Thursday, February 14 2002
Predictably, Hart's war ends up being his education, his route to noble manhood.
Unlike the audiences at most movie previews, these folks at 'Crossroads' were amped.
Thursday, February 7 2002
As Schwarzenegger described the whole shebang to the guys on 'Fox NFL Sunday', 'There's some serious butt-kicking going on.'"
Thursday, January 31 2002
Some movies just don't need to be made. And some movies work extra hard to educe comments just like that one, making the extra effort to gross you out, to annoy, alarm, or titillate you.
. . . a mildly enjoyable film, offering some giggles and even a few shocking revelations.
Thursday, January 24 2002
It's not so often that you see an anime as deliberately unsexy as Rintaro's 'Metropolis'.
As John (Richard Gere) begins to question his own journalistic rigor and even his sanity, a number of inconsistencies in the stories of the mothman crop up.
It's exceedingly good to see Luis Guzmán looking so vibrantly out of place in Kevin Reynolds' 'The Count of Monte Cristo'.
Thursday, January 17 2002
In 'Snow Dogs', Cuba Gooding, Jr. is all giggles and slapstick. I lost count of the number of times he slipped on the ice or fell in the snow.
Wednesday, January 16 2002
Thursday, January 10 2002
'What Time Is It There?' presents what may be Tsai's most pronounced rendering of the impossibility of sexual intimacy and connection.
More than anything else, 'Orange County' is mundane.
The obvious reason for the glut of overly celebratory WWII films of the past few years is nostalgia for a time in American life when things like international politics and warfare were clear-cut.
... challenges the national ideologies, nostalgia and idealization that have become so commonplace in popular cultural imaginings of the 'great war'.
Thursday, January 3 2002
Based on a 1953 Philip K. Dick story, the film rehearses the usual Dickish concerns, namely, a male protagonist's loss of identity, confidence, and context in a dystopic SF future.
Monday, December 24 2001
Never mind that Leopold is clueless when it comes to actual labor or the concept of class; as long as he's upper, he has no need to know anything more.
Ali embodies a kind of car-wreck charisma -- arrogant and self-conscious, beautiful and fierce, even on twenty-year-old tape, he can take your breath away. This ability to mesmerize makes Ali who he is, or more accurately, who everyone wants him to be. He's a cipher and a screen onto which viewers might project themselves.
Thursday, December 20 2001