Thursday, December 19 2002
It's useful to remember that, offscreen, both good and bad tend to be tricksy.
Daniel Day-Lewis wears a tall stovepipe hat in Martin Scorsese's long-awaited Gangs of New York.
This single-mindedness can feel limited; there's obviously more to Antwone's story than the scenes in which he appears.
Friday, December 13 2002
As Nemesis amply demonstrates, the franchise is getting quite long in the tooth.
This 'ethnic' modification of 'Pretty Woman'-meets-'Working Girl' uses the 'iconic' Lopez strategically.
Max von Sydow paints an empathetic portrait of the terrible consequences of misused power.
Its enthusiasm is hard to resist.
The expression on Schmidt's face every time he encounters another crisis does not convey anger, but befuddlement.
Friday, December 6 2002
Each section lingers just a little, as if the characters will have trajectories beyond the minutes you see them.
Careens between fiction and confession, repetition and revelation.
Thursday, December 5 2002
A space opera in touch with its feminine side.
What is the relevance of individual agency in such vast systems as the Nazi war machine or the post-war global arms trade?"
At first, the girls-gone-wild moment is just about driving the supremely inept boys batty with desire.
Hooray for kicking opponents' heads in, fancy wirework, and twirling black topcoats.
Of the many crazy clichés in Empire, Isabella Rossellini's big fat hair has to be the loony-tunesiest.
Dolgin and Franco work hard not to exploit Heidi's naïvete for its narrative potential.
To endure Analyze That requires not just suspension of disbelief, but suspension of neurological activity as well.
Friday, November 29 2002
Paul Justman's 'Standing in the Shadows of Motown' aims to recover the Funk Brothers' legacy.
The liveliest moments in Steven Soderbergh's Solaris belong to Jeremy Davies' hands.
Ja is partnered with Steven Seagal, the fading action/martial arts star who not only refuses to go away.