Thursday, September 12 2002
Longley neither pretends to be impartial nor apologizes for his sympathies, and pays his potential audience the compliment of confidence in their intelligence and reason.
Barbershop's multiple charms are all sweet.
Friday, September 6 2002
If its feminism is unmistakable, Secret Ballot's stance on democracy is more complex.
Where last year's 'Amélie' was criticized for presenting an idealized France... 'Mostly Martha'> has to be one of the least German movies ever to come out of Germany.
It's like 'Office Space' in the fourth dimension.
All these horrors in one family might easily lead to questions concerning genetics and proclivity, codes of masculinity and violence.
Friday, August 30 2002
Ziggy falters as a visual experience, a conspicuous failing considering its spectacle-obsessed subject.
Udo Kier stumbles down a dark New York subway stairway, his face sweaty and deeply shadowed, his eyes popping in that Udo Kierian way.
Thursday, August 22 2002
Masculinity, integrity, brutality: Walter Hill's usual themes.
Viktor sees his most attractive, resourceful, and prolific self in Simone.
'My job sucks,' says Joe (Matthew Perry) at the beginning of Reginald Hudlin's peculiar romantic comedy.
Neatly, ominously, the film composes a bleak vision of Sy's consumption of and by his culture.
I'm Going Home not only retains its heart, but expands it until the film's emotional power is almost too much to handle.
The apotheosis of a very good band, Sam Jones' I Am Trying to Break Your Heart begs the question of whether merely very good bands deserve to be deified.
Harvard Man's refusal to pass judgment on characters' drug use is troubling.
The Adventures of Pluto Nash is a whole lot of nada.
Thursday, August 15 2002
Songs From the Second Floor may be blasphemous in its relentless tweaking of Christianity, but it is never less than sincere about its search for divine intercession.
Carla and Paul form an odd couple, slouching towards romance while successfully defending (and defining) their common interests against powerful and dangerous people.
While the plot of Possession concerns yearning and fervor, its tone is provocatively detached.
What Robert Evans does, mostly, is him.