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Reviews

Tuesday, May 14 2002

St. Germain: Boulevard: New Version, the Complete Series

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Millencolin: Home From Home

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McBride and The Ride: Amarillo Sky

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Donna the Buffalo: Live from the American Ballroom

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Elvis Costello: When I Was Cruel

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Monday, May 13 2002

You Know Better by Tina McElroy Ansa

Though definitely Southern in tone, 'You Know Better' delves into core problems currently plaguing the African-American community across the country. Never mind that Mulberry is a small-town; the issues addressed are rampant from New York to Chicago to Los Angeles.


Spy’s Fate by Arnaldo Correa

Correa's 'Spy's Fate' is a must for any spy novel enthusiast. Beyond this, the book is an important political statement, and being written in a Cuban voice, it is an amazing one.


Movie Love in the Fifties by James Harvey

Harvey wishes to illustrate how by appealing to and then upsetting the kinds of emotional allegiance audiences give to established cinematic conventions, a more complex and compelling kind of affection emerges, one drawn by oddity and extremity and not the tried and true.


Lucky Man: A Memoir by Michael J. Fox

Fox's book is not just another Hollywood cry for attention hidden in the form of an autobiography. Though he may be known primarily for his work as actor, movies and movie making are not why Fox put pen to paper.


Boulevard by Jim Grimsley

The book transcends the basic coming-out narrative by entering into a near fantasy world in which Newell never has to confront society.


Thursday, May 9 2002

Jonathan Richman: Action Packed: The Best of Jonathan Richman

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Lonesome Bob: Things Change

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Knievel: The Name Rings a Bell That Drowns Out Your Voice

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Jon Spencer Blues Explosion: Plastic Fang

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Denali: self-titled

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Will Downing: Sensual Journey

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The Beards: Funtown

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Unfaithful (2002)

Unfaithful examines the trouble men get into when women behave too passionately.


The New Guy (2002)

What the heck is Jermaine Dupre doing here?"


Girls Can’t Swim (2001)

Each event in the girls' lives is presented with a cool, matter-of-fact openness rarely encountered in contemporary American cinema.


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