Monday, December 15 2003
Whatever it 'means,' Eraserhead makes clear that no one since the glory days of pre-color Hollywood understands the dramatic power of monochrome moviemaking better than David Lynch.
Tuesday, December 9 2003
In 1952, Victory at Sea not only sold new televisions, but a new conflict as well.
Some of the images presented here are so astonishing and exquisite that one can hardly believe that they came from unaltered wild animal footage.
Akira Kurosawa, the man who made Yojimbo and Ran, casts a long shadow -- sometimes even over the stories he tells.
It's tempting to imagine what extras might have been like for a Gigli DVD, given that the film received what had to be the most vehement critical drubbing of any released this past year.
It's ability to inspire terror is indicative of its creators' amazing craftsmanship.
Draws much of its visual and dramatic effectiveness from Preminger's intelligent use of the screen process of the 1950s, Cinemascope.
In almost every way, Bad Boys II is larger, louder, and longer than the original. It is also more of the same.
Monday, December 8 2003
Thursday, December 4 2003
With a Grammy, dozens of connections to other media, the best-selling album on the Internet, legions of fans, and a 20-year music career, it's hard to think of TMBG as anything other than gigantic.
Monday, December 1 2003
Watch an episode of The Honeymooners and you will understand why the 1950s is remembered as the 'Golden Age of Television.'
At once all powerful and utterly powerless, this involuntary terrorist is the first mutant you meet in X2.
The real peril, though -- the one preceding all the others -- is that if you let it, the city can steal your thoughts.
Most everything in The Mondo Cane Collection is unconventional, from subject matter to editing and direction.
Hollywood did not allow Holliday to display the full range of her talent and intelligence; most of her roles were variants of the 'dumb blonde'.
Memory fuses with fiction and history, and both are subordinated to Chiyoko's overwhelming drive to fulfill a girlhood desire.
It was one of Melville's most commercially successful features, which comes as little surprise considering the pedigree of its stars.
Its strengths lie not in this improbable plot, but in Hartley's challenges to conventions.
Trapped by time, engaged in meaningless caucuses until they're utterly spent, the adults here are really just interested in beheading each other.