Monday, March 7 2005
The Boy Who Wanted to Be a Bear speaks to human ignorance of the animal world.
Sunday, March 6 2005
Friday, March 4 2005
Downfall's preoccupation with a flesh-and-blood Hitler is central to its meditation on fanaticism.
Monday, February 28 2005
The animators here have, with a few exceptions, yet to outgrow a fascination with the satirical possibilities of putting wholesome cartoon characters through their R- and X-rated paces.
Television producer/thriller novelist Stephen J. Cannell is like the Bob Dylan of TV.
The Grid attempts to confront terrorism and Western ignorance of Islamic culture head-on.
CSI Miami celebrates wars on terror, drugs, and crime that disproportionately affect communities of color.
In the late 1990s, Robb Moss decided to document the lives of five people from an early rafting trip, not knowing what form the new story would assume.
Our Town is revered for its simple structure and shorthand summation of the human journey.
As hard as he tries, Albert can't quite keep up with the Jaffes' questions, let alone their answers.
Much like John Moore's Behind Enemy Lines, Phoenix splices together traditional and current action movie clichés and rhythms.
Thursday, February 24 2005
The Shield's moral center perpetually shifts, as the Team members struggle to maintain their sense of balance, caught between the outright villains and their own dishonesty.
Frank's newly troubled family life was the first of many alterations made to the format of Millennium during its second season.
If Sam the Man didn't tackle some difficult relationship questions so perceptively, its horrible lead and crappy lighting would have sunk it.
As survivor Henry Meisel observes in one of the supplemental, extended interviews: 'It's amazing how people can improvise.'"
As the last bill appears -- a three dollar 'bogus' bill featuring George W. Bush's face -- Spike Lee laughs. 'Hopefully, by the time you're seeing this DVD, he'll be out!'"
While the director suggests he wants make an objective film, Nine Good Teeth is undeniably skewed to display Nana in the best possible light.
Having failed to hold onto small-town American values during the late '60s mod explosion, the nuclear family man here flees to the bottom of the sea.
Precisely composed frames of urban and ancient architecture give way to Karen's face, deftly shadowed and shot from low angles, as Karen struggles to decipher the symbols that set her course.
The film's point is to suggest that emotional withdrawal is symptomatic of contemporary Japanese culture.