Wednesday, May 11 2005
Old Liverpudlians never die; they just keep playing songs from their back catalog until their voice finally gives out.
I Love Lucy was one of the few sitcoms that knew how to manage its guest stars, either in wonderful character bits or as themselves.
All this stuff only emphasizes that the film is a mighty endeavor and the kids trained long and hard.
Tuesday, May 10 2005
You know something's wrong with your film when the most interesting thing in it is a 20-second scene featuring Robert Sean Leonard.
The film is famous and respected for many reasons, not least because of the dramatic storylines it waves together so gracefully.
Thursday, May 5 2005
Egotistical and utterly deluded as to his own popularity, Toad's adventures are by far the series' best, owing much to David Jason's maniacal performance.
Arresting for any number of reasons -- graphic violence, extreme masculinity, harsh language -- Oz also brilliantly inventive with its percussive soundtrack.
Gable here is grown older, alone, and confronting his own irrelevance at the dawn of the '60s.
Apparently, the production suffered from ego problems on set, similar to those bothering the characters.
As Shane Carruth notes, the time travelers are like 'kids in a clubhouse,' poking around because it's fun and vaguely new, which leaves them unprepared for what comes.
Noam Chomsky is also a walking primer on how to be a public intellectual.
While Zhang and Zhang's commentary track emphasizes the sheer effort that went into the film's production -- training, research, special effects work, hours on the set, physical hardships -- it also suggests the good time they shared.
I knew what a Groucho Marx impression was before I knew who Groucho Marx was.
Beaches is the Goliath of those epic '80s melodramas, squashing patience and dignity and tact.
Tuesday, April 26 2005
In the final episode of God, the Devil and Bob, titled 'Bob Gets Involved', Bob (voiced by French Stewart) goes on a rampage against rap music.
Retribution leads to violence, such that the next generation of brothers, Tim and Chris, are tossed into yet another vacuum of fear, guilt, and suspicion.
In Diego Lerman's generous film, going bankrupt is an excuse for spending less time shopping and more time meeting potential friends and lovers.
These moments serve no real purpose other than to let all us know all the kinds of hilarious and odd things that can happen during restaurant rush hour.
For viewers, it's a chance to see works by emerging filmmakers in easily digestible, small chunks.
Ooky ambiguity is one thing. Incoherence is another.