Thursday, May 30 2002
I'm about to argue the cultural significance of a cartoon about a robot boy with machine-guns in his butt-cheeks.
Friday, May 24 2002
So in a post-September 11th world replete with conflicts from Afghanistan to continuous Palestinian-Israeli disputes, the lines between good and evil often seem blurry, and the cut-and-dry antics of galactic warriors instill a sense of hope, a realization of what morality should be. Who would've thought that the likes of Yoda, Obi Wan Kenobi and Chewbacca would serve as heroes for a celluloid generation whose sense of a world order would become crystal clear as a result of a few fictional characters?"
Thursday, May 23 2002
Director Shohei Imamura might be Japanese cinema's answer to Tom Waits.
Spirit: Stallion of the Cimarron is about preserving rugged individualism and protecting the homeland.
The most remarkable aspect of Lagaan is its triumphant righting of historical wrongs.
The sun doesn't go down in Insomnia.
J-Lo rocks combat boots.
They form a chilling glimpse into the indifference of the universe against which Giacometti worked.
Wednesday, May 15 2002
There are so very many characters playing central roles in the second half of the series, and accounting for all of their geneses is tricky indeed.
Danny's story is part noiry nightmare, part scam saga, and part junkie-underground travelogue.
'About A Boy' is not 'The Hugh Show'. Thank goodness.
Thursday, May 9 2002
Unfaithful examines the trouble men get into when women behave too passionately.
What the heck is Jermaine Dupre doing here?"
Each event in the girls' lives is presented with a cool, matter-of-fact openness rarely encountered in contemporary American cinema.
There comes a point in 'Enigma' where Jeremy Northam shows up and you feel grateful.
Big Bad Love underlines Barlow's concerns about what it means to be a man.
Thursday, May 2 2002
Spider-Man doesn't get caught up in its own snazzy special effects.
In the end, the class conflict is as mundane as the dialogue.
The reinvention of Hollywood Ending is not the film, but the 66-year-old Allen as self-promoter.
Human Nature is largely a study of the fine line between being innovative and being asinine.