Monday, June 30 2003
'One of the things about the Presidency is that you're somewhat apart.'
As one fan observes, 'Charlie's Angels' represented an 'escape from traditional feminine constraints, at least as far as '70s television was capable.'
It's easy to deride the Farrellys' work, to dismiss their brand of humor or their dogged efforts to be 'politically incorrect.' Still, they serve more substantive functions than dosing 12-year-old boys with chickens-up-the-butt jokes.
As Parker Posey dances around the library to a club beat, Daisy von herler Mayer's songless musical is briefly in full bloom.
'One is always struck when in Jamaica, [by] the absolute beauty of the island in contrast with the poverty.'"
Phillip Seymour Hoffman defies the shallow gravity of Hollywood logic.
Wakabayashi's Kai Doh Maru is defined more by what it could have been than what it is, a potentiality.
Sunday, June 29 2003
Monday, June 23 2003
Like Claudette Colbert and Clark Gable in 'It Happened One Night', Sam and Diane's sexual tension is channeled through their verbal sparring.
Romero's films often feature a family that is fragile, a prime target for destructive forces.
Taken together, Blue, White, and Red are a visionary swan song for one of European cinema's most poetic moralists.
Deftly rearranges any number of generic conventions, from romantic comedies, musicals, and melodramas with happy endings that can't make sense but seem inevitable and necessary.
Both Henry and Nick are addicted, in different ways, to the job, the adrenalin it churns up.
For Romero, the monsters of our imagination always coexist with the products on the shelves at the Five & Dime.
The film's about the human impetus toward contradiction, about our need to exercise those contradictions, to live them.
Sunday, June 22 2003
Tuesday, June 17 2003
When the regular police force are in trouble, they call S.W.A.T.
You've got righteous heroes, nasty villains, police being called 'pigs' or 'the fuzz.'
That is, the season that many fans have called out as disjointed and erratic, maddening and disappointing. To a point, the complaint is justified, as Joss Whedon and company tend to concede. But only to a point.
Director Stuart Baird seems to be chasing the glory of Wrath of Khan, but those parallels leave the newer film feeling sort of like a cover band.