Thursday, March 20 2003
One thing you can say about 'Dreamcatcher': you can't really say one thing about it.
The girls in 'Bend It Like Beckham' have grown up crossing cultural borders on a daily basis, and see such negotiations as nothing special.
Thursday, March 13 2003
Crispin Glover is Willard's best special effect.
Distinguishes itself with its fondness for its characters -- hardly a trademark of the Dogme movement.
Gaspar Noé's Irréversible comes at you hard.
Audrey Tautou floats through 'He Loves Me, He Loves Me Not' in a world of her own, embodying a kind of chill that serves the film well.
Benicio Del Toro looks appropriately haunted in The Hunted.
Adrián Caetano uses a lack of financing to his benefit; he keeps his camera on the action, and he keeps the action moving.
Cody Banks' first assignment is to 'get close' to a popular girl whose scientist father is involved with a nanotechnology-based plot to, like, destroy the world and stuff.
Saturday, March 8 2003
To its credit, Tears of the Sun's action here is somber rather than thrilling; you can root for the SEALs, but the toll on them is visible.
For Esther (Glenn Close), Paul's coma makes him safe to love: he'll never leave her, never get in trouble worse than what he's in now.
It's like an episode of Bewitched, only longer, and with a feisty black woman instead of a white witch.
Friday, February 28 2003
It's creepy inside Spider's head.
Peddling the same jokes and ideas as countless other undistinguished 'Animal House' wannabes, 'Old School' is too dutiful for its own good.
Like the emotions it examines, 'Lawless Heart' is full of conflict and confusion.
The many storytelling scenes show the limitations of words to reflect the refugees' horror and sorrow.
Avoids examining the underlying cause of the Civil War -- the South's terror of abolition -- and instead remembers the Confederacy as a noble army defending its 'homeland'.
Deemed 'The Next Tom Cruise' by 'GQ' magazine, the prolific, asthmatic, and charismatic Dark Man X continues to power his way into the movies.
'Amen', like 'Blind Spot', considers atrocity by examining the real burden of abiding with it long after the fact.
Thursday, February 20 2003
Only Clint Eastwood could have cooked up a more dramatic climax to an innocent-man-on-death-row plot, which he did, in True Crime.