Reviews > Film

24 Apr 2003 // 1:00 AM

Levity (2003)

Memory is a tricky business. So are movies that mess with it.

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24 Apr 2003 // 1:00 AM

Identity (2003)

Amanda Peet, not incidentally, throws some fine, even sublime, attitude.

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House of 1000 Corpses (2003)

It's not even Blair Witch II, which pretty much makes it the worst movie ever set in the woods.

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24 Apr 2003 // 1:00 AM

Ghosts of the Abyss (2003)

Bill Paxton's banal banter and overacting alienate us, as we try to ignore him and focus on the live-action images of Titanic.

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24 Apr 2003 // 1:00 AM

Confidence (2003)

They meet at King's club, where he's auditioning strippers: Dustin Hoffman, big pimping.

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24 Apr 2003 // 1:00 AM

Better Luck Tomorrow (2003)

To even things up, perhaps, or because he's bored, or because it's so easy, Ben cheats.

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Malibu’s Most Wanted (2003)

Like most such slapdashy juggling acts, Malibu's Most Wanted can't keep all its balls in the air.

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17 Apr 2003 // 1:00 AM

The Good Thief (2003)

Doubles all stakes of the original film, and more elaborately, of the remaking process.

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17 Apr 2003 // 1:00 AM

Cowboy Bebop (2003)

Goes spiritual by stopping the gunplay while characters get all misty-eyed over otherworldly butterflies.

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17 Apr 2003 // 1:00 AM

Bulletproof Monk (2003)

Has a couple of ideas rattling around in its head, ideas that are -- or could be -- strangely relevant.

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11 Apr 2003 // 1:00 AM

What a Girl Wants (2003)

Daphne is cooler, thinner, and just plain hotter than her secretly envious rivals.

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11 Apr 2003 // 1:00 AM

Spun (2002)

Boasting that it includes more than 5,000 edits, Jonas Åkerlund's feature debut offers glimpses -- very fast -- into life on speed.

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11 Apr 2003 // 1:00 AM

Better Luck Tomorrow (2003)

'It is not 'just' a movie. What hinges on this release is so much larger than the film itself.'"

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11 Apr 2003 // 1:00 AM

Anger Management (2003)

Dave (Adam Sandler) grumbles okay, to everything, his face reorganized into a permanent twist.

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7 Apr 2003 // 1:00 AM

Pépé Le Moko (1937)

Jean Gabin compels our attention as much through stillness as through visible exertion.

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Assault on Precinct 13 (1976)

Carpenter refuses to reduce the violence to a sideshow of blood squibs or special effects pyrotechnics.

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3 Apr 2003 // 1:00 AM

Phone Booth (2002)

A function of increasing anxieties about security, surveillance technology, and loss of privacy, this sniper is symptomatic.

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3 Apr 2003 // 1:00 AM

A Man Apart (2002)

It's sad that the wife is dead, of course. More painful is the death scene per se, as Vin Diesel has to play something approximating tragedy.

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3 Apr 2003 // 1:00 AM

Assassination Tango (2003)

Even the most generous viewer is hit by the absence of rationales, however bizarre or slender, for the film's plot turns.

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3 Apr 2003 // 1:00 AM

All the Real Girls (2002)

Paul has the sort of confidence that afflicts good-looking boys used to getting what he wants.

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