Wednesday, January 26 2005
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.
Monday, January 3 2005
'The most rewarding thing about working with David,' says cinematographer Frederick Elmes, 'is helping him see the vision through.'"
When Simon enters the picture, it doesn't take much (a few batted eyelashes and Audrey Hepburn in a nightie) for him to overlook her father's crimes.
Tuesday, December 28 2004
The desolate comedy made by this group of not-strictly professionals is extraordinary, in large part because, as Kári says, it asks viewers to 'use their own imaginations'.
This is the type of movie you can imagine history teachers embracing, on account of the facile and accessible way it tackles the subject matter.
Natalie Portman brings to this sad, strange, vibrant girl her own remarkable, brilliant energy.
I'd love to know what Orwell thought of this re-appropriation, if he felt the themes and intent were bastardized, if the CIA thing got his blood hot.