Tuesday, July 6 2004
The Lost Skeleton of Cadavra constitutes another attempt, lovingly based on bad, low-budget movies, borrowing from and referencing classics.
Indie fanatics will appreciate this behind-the-scenes look at the independent film business set against the backdrop of the Sundance Film Festival.
Monday, June 28 2004
Originally released in 1960, The World of Suzie Wong still elicits both fond remembrance and complete revulsion.
Dwight Yoakam needs our support, and that's the only reason to watch 3-Way.
As Kyle's nightmare indicates, The Perfect Score includes a rudimentary political critique of the U.S. educational and testing system.
Eddie (Cedric the Entertainer) comes to understand a new place for himself, and, no small thing, frames an acutely political history by his own story.
Monday, June 14 2004
Gaining resonance with today's 'war on terror,' The Weather Underground, recalls another unsettled social scene, during another unsettled period.
Joe Simpson says, 'I'd forgotten how difficult it was. I've told the story so many times, it's just become a fiction.'"
Hearing Tupac Amaru Shakur talk about himself in the past tense is unnerving at first. Not only was he profound and perceptive in his early 20s, he was prescient too.
This technological nightmare fuses free-market corporatism gone amuck with the regimentation and loss of individuality that characterized the Soviet empire.
The casting of Duane Jones provides the film with a racial subtext, overtly linked to the social and political turmoil of late 1960s U.S.
Always in the present, Drew Barrymore's Lucy is changed in an instant. And she's irresistible.
Approaching The Cliffhanger like a series of short subjects encourages patience for a weak segment, as another is always around the corner.
Black Hawk Down illustrates well the absurdity and chaos of urban warfare: there's no ground to be won, no victory to be claimed.
Monday, June 7 2004
On screen, Spider-Man necessarily becomes more literal, less imaginative.
While the initial twins material is weak, the Hollywood lampoon barely gets off the ground, and the love story is so lightweight, it practically floats.
Ned might have been a criminal in the eyes of the law, but to working class Australians he was a hero wrongly accused.
Aileen's changed self takes shape most immediately and vehemently in response to a psychotic-seeming john who declares his loathing of all 'hookers nowadays'.
The film's most profound understanding is that the moral confusions shaping its protagonists are not particular to them, but surrounding all of us.
It is a landmark event for connoisseurs of war movies, thrill-seekers, and lovers of consummate filmmaking.