Monday, August 9 2004
'Being out in the middle of the Arabian desert,' says Mortensen, 'you could easily imagine what it must have been like.'"
Tuesday, August 3 2004
Jennifer Garner embodies a joy that's all too rare on recent movie screens, in adults or kids.
'Johnny's look,' says director David Koepp, 'mostly came from Johnny'.
Strikingly, RoboCop's political insights are as timely today as on its release in 1987.
The Reckoning raises significant questions concerning how news and history are shaped by those with the power to name them.
Claude Chabrol keeps the forces that threaten to tear the family asunder, for the most part, submerged.
Monday, July 26 2004
Kate Mulgrew's Janeway is a true TV original, probably one of the strongest women ever to exist on the small screen.
Much as creator John Eisendrath asserts that sports is 'colorblind,' Playmakers reveals the many ways that race creates bonds and divisions, expectations and loyalties.
Unlike most TV fare, especially cop shows, Homicide concerns itself with details and asides that don't always come together into thematic wholes.
Lorelai is written to challenge as well as entertain, her dialogue filled with pop culture references delivered at top speed.
It's impossible not to do a little genuine soul-searching while watching, How's Your News? because it reframes disability in terms that aren't super-heroic, but ordinarily virtuous.
Speaking in his commentary track, del Toro is keenly passionate about the film, the character, and Hellboy creator Mike Mignola.
The man had a soul, and the contribution of this lonely fact to American art is worth remembering when all the other nonsense is rightfully forgotten.
Monday, July 12 2004
In this world of unbelievable coincidences, Karma battles fate for the destiny of all involved.
Martin Ritt coaxes a performance from Richard Burton that reveals Leamas as a full-fledged existential hero.
'I look older in person than I come across on film,' observes DMX while watching himself in Never Die Alone.
The Manchurian Candidate throws into horrific relief a chaotic sense of U.S. national identity.
In Heartburn, we're not privy to any clues that Mark might be the unfaithful party, even though we know it's a plot device coming down the track like a Metroliner.
'At the beginning, says Bertolucci,' the characters are a bit unshaped, and day after day, you can see them becoming something new, something that didn't exist before.
Anthony Minghella's image of the birds in snow articulates Cold Mountain's aesthetic and themes, its interest in collision and reverie, in nostalgia and resistance.