Thursday, February 24 2005
The film's point is to suggest that emotional withdrawal is symptomatic of contemporary Japanese culture.
At an hour and a half, the film is transporting to look at but only intermittently fun to watch.
Wednesday, February 23 2005
In their first (but hopefully not last) concert DVD, these alt-country stalwarts damn near blow the roof off Hollywood's Troubadour.
Thursday, February 17 2005
And so Louie is suddenly a sensitive guy. It's a typically funny and revealing moment in Taxi's second season.
The DVD offers yet another avenue to the Yes Men's visibility, and, as they hope out loud, inspiration for others to make trouble in their own ways.
Sister Helen was, by the movie's account, an unpleasant person: hard, focused, and motivated by the kind of purposeful regret that verges on self-loathing.
Sonnenfeld keeps all of this under two hours by cutting the movie at a dazzling clip. The film moves like Travolta, quickly and with style.
The problem embodied by Donnie is at once mundane and painfully special, the dilemma of fate vs. free will, laced though with unanswered questions of identity and responsibility.
Dottie Gets Spanked contextualizes and foretells the artfully designed surfaces and off-kilter universes of Haynes' later successes.
Wednesday, February 16 2005
The godfather of art rock once again surpasses expectations with a near-comprehensive compilation that's a feast for the senses.
Monday, February 7 2005
With such an underdeveloped character and so many ridiculous plots, MacGyver's first season reminds us how bizarre '80s TV really was.
By an almost unbearable fluke of timing, the start of Michael Jackson's trial coincides with the start of 2005's Black History Month.
Voyage in Time, a one-hour television film, snatches a fragment of Tarkovsky's working life.
In Michael Haneke's version of the end of the world, things are different.
The film offers up a timeless double standard: a man who has many sexual partners is considered masculine, but a woman with multiple partners is a slut.
The affection Neil Gaiman shows for Marcus indicates that he doesn't hate critics, just what we represent: an ethos of inept misinterpretation aimed at elevating the academic over the visceral.
We feel a dogged incompletion, as if Ray Johnson's career was a massive joke awaiting one final punch line.
David Marconi's screenplay is redeemed by its interest in messing with our minds rather than trotting out the requisite local color and visual shortcuts.
The film's primary appeal is the bizarre turn by Noel Coward as Wilson (one of several 'eccentrics' the film trots out to otherize London even as it pathologizes at least one of the yanks).
Wednesday, February 2 2005
The Kids' steadfastly humanizing instincts go a long way towards rendering their comedy adorably toothless.