Monday, August 30 2004
The sympathetic viewers are hard to watch, as Mary and Mary Magdalene repeatedly collapse against one another, trembling.
It's tempting to read this mental-institution drama as some kind of political allegory.
What is consistent from episode to episode (besides the characters) is a multi-faceted investigation of the relationship between humans and machines.
The film begins by introducing just how hard it is to be in high school -- a good and difficult thing for adults to remember.
Monday, August 23 2004
What makes Raising Victor Vargas especially rewarding are its details -- in composition, rhythm, and especially, characterization.
All this back-and-forth is tedious, in part because it means that Audrey and Daniel spend a lot of time together.
Leigh Bowery played to his audience's sense of independence, using the 1980s social shift away from punkish DIY to outrageous opulence.
Garage Days chronicles the adventures of a struggling young Sydney band as they try desperately to land that ever-elusive first paying gig.
Easy Riders, Raging Bulls: How the Sex ‘N’ Drugs ‘N’ Rock ‘N’ Roll Generation Saved Hollywood: Denni
While Scorsese, Spielberg, and Coppola have become legends, they have also become what they once rebelled against: the system.
Kasi Lemmons says, 'The Candyman is born of extreme racism against him.'"
Monday, August 9 2004
Taut and relentless, Predator pares down, stage by stage.
'The truth is,' says Martha Coolidge, 'we all have to take care of ourselves before we do anything else.'"
'You know, sometimes you use a relative,' says Garry Marshall. 'I heard that nepotism is legal, so I made it an art form.'"
A filmmaker fixated on the continuing past, Hou has become the foremost chronicler of our mortality.
In her discernible contempt, Elle stands in some opposition to Beatrix, whose ferocity is less mean than resolute.
'Being out in the middle of the Arabian desert,' says Mortensen, 'you could easily imagine what it must have been like.'"
Tuesday, August 3 2004
Jennifer Garner embodies a joy that's all too rare on recent movie screens, in adults or kids.
'Johnny's look,' says director David Koepp, 'mostly came from Johnny'.
Strikingly, RoboCop's political insights are as timely today as on its release in 1987.
The Reckoning raises significant questions concerning how news and history are shaped by those with the power to name them.