Wednesday, October 27 2004
The violence of their romance is striking, sometimes moving, and always disturbing, even as metaphor.
Like most slasher movie monsters, Jason's a victim as much as a killer, driven to express his rage in the only way he can.
The Fairly Oddparents is damn funny, primarily because creator Butch Hartman speaks in a rapid patter of pop culture references.
Watching the families of both the victims and the prisoners grapple with the enormity of their losses can be torturous.
All rules of attraction and self-definition are just off when it comes to the utterly beautiful and notoriously nice Chestnut.
Monday, October 18 2004
It is the emphasis, in both Hardy's novel and Polanski's skillful adaptation, on Tess as an individual that makes her story timeless.
The investigation into issues of patriotism and accountability in Judgment at Nuremberg resonates strongly with contemporary American politics.
Michele also loses faith in the adults who are supposed to look after him.
Intermission repeatedly frustrates audience expectations.
The story can be read as an oblique critique of mass media: brain-hacking literalizes the process by which our experiences are constructed by the powers that be.
Merritt's protests actually date pretty well -- contemporary liberal sensibilities often subscribe to the view that space travel is a continuation or extension of the colonial impulse.
Buried's real value is not as conservative propaganda, but rather, as a distilled example of conservative political spin.
Thursday, October 14 2004
All this overacting hardly dampens the film's efforts to grant weighty meaning to the rose tattoo.
Wednesday, October 13 2004
Agresti says, 'It's challenging, from such a little situation, to elaborate with details, without sensationalistic tricks and pyrotechnics.'"
'Raising Helen's a happy, peppy picture, with Kate Hudson and her legs,' says Garry Marshall.
According to Goldsworthy, we must re-examine the mundane in order to break through our habitual and clichéd perceptions.
Nothing But a Man remains a fascinating and uplifting document because its makers understood that, as worldviews, candor and hope are not mutually exclusive.
While director Joel Schumacher may not have made a perfectly genre-breaking, horror-comedy mix, he got the 'hip' part right.
If Fahrenheit 9/11 is occasionally glib or unfocused, it is always angry and unafraid, and that makes it quite unlike the typically complacent news media and official bodies it targets.
Beyond the gross-out factor, Dead Leaves is also a self-consciously stylish orgy of animation aesthetics and techniques.