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Sunday, January 1 1995

Jesus’ Son (2000)

The elegance of Maclean's film, however, lies i


Judy Berlin (2000)

In the movies, suburbia is usually plastic and colorful, familiar and pockmarked by Pier Ones, Burger Kings, and Walmarts, as well as American Beauty roses.


Jay and Silent Bob Strike Back (2001)

Here's the short version of this review: 'Jay and Silent Bob Strike Back' is a very funny movie.


Iron Ladies (Sa Tree Lex) (2001)

The movie serves up the surface layer of gay style, with none of the substance.


In the Mood for Love (2000)

A swoony, adult film of unexpected restraint, 'In the Mood for Love' shines with radiant color schemes and two devastating central performances, by Maggie Cheung ('Irma Vep') and Tony Leung ('Chungking Express', 'Happy Together').


Iron Monkey (1993/2001)

Fighters in 'Iron Monkey' don't float or glide toward each other. They rocket, bounce and whip.


Intimacy (2001)

Wordless sex suddenly seems more appealing than the nasty arguments that repeatedly erupt. "


In Too Deep (1999)

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The Idiots (1998)

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I Am Sam (2001)

'I Am Sam' will not let these characters be: they must run the gamut of movie-of-the-week emotions... A to B.


Innocence (1999)

'Innocence' offers a brave take on love, fidelity, and sexuality that often flies in the face of traditional, age-defined preconceptions of all.


The Insider (1999)

Michael Mann's film The Insider is about blowing the lid of conspiracy off the tobacco industry. Although the film is ostensibly about one corporate produced addictive narcotic, that is nicotine, it is really about two, the other one being capital.


Italian for Beginners (2001)

Where 'Italian for Beginners' differs from other Dogme 95 fare is that its end isn't totally catastrophic. This isn't to say it has a happy ending, just that it doesn't end with the usual emotional wasteland littered by human wreckage.


Iris (2001)

PULL.


I Dreamed of Africa (2000)

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The In-Crowd (2000)

The In Crowd's script, by Mark Gibson and Phil Halprin, is extremely predictable (to the point that Warners' request that reviewers not give away the 'film's ending' is a joke in itself).


I’m the One That I Want (2000)

In the film's most heart-wrenching moment, Cho describes how she lost all sense of her own identity in being so transformed into a commodity for public consumption.


In the Bedroom (2001)

The movie does not back down from the pain or rage it sets up.


The Hurricane (1999)

Hurricane. One word, one name, one man. One man whom I - and probably most of my generation - had never heard prior to seeing The Hurricane. His name is remembered, however, by members of his generation, most notably, celebrities.


Hedwig and the Angry Inch (2001)

...reminds us that rock per se has a long history of celebrating alienation and ambiguity.


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