Monday, July 25 2005
Selling poison to the denizens of a small Slavic village, she's a one-woman Murder, Incorporated.
Friday, July 22 2005
It's billed as 'a documentary about stuff', but it's really about self-identity and interpersonal relationships, and how our personal belongings serve as extensions of our selves.
Thursday, July 21 2005
Bill and Ted have barely a brain between them and speak in brilliantly realized Surferese: they're that guy you know who still snickers at the double entendres in Van Halen album titles.
Wednesday, July 20 2005
This near obsessive concern for Emily's well-being also limits Evie's experience, even her desire for experience.
Tuesday, July 19 2005
It's porn of a particular sort, less arousing than hideous, but improbably, grimly titillating all the same.
Corny as it must be, Ice Princess is substantially bolstered by Trachtenberg's appealing mix of eagerness and grace.
Monday, July 18 2005
The John Travolta movie starts off on the wrong foot and proceeds downwards.
Friday, July 15 2005
Unfortunately, Sam Kinison: Outlaws of Comedy is the worst version of this wounded genius that ever existed.
Tuesday, July 12 2005
Francis Ford Coppola's focus on his family, in the film and his memory, could not be more poignant or more public.
Maybe it's asking too much for a lighthearted comedy to raise any significant questions. But it can't be asking too much to expect the film to make sense.
Monday, July 11 2005
Watching this 1983 tearjerker anew is a jarring, surprising experience.
'Maybe this whole war thing wasn't even true,' says Spc. Wilf. 'Maybe it's all burned into my mind now.'"
Friday, July 8 2005
The trailer for Gone is a particularly unpretentious distillation of the film's key elements.
Thursday, July 7 2005
Starting Over captures the sting of loving someone despite knowing he is going to break your heart.
Within minutes of its start, Mike Newell's The Good Father has thus established Bill's rage.
Wednesday, July 6 2005
Sling Blade is a piece of true Southern Gothic in the vein of Flannery O'Connor, Harry Crews, and (yes, I'll say it) William Faulkner.
Melanie Lynskey, despite being underused in the film, says more with a couple of gestures and expressions than anyone else does with dialogue.
Tuesday, July 5 2005
Jeannie Epper actually stands for longevity, not retirement, the example that Bell might follow once all the bright lights disappear.
Lalita is daring independent whose education involves coming to terms with both her constraining heritage and her desire to fit in.
Friday, July 1 2005
Prime Cut is like a giant absurdist painting.