Thursday, February 13 2003
Takes its political and ethical subjects seriously.
Even in the midst of chaos and catastrophe, Gilliam's drive to create fantastic worlds can be as damning, and as appealing, as Quixote's.
Radioactive poison is a legacy of laissez-faire capitalism's most guilty indulgence.
Offers a cagey take on cultural influences and intersections.
The good news is that Johnson's Daredevil follows Marvel's disability politics.
In the she's-such-a-bitch scenes, Gabrielle Union reveals a completely wonderful comic timing.
Thursday, February 6 2003
Locating its story of familial disquiet in the locus of the American myth, Tully doesn't quite go so far as to debunk the idealized heartland.
A potentially prosaic documentary manages fresh insight.
Its self-conscious use of the buddy genre's well known predilection for homoerotic/homophobic patterns is cute.
Max is less concerned with making Hitler sympathetic, or even very specific, than it is in using him to illustrate a series of ideas.
A subtle and reverent look at one of America's most important -- and often forgotten -- filmmakers.
She's so cute, he's so cute, everyone's so cute.
Friday, January 31 2003
Delves into daily traumas and fears, the bleak hierarchies of power, race, and desire that structure life in the projects.
Amid all the conventional movie dazzle, Biker Boyz's most important idea is the bike.
Thursday, January 30 2003
For all its protests to the contrary, in this movie, everything is exactly what it seems.
The casualties are the film's raison d'etre -- the more incredible and creative, the better.
Thursday, January 23 2003
Explores separate and collective struggles to survive, the prisoners' strengths and weaknesses.
Sets a new bar for lack of logic.
A longtime director of commercials, Meirelles is a consummate showman. Therein lies the problem.
His redemption, Barris abruptly realizes, can come only in detailed recollection, specifically, in his decision to confess his many sins.