Monday, June 9 2003
'Can you imagine Drew and Cameron and Lucy fighting in this capacity? It would be so sexy! It would be so exciting!'.
Allows us to have our pleasure both ways.
Harry Dean Stanton uncovers the pain beneath the punchlines.
Monday, June 2 2003
On occasion, The Jeffersons made some attempt to offer social commentary, but it was difficult for a show so laden with crude humor to suddenly get serious.
The Paper literally stumbles into her battles, often times armed with little more than a postcard.
Endeavors to complicate the standard black-white buddy dynamic.
Passion drives Lars von Trier's Medea.
Thursday, May 29 2003
The Band were a group that turned a musical corner for everyone, influencing a generation of musicians in the process.
Wednesday, May 28 2003
Max was like, queen of the one-liners; what you wish you could think of, she would say.
The fusion of the real and the imaginary is at the center of Fellini's first and one of his most underrated films, The White Sheik.
Walking away from violence, especially in a film set in the violent old West, delivers a powerful message.
The best tales about growing up incorporate the anxieties of childhood.
Seems to be another way that the band is thanking its fans.
'I wasn't concerned with whether or not the audience liked Antwone at first.'"
Careens between fiction and confession, repetition and revelation.
Monday, May 12 2003
Dawson Leery is not what you'd call a headlong rusher.
In Haight-Ashbury, Jenny's only clue to her lost brother's whereabouts is a postcard that reads, 'God is alive and well in a sugar cube.'"
The trouble that accompanies them is not of their own making -- it's a function of being young, black, 'in the wrong place' by definition.
Oddly, the film's attack on bourgeois morality is itself a form of bourgeois morality.
It is, quite simply, the Hollywood Western in full flower, with all the nostalgia and sins of commission and omission that that implies.