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Sunday, January 1 1995

Hamlet (2000)

I confess to feeling a certain dread when I first heard that Ethan ('I have this planet of regret') Hawke was starring in Michael Almereyda's updated-and-abbreviated Hamlet.


The Widow of Saint-Pierre (La Veuve de Saint-Pierre) (2001)

Newly married and deeply in love, the couple is known for their 'modern ideas', which means -- in the film's rather simplistic terms -- that they are willing to look beyond a man's deed and into his character. It also means that they make love often, curtains billowing in the background.


Rear Window (1954/2000)

Rear Window's theatrical rerelease is, among other things, a showcase for mainstream moviedom's emergent special effects technologies.


The Devil and Daniel Johnston (2005)

Daniel Johnston's extensive self-documentation is sometimes eerie, as The Devil and Daniel Johnston has an abundance of material from which to cull its storyline.


Zoolander (2001)

Zoolander's parody of the fashion industry is a pretty pointless endeavor, for the simple fact that ultimately, it parodies itself.


Y Tu Mamá También (2002)

Y Tu Mamá También is all about how we shape the details of living, despite and because of this risk.


Yi Yi (A One and a Two) (2000)

With 'Yi Yi', Edward Yang accomplishes what so few films (U.S.-made, in particular) even strive to do: present an earnest depiction of familial relations.


You Can Count on Me (2000)

In fact, when Terry describes Scottsville as a town full of 'dull, narrow people... with no perspective, no scope,' he might have been describing the film's characters.


The Yards (2000)

In 'The Yards', Mark Wahlberg again plays an emotionally damaged young tough, but this time his entire environment is orchestrated to reflect that character, dark, sad, and heavy with non-options.


Xiu Xiu, the Sent Down Girl (1999)

Boys and girls are dressed alike, singing in unison, sitting rapt before a movie screen that shows glorious war footage, the triumph of good over evil. These early images in Joan Chen's debut feature, Xiu Xiu, the Sent Down Girl, set the scene i


X-Men (2000)

Beware the genesis of a new movie franchise, namely, X-Men, adapted from the best-selling comic book series of all time. Comics aficionados have been awaiting


X (1996/2001)

X's whole theology -- to the extent it can be deciphered -- is airlessly pessimistic.


What Planet Are You From? (2000)

There are great films; some of them win Oscars. There are truly bad films; some of them attract cult followings. Then there are mediocre films.


What’s the Worst That Could Happen? (2001)

Martin Lawrence and Danny DeVito are doing that non-mating mating dance that buddy characters tend to do, with too much spastic energy and not nearly enough inspiration.


Waking the Dead (2000)

Waking the Dead opens with a television image. In 1974, young Fielding Pierce (Billy Crudup) is watching the news, when he sees that his girlfriend Sarah (Jennifer Connelly) has been killed in a car bomb explosion (reportedly engineered by 'terrorists,' that all-purpose contemporary cultural monster).


Where the Heart Is (2000)

Thank god for Joan Cusack. As the sole truly cynical character in TV producer Matt (Roseanne, A Different World) Williams’s feature film directing debut,


Wonder Boys (2000)

Hey there. If you find yourself pushing on past middle age and wondering why all your potential has only gotten you just where you are and not one iota farther, then Curtis Hanson's new film Wonder Boys may be your sunset tonic.


Woman on Top (2000)

All of these elements combine to create a contemporary fairy tale where the purpose is not only to invoke a nostalgia for the warmth and simplicity of childhood or perhaps the soothing powers of food, but also to address, however whimsically, sex and gender politics.


The Wisdom of Crocodiles (1998)

The Wisdom of Crocodiles begins with some breathtakingly handsome images. So striking and unusual, in fact, that it’s only toward the end of the


The Wedding Planner (2001)

The Wedding Planner's many compromises between eras, between genres, between color palettes -- never really take you anywhere, except, perhaps, a place where everything has turned kind of beige.


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