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Friday, October 18 2002

Formula 51 (2001)

In Ronny Yu's mostly formulaic Formula 51, Samuel L. Jackson plays Elmo McElroy, a chemical whiz busted for smoking reefer.


Abandon (2002)

Cynical and beautiful. No wonder the boys can't resist her.


Thursday, October 10 2002

White Oleander (2002)

Seems stuck in first gear, grinding through a series of very "safe" clichés.


Tuck Everlasting (2002)

While the book is laced with a youthful sense of wonder concerning life and death, the film is a troubled teenage love story.


The Trials of Henry Kissinger (2002)

Weaving together a vivid assemblage of stock footage, archival documents and talking-head spots, the movie winnows the book down to three of its more damning studies.


The Transporter (2002)

Speedy, colorful, and clever, The Transporter establishes Jason Statham as yet another next-generational, hybrid action hero.


Swept Away (2002)

What Swept Away calls love, I would call the usual terror and degradation that keeps battered women in dangerous relationships.


The Rules of Attraction (2002)

Attraction is not comprised of rules, only missed opportunities.


In Praise of Love (2001)

In its preoccupations with history, In Praise of Love suggests if one has no history, one has no basis for thinking about or defining oneself.


Brown Sugar (2002)

Brown Sugar can blur lines between mainstream and margin, mix up the spirits, just as hip-hop -- so-called real hip-hop but also, in its way, brashly commercial hip-hop -- has always done.


Thursday, October 3 2002

Spirited Away (2001/2002)

America is better off with Miyazaki playing in the malls and the multiplexes than Monsters, Inc.


Red Dragon (2002)

What is most politically problematic about Red Dragon is how it furthers the relationship between physical disability and psychopathology.


Moonlight Mile (2002)

Fits a little too neatly with the recent popularity of media considering grief and death rituals.


Thursday, September 26 2002

Trapped (2002)

Scary as this sounds -- Courtney Love channeling Claire Standish or Andie Walsh -- it might explain a few things about what was going on in Trapped.


Sweet Home Alabama (2002)

I won't tell you how it ends, but note the film's title is 'not' 'New York State of Mind.'"


Snipes (2001)

As Erik puts it, he has 'business to take care of.' That business is hip-hop.


Secretary (2002)

Secretary is about anxiety, depression, the inability to communicate.


Neon Genesis Evangelion: Death and Rebirth / The End of Evangelion (1997)

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.


The Long Goodbye (1973/2002)

Not just empty genre deconstruction, The Long Goodbye dares to ask some very basic questions about the hard-boiled detective hero.


The Four Feathers (2002)

It's alarmingly short-sighted fiction, offering only occasional glimpses of the imperial project's fundamental viciousness and ignorance.


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