Thursday, April 18 2002
Nine Queens' class analysis is acute, and narrowly focused on defining the characters.
'Murder by Numbers' isn't about solving the case; it's about solving Cassie (Sandra Bullock).
The Last Waltz still spirits a tingle up the spine.
Thursday, April 11 2002
The Sweetest Thing targets moviegoers who seek out the familiar and formulaic.
It's not every day that you see an older adult with mental disabilities as the star in an internationally distributed film.
When the children speak for themselves, 'Promises' is very powerful.
National Lampoon's Van Wilder [is] the latest version of Maxim, the Movie.
What makes the Maysles' work special lies in how they manage, by focusing so intently on their subjects, to elicit a body of information that the audience is compelled to examine for its possible meaning.
Moody, perverse, and full to busting with metaphorical cautions.
Thursday, April 4 2002
Haneke's films challenge not only media violence, but also unsuccessful satires of media violence, like Oliver Stone's indulgent, bloodily hedonistic 'Natural Born Killers'.
Arid and hermetic, it's the first misstep in Hartley's intriguing and varied career.
'High Crimes' is a movie starring Ashley Judd whom someone has determined is the ideal Flinty Woman in Danger.
The rerelease of 'E.T.' raises questions that underscore the difference between the Reagan-Bush years and the years of Bush Jr. and Dick Cheney.
'Crush' is surely 'quaint,' but . . . it's also sad in ways it probably doesn't mean to be.
Thursday, March 28 2002
The conflicts are familiar, but 'The Rookie' presents them admirably and resolves them without sap overload.
In lieu of plot or character, 'Panic Room' offers the house.
For a movie about messing with time, it is quite linear and conservative.
Bush is many things to many people: a tyrant, a savior, a great guy, a shyster, a man of the people, and a moneyed elitist.