Thursday, October 31 2002
It conjures a perverse and giddy grace.
Given that it's a generically family/holiday film, The Santa Clause 2 has nothing new to say about anything.
The film's high-tech artistic fantasies elide completely the historical roots and contemporary realities of global capitalism and terrorism.
The basic opposition between sheepish Alex and suave Kelly sets up a series of trivial conflicts, some less tedious than others.
This crepuscular work offers the most realistic depiction of the infernal workings of a Nazi death camp ever seen in a fiction film.
Julie Taymor's Frida pulses with color.
Why are people scared? This question lies at the heart of Michael Moore's filmic essay on gun violence in the United States.
Wednesday, October 30 2002
It's a lucid look at the fears that plague academics everywhere...Will I lose tenure to an intelligent toaster oven?"
Pogrebin shows a flair for characterization that many seasoned novelists can't match.
Riding the metro is...a journey taken in accompanied solitude, a voyage through space and through a kind of geographically mapped collective unconscious.
. . . offers you escape, and more than that, you'll learn something new, which your Mama always told you to do every day . . .
Tuesday, October 29 2002