Sunday, July 11 2004
Tuesday, July 6 2004
CSI Miami presents cases so clinically that it can introduce issues as scandalous as anything on reality TV without appearing exploitative.
'Hip-hop to me,' says Dr. Dre, 'is a way out.'"
Omar Sharif observes, 'It's very difficult for me to find parts at my age, because I have this very peculiar accent which is neither French nor English nor Italian. I'm sort of a foreigner.'
The Lost Skeleton of Cadavra constitutes another attempt, lovingly based on bad, low-budget movies, borrowing from and referencing classics.
Indie fanatics will appreciate this behind-the-scenes look at the independent film business set against the backdrop of the Sundance Film Festival.
Monday, June 28 2004
Originally airing from April until December of 2000, the episodes take frequent aim at U.S. culture and politics.
Originally released in 1960, The World of Suzie Wong still elicits both fond remembrance and complete revulsion.
Dwight Yoakam needs our support, and that's the only reason to watch 3-Way.
As Kyle's nightmare indicates, The Perfect Score includes a rudimentary political critique of the U.S. educational and testing system.
Eddie (Cedric the Entertainer) comes to understand a new place for himself, and, no small thing, frames an acutely political history by his own story.
Tuesday, June 22 2004
The contradictory premise of Who's the Boss? does what it's supposed to do: it sets the scene for cheesy sitcom tomfoolery.
More maternal than Amazonian, Captain Janeway serves simultaneously as the crew's protector and counselor.
By way of explaining the significance of their task, Betty asserts, 'Hundreds and thousands of people die every day. Bodies are easy -- dig a ditch, light a match -- but what about the souls? Who takes care of them?'
Monday, June 14 2004
Gaining resonance with today's 'war on terror,' The Weather Underground, recalls another unsettled social scene, during another unsettled period.
Joe Simpson says, 'I'd forgotten how difficult it was. I've told the story so many times, it's just become a fiction.'"
Hearing Tupac Amaru Shakur talk about himself in the past tense is unnerving at first. Not only was he profound and perceptive in his early 20s, he was prescient too.
This technological nightmare fuses free-market corporatism gone amuck with the regimentation and loss of individuality that characterized the Soviet empire.
The casting of Duane Jones provides the film with a racial subtext, overtly linked to the social and political turmoil of late 1960s U.S.