Reviews > Film

1 Jan 1995 // 1:03 AM

Where the Money Is (2000)

Where the Money Is opens with two high school graduates — played improbably by Linda Fiorentino and Dermot Mulroney — cruising down a nighttime road in their

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1 Jan 1995 // 1:03 AM

What Women Want (2000)

At the start of What Women Want, we learn the definition of a “man’s man.” This lesson comes first from the ex-wife of Nick

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What’s Cooking? (2000)

What’s Cooking? opens with a photograph of a white, All-American-looking family gathered around a Thanksgiving turkey. As the camera zooms out, we discover the

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With a Friend Like Harry (Harry, un ami qui vous veut du bien) (2001)

There are plenty of anxieties to go around here, most of them concerning what it means to be -- or at least behave like -- a man.

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1 Jan 1995 // 1:03 AM

Wendigo (2002)

Considers the possible effects of transposing a 'natural' justice system onto human conflict.

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1 Jan 1995 // 1:03 AM

What Lies Beneath (2000)

CAUTION: This review contains spoilers, although frankly, it doesn’t reveal much more information than the film’s trailer does. “Take Me Away!” The most

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1 Jan 1995 // 1:03 AM

The Wood (1999)

During opening week for The Wood, MTV ran a game show based on the movie — or more precisely, based on promoting the movie, as it

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1 Jan 1995 // 1:03 AM

Wild Strawberries (1957/2002)

One of Ingmar Bergman's best films and certainly one of the best ever made on the subject of aging.

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1 Jan 1995 // 1:03 AM

Wildflowers (1999)

Occasionally, a movie comes along that attempts to remember the '60s as a time like all others, with competing ideologies, and both good and bad effects.

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1 Jan 1995 // 1:03 AM

Waking the Dead (2000)

Though some viewers might not compare producer-director Keith Gordon to John Huston as adaptors of literature to film, Gordon makes films which are regularly praised for their 'faithful' transfer of literary texts.

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1 Jan 1995 // 1:03 AM

Waking Life (2001)

Interpolations Waking Life begins with two kids (Trevor Jack Brooks and Lorelei Linklater, daughter of the film’s director Richard Linklater) playing a paper hand-puzzle

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1 Jan 1995 // 1:03 AM

The World Is Not Enough (1999)

I can't help it; whenever I hear that opening theme music to a James Bond film, I get a tingle. I can't help but to hope for the best. This time out, my hopes were raised by a great opening sequence to The World Is Not Enough, which involves a thrilling highspeed boat chase. What's more, TWINE gives us the premise for a most excellent villain.

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1 Jan 1995 // 1:03 AM

The Whole Nine Yards (2000)

WARNING: The following review contains spoilers. Executing Reality The poster advertisement for Warner Brothers’ current release, The Whole Nine Yards, reads “Life’s a comedy,

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1 Jan 1995 // 1:03 AM

Whipped (2000)

While Whipped's general organization -- three guys competing for one woman, all knowing about one another, all showing up at her apartment at the same time -- is pretty much directly ripped off from Spike Lee's groundbreaking She's Gotta Have It, here the focus is not on the she, but the three he's.

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Wet Hot American Summer (2001)

As both a parody and a 'straight' summer camp comedy, 'Wet Hot American Summer' has little to offer even the most die-hard crude comedy fans.

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1 Jan 1995 // 1:03 AM

Vertical Limit (2000)

Forces of nature make for excellent movie villains. Twisters, storms at sea, icebergs, earthquakes, wild rivers full of snakes, volcanoes -- they're all big, bad, easily recognizable bullies, mainly because, by definition, they never pick on anyone their own size.

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1 Jan 1995 // 1:03 AM

Va Savoir (Who Knows?) (2001)

PULL.

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The Vanishing (Spoorloos) (1988/2001) - PopMatters Film Review
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The most skillful purveyors of horror and suspense narratives recognize one incontrovertible fact: we fear the banal.

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1 Jan 1995 // 1:03 AM

Venus beaute (institut) (1999)

Rather, it only suggests that when something beautiful comes your way, you should hold onto it for as long as you're able.

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1 Jan 1995 // 1:03 AM

Valentine (2001)

Valentine's message is that women who overstep their bounds deserve physical, motional, and sexual abuse, because of how they perpetually victimize men. And so, what is actually scariest about 'Valentine' is the film's tacit attitude that these girls had it coming.

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