Reviews

Sunday, January 1 1995

The Idiots (1998)

The Idiots is Danish filmmaker Lars von Trier’s 1998 exploration of normality as a social system, the constraints it places on individuals to behave in


I Am Sam (2001)

'I Am Sam' will not let these characters be: they must run the gamut of movie-of-the-week emotions... A to B.


Innocence (1999)

'Innocence' offers a brave take on love, fidelity, and sexuality that often flies in the face of traditional, age-defined preconceptions of all.


The Insider (1999)

Michael Mann's film The Insider is about blowing the lid of conspiracy off the tobacco industry. Although the film is ostensibly about one corporate produced addictive narcotic, that is nicotine, it is really about two, the other one being capital.


Italian for Beginners (2001)

Where 'Italian for Beginners' differs from other Dogme 95 fare is that its end isn't totally catastrophic. This isn't to say it has a happy ending, just that it doesn't end with the usual emotional wasteland littered by human wreckage.


Iris (2001)

PULL.


I Dreamed of Africa (2000)

Don’t Europeans ever get tired of swooping down to Africa to exploit its peoples and natural resources? Apparently not. I Dreamed of Africa is


The In-Crowd (2000)

The In Crowd's script, by Mark Gibson and Phil Halprin, is extremely predictable (to the point that Warners' request that reviewers not give away the 'film's ending' is a joke in itself).


I’m the One That I Want (2000)

In the film's most heart-wrenching moment, Cho describes how she lost all sense of her own identity in being so transformed into a commodity for public consumption.


In the Bedroom (2001)

The movie does not back down from the pain or rage it sets up.


The Hurricane (1999)

Hurricane. One word, one name, one man. One man whom I - and probably most of my generation - had never heard prior to seeing The Hurricane. His name is remembered, however, by members of his generation, most notably, celebrities.


Hedwig and the Angry Inch (2001)

...reminds us that rock per se has a long history of celebrating alienation and ambiguity.


Hannibal (2001)

As his immense popularity suggests, there is something about Lecter that appeals to 'us', there appears to be some level on which 'we' all wish we could be a little more like him, which is precisely what the filmmakers are banking on. And this is, in the end, the scariest thing about 'Hannibal' -- its perverse worship of the cannibalistic Doctor.


Hedwig and the Angry Inch (2001)

Hedwig and the Angry Inch's insight into the fluidity of gender is made all the more powerful by Hedwig's own attempts to puzzle through these conundrums. The film doesn't moralize, or try to give set answers.


The House of Mirth (2000)

Lily's detractors can use her slightest slip-ups -- for instance, smoking a cigarette or gambling at cards -- as weapons against her -- in her set, women's smoking is considered improper and even a sign of promiscuity.


Hardball (2001)

The fact that Hardball's Conor is white means nothing, of course, except that he's one in a long line of white characters who become 'better people' because they meet adorable, courageous, noble, and/or doomed minority characters.


Haxan: Witchcraft Through The Ages (1922/2001) - PopMatters Film Review )

Haxan is a documentary grounded in extensive research about the history of witches in Western culture.


Here on Earth (2000)

Kelley Morse (Chris Klein) is a familiar movie character, a prep school boy who has too much money and not enough attention from his father.


Himalaya (2001)

The Himalayas themselves are the majestic 'stars' of this film.


Head Over Heels (2001)

Beware films packing the one-two punch of Freddie Prinze, Jr. as romantic lead and supermodels as objects of toilet humor.


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