Wednesday, March 23 2005
Jude Law's performance is wholly charming and energetic.
Monday, March 7 2005
Mike and Scott live a strangely lyrical credence. Simultaneously inviting and resisting interpretation, they move on.
As he watches his firefighters guys bond and scuffle, director Jay Russell explains that he began the project with some qualms because of 'all the emotion involved with 9/11.'"
For director Antoine Fuqua, it was clear that the right place to start a concert imagining the history of the blues would start with a song from Africa.
Its snark makes The Incredibles one of those cartoons that mainstream, self-knowing adults might appreciate along with their kids.
There's something about the loch, its deep dark water mystery and nightmarish symbolism, keeps us engaged.
The Boy Who Wanted to Be a Bear speaks to human ignorance of the animal world.
Friday, March 4 2005
Downfall's preoccupation with a flesh-and-blood Hitler is central to its meditation on fanaticism.
Monday, February 28 2005
In the late 1990s, Robb Moss decided to document the lives of five people from an early rafting trip, not knowing what form the new story would assume.
Our Town is revered for its simple structure and shorthand summation of the human journey.
As hard as he tries, Albert can't quite keep up with the Jaffes' questions, let alone their answers.
Much like John Moore's Behind Enemy Lines, Phoenix splices together traditional and current action movie clichés and rhythms.
Thursday, February 24 2005
If Sam the Man didn't tackle some difficult relationship questions so perceptively, its horrible lead and crappy lighting would have sunk it.
As survivor Henry Meisel observes in one of the supplemental, extended interviews: 'It's amazing how people can improvise.'"
As the last bill appears -- a three dollar 'bogus' bill featuring George W. Bush's face -- Spike Lee laughs. 'Hopefully, by the time you're seeing this DVD, he'll be out!'"
While the director suggests he wants make an objective film, Nine Good Teeth is undeniably skewed to display Nana in the best possible light.
Having failed to hold onto small-town American values during the late '60s mod explosion, the nuclear family man here flees to the bottom of the sea.
Precisely composed frames of urban and ancient architecture give way to Karen's face, deftly shadowed and shot from low angles, as Karen struggles to decipher the symbols that set her course.
The film's point is to suggest that emotional withdrawal is symptomatic of contemporary Japanese culture.
At an hour and a half, the film is transporting to look at but only intermittently fun to watch.