Thursday, April 25 2002
Jason X merely proceeds from one bloody splatter shot to the next.
'The Cat's Meow' insists, you can't go back to the good old days, because they were never so good as you think they were.
Thursday, April 18 2002
A surpassingly rich and urgent movie about the way we live now.
It's not as though 'The Survivors' takes its survivalists seriously.
Nine Queens' class analysis is acute, and narrowly focused on defining the characters.
'Murder by Numbers' isn't about solving the case; it's about solving Cassie (Sandra Bullock).
The Last Waltz still spirits a tingle up the spine.
Thursday, April 11 2002
The Sweetest Thing targets moviegoers who seek out the familiar and formulaic.
It's not every day that you see an older adult with mental disabilities as the star in an internationally distributed film.
When the children speak for themselves, 'Promises' is very powerful.
National Lampoon's Van Wilder [is] the latest version of Maxim, the Movie.
What makes the Maysles' work special lies in how they manage, by focusing so intently on their subjects, to elicit a body of information that the audience is compelled to examine for its possible meaning.
Moody, perverse, and full to busting with metaphorical cautions.
Thursday, April 4 2002
Haneke's films challenge not only media violence, but also unsuccessful satires of media violence, like Oliver Stone's indulgent, bloodily hedonistic 'Natural Born Killers'.
Arid and hermetic, it's the first misstep in Hartley's intriguing and varied career.
'High Crimes' is a movie starring Ashley Judd whom someone has determined is the ideal Flinty Woman in Danger.
The rerelease of 'E.T.' raises questions that underscore the difference between the Reagan-Bush years and the years of Bush Jr. and Dick Cheney.
'Crush' is surely 'quaint,' but . . . it's also sad in ways it probably doesn't mean to be.