Thursday, March 31 2005
One of the most attractive aspects of Kiyoshi Kurosawa's style is his implicit trust in his audience's intelligence.
With the occasional exception of Shaquille O'Neal, the players here act like athletes, which is to say, badly.
Wednesday, March 30 2005
Soundz of Spirit is a documentary (and accompanying CD soundtrack) that explores the 'creative process' and 'spirituality' in hip-hop. First-time filmmaker Joslyn Rose Lyons pieces together dope beats, ill rhymes, sick moves, and some deep thoughts. However, is the God in one enough to move the God in another?"
Wednesday, March 23 2005
Mesmerizingly played by Daniel Benzali, Ted respects the law but understands that the courthouse is just one of its venues.
Embracing NASCAR, stunt driving, and short shorts, the series had such a good time being ridiculous that it was often fun to tag along.
As much as he ostensibly seems to be in denial about it, Saint-Laurent did bring a new level of aesthetic consciousness to segments of the consumer market where it hadn't before been.
Strangers When We Meet is a melodramatic tale of extramarital unhappiness amongst fast-track suburbanites.
It occasionally echoes the softer version of Casablanca, another film whose fatalistic interpretation of love is set among war-torn circumstances.
Waldo is so deliciously dark and mean-spirited, so loquaciously intolerant of those he deems beneath him, that he's delightful.
The film twists viewers in three directions before they have time to come down from the first.
The Special Edition is loaded with so much self-referential material and 'oh so clever' concepts that they threaten to make the movie into its own cult object.
Lacking the bias that makes Michael Moore's movies so popular, the Raymonds' film is more satisfying.
The dancing might be dated, but the film is not.
'Play' is a means to define childhood, to prolong mythic innocence, to grant nobility.
Jude Law's performance is wholly charming and energetic.
Monday, March 7 2005
SCTV: Volume 3 finds the show in the midst of its gonzo stride.
We learn that racial discrimination drove Robeson into his performance career, which he thought of as a form of resistance.
Veteran actor Simon Callow gives life to Ackroyd's demanding script, which weaves historical and personal anecdotes in and out of dramatizations from Dickens' oeuvre.
Mike and Scott live a strangely lyrical credence. Simultaneously inviting and resisting interpretation, they move on.
As he watches his firefighters guys bond and scuffle, director Jay Russell explains that he began the project with some qualms because of 'all the emotion involved with 9/11.'"