Wednesday, January 26 2005
Paul W.S. Anderson says, 'For me, there is in modern times, a definite fear of loss of identity. And that's what the undead represent. They are the mass, there's no differentiation between them.'"
According to director Stephen Hopkins, 'Los Angeles, with all its glare and dust, felt like a Western town to us, sort of a mining town that had been shoved up really quickly.'"
'This shot here... is like a window opening up onto this kid's world,' says Jacob Aaron Estes.
Late Night Shopping makes no promises, because, you know, the open ending is much more honest in this age of cinema. And so what?"
As legendary songwriter Porter, Kevin Kline's deft, unshowy performance contributes to the film's charm.
The monsters are functions of the franchise, but also vaguely resistant, less transparent than they seem.
Monday, January 17 2005
This So-Called Disaster is more impressionistic than comprehensive.
Following the law of diminishing returns, the straight-to-video Species III is the least effective entry in the trilogy.
Bo stalks the paparazzi with an obsessiveness that trumps their stalking of him -- but it's okay, because he's defending his family.
The Girl From Paris details the ways that farming is lonely and difficult.
This is the film's premise, that Sam's existence is simultaneously ideal and outrageous, typical and desirable.
According to screenwriter Frank Cottrell Boyce, 'The 20th century was the Freud century, and the 21st century's going to be the genetics century.'"
The camera is as restless and as relentless as its object, Phoolan Devi.
Things are never as simple as administrations would like us (and themselves) to believe.
Monday, January 10 2005
'I have to keep doing things that scare me, and this certainly scares me,' says M. Night Shyamalan.
'In case you're wondering,' says director Paul Abascal, 'in this movie, the paparazzi are very sleazy guys.'"
Where other lesbian-themed films might ride the sweat-stained cliché for all it's worth, Cholodenko instead shows restraint.
Made in 1929, Un Chien Andalou is based on the exchange of 'dreams' between two young Spanish artists.
Will Ferrell's comedy is escapism as abstract art, a breathless retreat into the frenetic headspace of a 12-year-old boy.