Thursday, April 14 2005
Death, or that state 'beyond natural color', is Short Cuts' common denominator.
It is your basic road movie, tracking three teenage girls who fake being kidnapped, steal a car, and skip town.
Prisoner of Paradise is a fitting rebuke to Life is Beautiful. Entertainment is a diversion, not a survival strategy.
It is cinematic cotton candy, dissolving the moment it hits the tongue.
For Chris Doyle, the 'great challenge' is shooting any emotion, 'taking ideas and turning them into images'.
Based on three Snicket books, the film mostly takes the kids' perspective, and so delights in the gooey and the ooky.
Ambitiously humanitarian, the film uses Paul's plot to allude to the broader tragedy.
Pedro Almodóvar's commentary is as seductive as his filmmaking.
Wednesday, April 13 2005
He's doing what he wants to do, and if that appeals to both 20-year-olds and 80-year-olds, well, so be it.
A glimpse into Nanci Griffith's early days of promise as she stepped into the limelight with a live recording.
Thursday, April 7 2005
We don't know their past, we don't know the extent of their connection, but we're in love with these characters.
We are more eager to see how Ellen is going to muck it up than to believe she's looking for a partner.
Coccio's movie looks both chillingly insightful and despairingly naïve.
Whispering Corridors' ghost story comments on the harsh South Korean education system.
Twentieth Century reveals the self-consciousness of theater, its falseness and its glory.
Amid the road-tripping and the boy bonding, it is Maya who resonates at last.
Téa Leoni sees the script as an example of Brooks' ability to 'pierce human truth and make it ooze for you'.
Even as she might look toward a future, however, Elektra is all about the past.
The film argues that today, corporations are the planet's dominant institution, such that their welfare, as individuals, takes precedence over all else.
This leads to titillation, judgment, desire, and commerce all around. How Howard Stern.