Thursday, July 18 2002
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.
What the sequel does make abundantly clear is that the apparently accidental harmonies of the first can -- indeed must -- be turned into calculation.
It's easy to see why Bow Wow -- ambitious, clever, self-confident -- appealed to the folks who put this film-cd-gear- package together.
Thursday, June 27 2002
It's all a saggy, inept mess. And it really makes you long for Michael Keaton and 'The Banana Boat Song'.
This is The City, so often viewed as anonymous and unfriendly, especially in children's programming, at its best.
Friday, June 21 2002
It's no longer critiquing mainstream expectations, but instead, absorbing and reflecting stereotypes, drained of context.
Thursday, June 20 2002
Based on a story published by Philip K. Dick in 1956, 'Minority Report' is science-fiction of the sort that Dick preferred to write -- set in the future, but all wrapped up in concerns that are immediately relevant to the present moment (that the same concerns were relevant back in 1956 is not a little unnerving, as will become clear).
Lovably unconventional, Lilo & Stitch have some trouble fitting in with their peer groups -- regular kids in Lilo's case, multi-limbed aliens in Stitch's.
Like its men-in-drag predecessors, Juwanna Mann doesn't critique gender stereotypes, so much as it uses them to espouse a morality lesson.
Exotic and universal, The Fast Runner is as engrossing as any thriller, as majestic as any epic.
Thursday, June 13 2002
Though it might be argued that Nicolas Cage roaring and contorting in slow motion makes for good action cinema, it's hardly the basis for a thoughtful interrogation of how war works, how it shatters (or otherwise forever changes) participants, and reinforces systemic racism.
The Marquis de Sade, dedicated family man.
The main problem here is the script, or the lack thereof.