Thursday, August 1 2002
Me Without You is a disquieting and stunningly accurate depiction of female friendship.
This self-satisfaction makes Full Frontal's gears grind.
Elling doesn't pretend to be more than it is, permitting no great epiphanies and no big-hug endings.
The idea that an individual, like Robin Hood, could stand up for the rights of the oppressed comes across as a pleasant fantasy, worthy of song and legend, but devoid of the means to stand up against state power.
Thursday, July 25 2002
In assuming Oscar's perspective, the film makes out like everyone is as smitten with him as he is.
A film that assembles layers of truth and untruth, faith and distrust, as characters struggle to make sense of the worlds they make and resist.
The so-called postmodern self-references of the previous Austin Powers films here become epidemic, though more is not exactly better. It's just more. And it is repetitive.
Thursday, July 18 2002
Its attention to intricate sociopolitical tensions, Sunshine State, recalls Sayles' previous work.
With all the incessant action, 'SL2' feels like it's trying to be bigger than it is.
Even as the girls in Holofcener's world have their own problems, they provide acutely recognizable reflections.
For all its efforts to offer other views, 'K-19' is an all too average U.S. war movie.
Busta out-acts and out-spectacularizes Tyra Banks.
The we-love-'50s-giant bug-movies homage by Independence Day and Godzilla makers.
Undertakes yet another examination of the restraints of orthodox Western religion.
It's near-endlessly entertaining to watch him handle the crocodiles.
Friday, July 12 2002
There's probably something to be said here about guys and competition and pointy weapons.
The perfectly grim surface evokes eons of pain, as well as a highly stylized contemporary sensibility, not so much cynical as skeptical and self-aware.
Gangster No. 1's style and plot are stale.
Monday, July 8 2002
Blossom, Bubbles, and Buttercup are smart, self-assured, and admirable.