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Reviews

Sunday, January 1 1995

Apocalypse Now Redux (2001)

'Apocalypse Now Redux', ultimately, allows us to celebrate a film that has become indelibly ingrained into American popular consciousness while, at the same time, forcing us to question the violence and inhumanity that characterize the troubling past of this same culture.


Angel Eyes (2001)

PULL.


Atlantis: The Lost Empire (2001)

There are no songs in the latest Disney animated feature, 'Atlantis: The Lost Empire', but there are lots of explosions.


American Pie 2 (2001)

PULL.


Aimée and Jaguar (1999)

Aimée and Jaguar shows honest emotion between two women who are focused on survival, desperate for happiness in a time of grave repression, and genuinely in love.


Anna and the King (1999)

The story of Anna Leonowens and King Mongkut of Siam has gone through multiple mutations in 150-plus years. First, there were the diaries of Indian-born British citizen Leonowens (known to be creative, to say the least, about many aspects of her life and story, even her name), recounting her experiences as teacher to the royal children of the King of Siam in the mid-19th century.


All About My Mother (1999)

Pedro Almodovar’s All About My Mother adds credence to the argument that melodrama is to the postmodern what tragedy was to the ancient Greeks:


The Affair of the Necklace (2001)

It really sucks to be poor and of no social consequence, especially once you have had a taste of nobility and luxury.


Alice and Martin (1998)

Whatever's on Juliette Binoche's mind, gazing at that face can definitely get you thinking.


Angel Eyes (2001)

Playing a social outcast capable of helping others but incapable of helping herself, Jennifer Lopez still comes off as too much of a star she is, and not enough of the lonely beat cop she's supposed to be.


Autumn in New York (2000)

Everyone in the film can see that pairing a 48-year-old womanizer with a 22-year-old girl dying from a sketchy illness 'of the heart' is lame, not to mention derivative, unpleasant, and pathetic.


The Art of War (2000)

For a man who has no identity, Shaw (Wesley Snipes) sure has plenty of attitude.


Another Day in Paradise (1998)

Larry Clark’s Another Day in Paradise is — no surprise — brazen about its interest in young bodies. Whether the filmmaker himself is into them or


Antitrust (2000)

There’s something suspicious about a movie that might uses slogans as dialogue. This one lays out its competing democratic and capitalistic ideals by such


Almost Famous (2000)

Maybe in the deceptive world of fame (or almost-fame), this is the best version of intimacy available, although it's easier to attribute it to the characters' superficiality, and maybe a certain starry-eyed idealism on Cameron Crowe's part.


Agnes Browne (2000)

Back in 1990, some years after Prizzi's Honor won Anjelica Huston all kinds of accolades and publicity, I saw her for a minute, in person. I was standing on line at an American Express office in Cannes, during the Film Festival for which she was serving as an official jury member"


Atlantis: The Lost Empire (2001)

There are no songs in the latest Disney animated feature, 'Atlantis: The Lost Empire', but there are lots of explosions.


American Movie (1999)

American Movie avoids the dishonesty and self-importance of most traditional documentaries by selecting a subject so genuine, specific, and original - and so flawed - that no matter what segment of the whole we're seeing, it seems very real and very very human.


Across 110th Street (1972/2001)

What distinguishes Across 110th Street's bloodletting from that in other Hollywood films of the time is its unsparing inescapability and its matter-of-factness -- these qualities give the work its moral charge.


Any Given Sunday (1999)

Oliver Stone's movies usually seem more complicated than they are. Partly this comes from his evolving style, from the curiously romantic realism of Platoon, to the assaultive ding-battiness of Natural Born Killers, to the debased lunacy of U-Turn. But mostly it comes from his obsession with a single theme: brutality. Or more precisely, how brutality becomes morality.


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