Thursday, February 20 2003
Only Clint Eastwood could have cooked up a more dramatic climax to an innocent-man-on-death-row plot, which he did, in True Crime.
By turns daunting and absorbing, the film is about movement that seems hopeless, that takes you nowhere, that's increasingly slowed but also increasingly urgent.
Suleiman proves himself an essential voice in world cinema because his formalism is inextricable from the political moment it documents.
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.
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
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.
It is sparkling, sophisticated and heady -- and more than a little addictive.
An intense extrapolation of the crises that have sullied Zimbabwe over the last three decades.