy. They are


Jesse Davis: The Setup

Whatever happened to the archetype of the “cool” jazz musician? Y’know, the black-tie-and-sunglasses-clad hepcat who could charm your date away from you in the


The Dons: Dawn of The Dons

Don Mogill has a rare natural ability to craft finely melodic guitar-driven pop songs with sweet harmonies that are easy on the ears. These songs


Capital City: Am I Invisible

In music writing we give a lot of credence to the idea that a geographic area can be identified with a particular musical style. The


The Bees (aka A Band of Bees): Sunshine Hit Me

When one thinks of pop music infused with jazz, dub, funk, and South American rhythms, a shed on a tiny island on the south coast


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