Thursday, April 7 2005
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.
Wednesday, April 6 2005
A snapshot of Washington, DC's music scene on a particular day in 2004. Ted Leo, Ian MacKaye, Bob Mould and others give intimate performances in an empty house soon to be burnt to the ground.
If you can ignore Yes's somewhat ridiculous stage habits, and the confetti, you'll find that this semi-recent live DVD shows that progressive rock, at its best, can atone for its sins.
Smile wide for the camera, Mr. MacGowan, and let the people see your pretty... oh, sweet merciful heavens...
Monday, April 4 2005
On the DVD, the actors gamely compete with self- mocking descriptions of themselves and each other.
Thursday, March 31 2005
The Question of God presumes the answer to its titular 'question' to be yes.
Love the mullet or he'll kick your ass.
America's Next Top Model is intriguing, appealing, and grotesque, much like the fashion world itself.
The documentary reveals the profound relationship between the play and the cause.
Reds, blues, and purples slide along director Ji-woon Kim's canvas and it's impossible to look away, even when it's scary.
Over five hours, such ostensible fealty to the sprawling rhythms of daily life makes for a rigorous and occasionally maddening viewing experience.
Eroica presents a picture of a bifurcated country, ostensibly cowed, but still seething with recrimination and indignation.
In 2002, Seka is a nice sharp pin ready to pop the balloon of ballyhoo surrounding her mythology.
Visceral and at times brutal, it's a livid illustration of the effects of monotony and oppression on the spirit.
One of the most attractive aspects of Kiyoshi Kurosawa's style is his implicit trust in his audience's intelligence.
With the occasional exception of Shaquille O'Neal, the players here act like athletes, which is to say, badly.