Reviews > Film

8 Mar 2003 // 12:00 AM

Tears of the Sun (2003)

To its credit, Tears of the Sun's action here is somber rather than thrilling; you can root for the SEALs, but the toll on them is visible.

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The Safety of Objects (2003)

For Esther (Glenn Close), Paul's coma makes him safe to love: he'll never leave her, never get in trouble worse than what he's in now.

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Bringing Down the House (2003)

It's like an episode of Bewitched, only longer, and with a feisty black woman instead of a white witch.

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28 Feb 2003 // 12:00 AM

Spider (2002)

It's creepy inside Spider's head.

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28 Feb 2003 // 12:00 AM

Old School (2003)

Peddling the same jokes and ideas as countless other undistinguished 'Animal House' wannabes, 'Old School' is too dutiful for its own good.

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28 Feb 2003 // 12:00 AM

Lawless Heart (2001)

Like the emotions it examines, 'Lawless Heart' is full of conflict and confusion.

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28 Feb 2003 // 12:00 AM

Kedma (2002)

The many storytelling scenes show the limitations of words to reflect the refugees' horror and sorrow.

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28 Feb 2003 // 12:00 AM

Gods and Generals (2002)

Avoids examining the underlying cause of the Civil War -- the South's terror of abolition -- and instead remembers the Confederacy as a noble army defending its 'homeland'.

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28 Feb 2003 // 12:00 AM

Cradle 2 the Grave (2003)

Deemed 'The Next Tom Cruise' by 'GQ' magazine, the prolific, asthmatic, and charismatic Dark Man X continues to power his way into the movies.

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28 Feb 2003 // 12:00 AM

Blind Spot: Hitler’s Secretary (2002)

'Amen', like 'Blind Spot', considers atrocity by examining the real burden of abiding with it long after the fact.

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The Life of David Gale (2003)

Only Clint Eastwood could have cooked up a more dramatic climax to an innocent-man-on-death-row plot, which he did, in True Crime.

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20 Feb 2003 // 12:00 AM

Gerry (2002)

By turns daunting and absorbing, the film is about movement that seems hopeless, that takes you nowhere, that's increasingly slowed but also increasingly urgent.

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20 Feb 2003 // 12:00 AM

Divine Intervention (2001)

Suleiman proves himself an essential voice in world cinema because his formalism is inextricable from the political moment it documents.

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20 Feb 2003 // 12:00 AM

Daredevil (2003)

It's unlikely that this gloominess accounts for Daredevil's big success. There are any number of plausible explanations -- the 'Sexiest Man Alive' and his J. Lo glow, the promotional blitz, the Marvel machine. No matter. Bring the pain.

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20 Feb 2003 // 12:00 AM

Dark Blue (2003)

This is a scary city, where scary figures hang out on scary corners and slouch with scary insouciance. No wonder the cops are tense.

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13 Feb 2003 // 12:00 AM

The Quiet American (2002)

That the U.S. imagines itself in the position to take unilateral decisions that affect the rest of the world is as much a function of the nation's founding myths (all that 'city on a hill' business, represented in Pyle's notion that he can save Phuong) as it is its economic might (Pyle's knowledge that he can support Phuong).

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The Other Network - PopMatters Film Review
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Driven by instant gratification and a bottom line ethos, the networks have all but abandoned the cause of great TV comedy.

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13 Feb 2003 // 12:00 AM

Lockdown (2000)

Takes its political and ethical subjects seriously.

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13 Feb 2003 // 12:00 AM

Lost in La Mancha (2002)

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.

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The Hidden Wars of Desert Storm (2000/2002)

Radioactive poison is a legacy of laissez-faire capitalism's most guilty indulgence.

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