Thursday, April 7 2005
The film argues that today, corporations are the planet's dominant institution, such that their welfare, as individuals, takes precedence over all else.
This leads to titillation, judgment, desire, and commerce all around. How Howard Stern.
Monday, April 4 2005
On the DVD, the actors gamely compete with self- mocking descriptions of themselves and each other.
Thursday, March 31 2005
The documentary reveals the profound relationship between the play and the cause.
Reds, blues, and purples slide along director Ji-woon Kim's canvas and it's impossible to look away, even when it's scary.
Over five hours, such ostensible fealty to the sprawling rhythms of daily life makes for a rigorous and occasionally maddening viewing experience.
Eroica presents a picture of a bifurcated country, ostensibly cowed, but still seething with recrimination and indignation.
In 2002, Seka is a nice sharp pin ready to pop the balloon of ballyhoo surrounding her mythology.
Visceral and at times brutal, it's a livid illustration of the effects of monotony and oppression on the spirit.
One of the most attractive aspects of Kiyoshi Kurosawa's style is his implicit trust in his audience's intelligence.
With the occasional exception of Shaquille O'Neal, the players here act like athletes, which is to say, badly.
Wednesday, March 23 2005
As much as he ostensibly seems to be in denial about it, Saint-Laurent did bring a new level of aesthetic consciousness to segments of the consumer market where it hadn't before been.
Strangers When We Meet is a melodramatic tale of extramarital unhappiness amongst fast-track suburbanites.
It occasionally echoes the softer version of Casablanca, another film whose fatalistic interpretation of love is set among war-torn circumstances.
Waldo is so deliciously dark and mean-spirited, so loquaciously intolerant of those he deems beneath him, that he's delightful.
The film twists viewers in three directions before they have time to come down from the first.
The Special Edition is loaded with so much self-referential material and 'oh so clever' concepts that they threaten to make the movie into its own cult object.
Lacking the bias that makes Michael Moore's movies so popular, the Raymonds' film is more satisfying.
The dancing might be dated, but the film is not.
'Play' is a means to define childhood, to prolong mythic innocence, to grant nobility.