Monday, November 8 2004
'I mean, this guy,' says Master P. 'He used to jump over cars.'"
Like his characters, Robert Aldrich went for broke, taking his audiences on a thrill ride that could be thoughtful and hair-raising at the same time.
Dude, it's Eric Roberts. And he's the better of the two actors. It ain't happening.
The Barbershop movies focus their energies on familial feelings and communal inclinations, and Cedric's wily jokes.
Monday, November 1 2004
Colonel O'Neill's principal interest is neither exploration nor humanitarian support, but the search for novel weapon technologies.
Harsh Realm lacks sci-fi gadgetry, set in shantytowns where people have handguns and old hoopty cars that look like prime candidates for Pimp My Ride.
Kevin Bray sees his Walking Tall as a series of fight sequences, a simplification that leaves it open to interpretation as a barometer of our political climate.
Under these conditions, the film suggests, another Florida is not only likely, but probable.
It's a story of a (nearly lone) lawman standing up against the bad guys, replete with a High Noon type showdown.
Bowling for Columbine's most effective device is Moore's own lack of answers; he sets up argument after argument, only to see each one crumble in the face of evidence and reality.
Plays like the last two minutes of all the worst episodes of Frasier stitched together.
'Actually,' Frank Coraci begins his commentary for Around the World in 80 Days, 'I never wanted to do a director's commentary.'"
Wednesday, October 27 2004
In Season Two, dialogue is no longer inventive and intense, but oddly comic, suggesting that everyone involved in the shoddy space stories, even the badly costumed creatures, are in on the gag.
Even if it sometimes fails to give powerful figures their full due, Broadway: The American Musical offers an outstanding overview of a decidedly American art form.
Perhaps David's decision is heroic, given the circumstances, but the accumulated images of his passivity remind the viewer that better choices.
The violence of their romance is striking, sometimes moving, and always disturbing, even as metaphor.
Like most slasher movie monsters, Jason's a victim as much as a killer, driven to express his rage in the only way he can.
The Fairly Oddparents is damn funny, primarily because creator Butch Hartman speaks in a rapid patter of pop culture references.