Thursday, October 9 2003
This is a movie about bodies, about what hurts them on screen and in viewing spaces.
Attempting to put a human face on the refugee crisis, Winterbottom puts a premium on legibility.
The Coen brothers' latest venture is a rat-a-tat romantic comedy of the Preston Sturges persuasion, at least for its first hour or so.
Thursday, October 2 2003
A welcome reminder that studio comedies need not be shoddy, dumbed down, vulgar, and impersonal, the movie is unimaginable without Jack Black.
The fact that Matt is a black man only makes these several lines of pursuit more complicated and more resonant.
Mrs. Connelly's revenge is strange, but in the current political environment, as seniors are ignored, abused, and repressed, also rather sweet.
Thursday, September 25 2003
She's yearning for love, or independence, or a lasting exit from the States, where melancholy memories surround her.
The Rock doesn't want to hurt 'em, but he just can't help it.
Bubba Ho-Tep has everything one might expect from a movie directed by Don Coscarelli (the Phastasm series) and starring Bruce Campbell.
The idea of Woody Allen teaching high school English is a funny idea, and Anything Else leaves it at that: a funny idea.
Thursday, September 18 2003
The primary point is the look -- the drenching rain, the blazing gunfire, the catsuit.
The phallic imagery of guns as associated with male potency is everywhere in Secondhand Lions.
Michael Alig's megalomania even reached such epic proportions that he had no qualms about bragging over the murder on camera during the filming of the original Party Monster documentary.
Having demonstrated conclusively that she's a whole lotta woman in Goldmember, Beyoncé Knowles now shows another side.
Thursday, September 11 2003
The movie's power lies in its portrayal of the relentless ingenuity by which the inhabitants of the West Bank subvert the political 'realities' of Israeli military government.
'We're the Catholic Pete, Linc, and Julie.'"
'Are you a Mexican or a Mexi-cant!?'.
The distinctive thunk-thunk-thunk of Angela's skateboard punctuates his first look at her from behind his smoke-clouded windshield.
. . . about seeing and not seeing at the same time, a series of incredibly precise, meticulous images of faces and hands and doorframes.
Little do they know the trauma they will endure, and the complete disintegration it will wreak on their group.