Tuesday, February 1 2005
Two tribute concerts to jazz innovators John Coltrane and Bill Evans respectively, available for the first time on one DVD, is at times both brilliant and highly puzzling.
Wednesday, January 26 2005
As long as Baby Boomers still roam the earth, M*A*S*H will probably always be showing somewhere on cable.
Their advice -- dished out to each other or the seemingly endless numbers of relatives and friends -- reveals dignity and shrewdness.
Crippled by their past and unable to function in the present, these characters represent what David Hare calls 'the part-emotional landscape that is England.'"
Kevin Conran seems pleased to admit that he has never stepped foot inside Radio City Music Hall.
Paul W.S. Anderson says, 'For me, there is in modern times, a definite fear of loss of identity. And that's what the undead represent. They are the mass, there's no differentiation between them.'"
According to director Stephen Hopkins, 'Los Angeles, with all its glare and dust, felt like a Western town to us, sort of a mining town that had been shoved up really quickly.'"
'This shot here... is like a window opening up onto this kid's world,' says Jacob Aaron Estes.
Late Night Shopping makes no promises, because, you know, the open ending is much more honest in this age of cinema. And so what?"
As legendary songwriter Porter, Kevin Kline's deft, unshowy performance contributes to the film's charm.
The monsters are functions of the franchise, but also vaguely resistant, less transparent than they seem.
Monday, January 17 2005
It's intellectual vanilla pudding; pleasant enough while it's going down but nothing you'd ever crave.
This So-Called Disaster is more impressionistic than comprehensive.
Following the law of diminishing returns, the straight-to-video Species III is the least effective entry in the trilogy.
Bo stalks the paparazzi with an obsessiveness that trumps their stalking of him -- but it's okay, because he's defending his family.
The Girl From Paris details the ways that farming is lonely and difficult.
This is the film's premise, that Sam's existence is simultaneously ideal and outrageous, typical and desirable.
According to screenwriter Frank Cottrell Boyce, 'The 20th century was the Freud century, and the 21st century's going to be the genetics century.'"
The camera is as restless and as relentless as its object, Phoolan Devi.