Thursday, September 26 2002
Multi-layered, ultraviolent, and profoundly disturbing, Evangelion depicts the end of the world as we know it and after seeing it, I most definitely do 'not' feel fine.
Not just empty genre deconstruction, The Long Goodbye dares to ask some very basic questions about the hard-boiled detective hero.
It's alarmingly short-sighted fiction, offering only occasional glimpses of the imperial project's fundamental viciousness and ignorance.
A joyful, wild romp through the heyday of San Francisco's national cultural importance, filled with body glitter, feather boas, and important shoes.
Thursday, September 19 2002
Burr Steers' first feature is populated by exceptionally quirky characters, most related by blood.
Sabotaging the happy play of color, song, and glamour with a deeply felt despair, Ozon has finally made his subversiveness genuinely surprising.
For these few minutes, The Banger Sisters venerates imperfection and adventure.
Sever grabs the big old gun inside and shoots in exquisite slo-mo. She even works in a hairflip.
Thursday, September 12 2002
Ben checks his mailbox, the camera zooms in to a computer screen filled with little email-message-envelope emblems, all from 'swimfan85.' Cue spooky music.
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.