Friday, October 18 2002
In Ronny Yu's mostly formulaic Formula 51, Samuel L. Jackson plays Elmo McElroy, a chemical whiz busted for smoking reefer.
Cynical and beautiful. No wonder the boys can't resist her.
Thursday, October 10 2002
Seems stuck in first gear, grinding through a series of very "safe" clichés.
While the book is laced with a youthful sense of wonder concerning life and death, the film is a troubled teenage love story.
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.
Speedy, colorful, and clever, The Transporter establishes Jason Statham as yet another next-generational, hybrid action hero.
What Swept Away calls love, I would call the usual terror and degradation that keeps battered women in dangerous relationships.
Attraction is not comprised of rules, only missed opportunities.
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 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
America is better off with Miyazaki playing in the malls and the multiplexes than Monsters, Inc.
What is most politically problematic about Red Dragon is how it furthers the relationship between physical disability and psychopathology.
Fits a little too neatly with the recent popularity of media considering grief and death rituals.
Thursday, September 26 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.
I won't tell you how it ends, but note the film's title is 'not' 'New York State of Mind.'"
As Erik puts it, he has 'business to take care of.' That business is hip-hop.
Secretary is about anxiety, depression, the inability to communicate.
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.