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Reviews

Sunday, January 1 1995

Proof of Life (2000)

Alice is quite visibly 'alone,' differentiated by her race and class from the folks who populate the streets, marketplaces, and televised protests against the oil company. And indeed, Alice's bond with Terry begins with the fact that he's Anglo, and she feels she can 'trust' him.


Pay It Forward (2000)

Such heavy-handed plot designing and telegraphing makes the film more tedious than rousing.


Pokemon The Movie 2000 (2000)

Pokemon The Movie 2000, however, shares no similar instruction; instead, it promotes gender inequality and contradictory ethical lessons. In the end, P2K spurs children to consume more product, in order to perpetuate the Pokemon global dominion.


The Patriot (2000)

There are a lot of old glories waving in The Patriot. Tattered and soiled, they wave across battlefields and plantation lawns, held high by good


The Patriot (2000)

Okay, so it’s not Braveheart II. In fact, The Patriot is more spectacular, both visually and emotionally, than Mel Gibson’s 1995 Scottish epic. This


The Princess Diaries (2001)

[In 'The Princess Diaries'], among the many habits Mia must change is her too-teenish tendency to bob her head along with music on the radio ('You're not a doggie on a dashboard!' cries her alarmed grandma).


Pitch Black (2000)

The scene is grim and very familiar: a hulk of a space ship crawls through the starry darkness, then runs into unexpected trouble, such that its crew is awakened from travel-slumber ahead of schedule.


Piñero (2001)

The first scene in Leon Ichaso's biographical film, 'Piñero', sets up a complex series of relationships between the artist and his demons -- or more pointedly, between the artist and the various audiences he sought to influence and astonish.


Planet of the Apes (2001)

As Tim Burton's new version of 'Planet of the Apes' demonstrates in many ways, some subtle, some not so, the recycling of cultural milestones is not simply a marketing device, but a way to rejuvenate cultural mythology, be it science fiction or religious fable.


Proof of Life (2000)

The camera pans across the protest scene focusing briefly on a placard in Spanish but conveniently translated to English in subtitle: 'Shoot the Imperialist Bastards.' This sudden interjection is startling, set against a backdrop of relative fluff.


The Proposition (2005)

Signaling death and dryness, the flies also mark transitions from one location to another: everywhere, it seems, someone is dead or dying.


Planet of the Apes (2001)

Tim Burton should never have been given this assignment. There are no humans in his films, which can impress, but never move us.


The Puffy Chair (2006)

The road trip then becomes an occasion for an extended game of relationship chicken: is Josh going to grow up and commit or is Emily going to accept him and stop criticizing?"


Pearl Harbor (2001)

Pearl Harbor's endorsement of military ideals and barely submerged nostalgia for the war's anti-Japanese racism only abates for a half hour of stunningly rendered shoot-em-up as the Japanese attack on Pearl Harbor and its surrounding airfields takes place.


Pitch Black (2000)

The spirit of world class schlock-horror promoter William Castle was in the theater recently, during a preview screening of Pitch Black, as flashlights were given to a number of audience members.


Panic (2000)

Panic, written and directed by Henry Bromell, is the latest in a recent series of films about middle-aged white men in the throes of mid-life


Pollock (2000)

Where the story of Pollock's life gets, at least to me, most interesting, and where the film 'Pollock' becomes most engaging, is in the connected story of the artist's wife, Lee Krasner.


Le Placard (The Closet) (2000)

What happens when you find yourself watching an ostensibly 'gay movie' in which only one gay character appears, and in a secondary role?"


Price of Glory (2000)

Price of Glory opens with a boxing match in Phoenix, Arizona, 1977. While the mostly Mexican/Latino ringside crowd yells and hoots, a young man takes a terrible beating. His trainer urges him on, his face is bruised and panicked, and the scene lurches into that boxing film cliche, the eight-frames-per-second knock-out punch: his jaw contorts, his blood flies, and he hits the floor.


Paragraph 175 (2000)

There is no doubt that future generations will benefit from Epstein and Friedman's efforts to preserve on film, in one survivor's words, 'uncomfortable memories' that history has almost completely erased.


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