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Sunday, January 1 1995

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.


Hannibal (2001)

As his immense popularity suggests, there is something about Lecter that appeals to 'us', there appears to be some level on which 'we' all wish we could be a little more like him, which is precisely what the filmmakers are banking on. And this is, in the end, the scariest thing about 'Hannibal' -- its perverse worship of the cannibalistic Doctor.


Hedwig and the Angry Inch (2001)

Hedwig and the Angry Inch's insight into the fluidity of gender is made all the more powerful by Hedwig's own attempts to puzzle through these conundrums. The film doesn't moralize, or try to give set answers.


The House of Mirth (2000)

Lily's detractors can use her slightest slip-ups -- for instance, smoking a cigarette or gambling at cards -- as weapons against her -- in her set, women's smoking is considered improper and even a sign of promiscuity.


Hardball (2001)

The fact that Hardball's Conor is white means nothing, of course, except that he's one in a long line of white characters who become 'better people' because they meet adorable, courageous, noble, and/or doomed minority characters.


Haxan: Witchcraft Through The Ages (1922/2001) - PopMatters Film Review )

Haxan is a documentary grounded in extensive research about the history of witches in Western culture.


Here on Earth (2000)

Kelley Morse (Chris Klein) is a familiar movie character, a prep school boy who has too much money and not enough attention from his father.


Himalaya (2001)

The Himalayas themselves are the majestic 'stars' of this film.


Head Over Heels (2001)

Beware films packing the one-two punch of Freddie Prinze, Jr. as romantic lead and supermodels as objects of toilet humor.


Human Traffic (1999)

What ensues probably won't tell you anything you don't already know: ecstasy makes you chatty, affectionate, and thirsty, dance music is infectious, and young people, like adults, but by different means -- fight boredom with emotional rollercoastering and philosophizing into the wee hours.


Happy Accidents (2000)

'Happy Accidents' is either a sci-fi love story, or a love story in which one of the lovers is crazy.


Hollow Man (2000)

When he and the team are unable to reverse the effect and he's stuck in a transparent state indefinitely, Sebastian becomes not just mean, but insane.


Heartbreakers (2001)

Longtime 'Simpsons' writer and executive producer David Mirkin's predilection for wickedly witty cartoonishness is only slightly tempered in his live-action movies.


Highlander: Endgame (2000)

The Highlander series has these problems and more, being first a film franchise that started well and then went suddenly sickeningly wrong, then a syndicated TV show, and now again a film property.


Hamlet (2000)

Hamlet often speaks in a voice-over or directly to the video camera that he is rarely without. Sometimes we see the results of these 'video diaries' as he rewatches them on his monitor -- his own Real World confessional.


Hanging Up (2000)

A few nights after seeing Hanging Up, unable to sleep and channel-surfing, I came upon an Oprah episode, one of those repeats that air 2 or 3


Hatari (1962/2001)

['Hatari'] reminds us as well that, as David Thomson observes, Hawks is 'the greatest optimist the cinema has produced.' He delineates a world in which men and women, humans and animals, co-exist and achieve an enviable degree of harmony and serenity.


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