The Groden family lives out in the middle of the New Mexico desert, far from main roads. They grow, harvest and/or kill all their own food, own their own home and make what little money they need from crafts. They have no phone or indoor plumbing, and they haven’t paid…
The Upside of Anger belongs to Joan Allen, who plays Terry Wolfmeyer, a wife abandoned by her husband and left to pick up the pieces and collect them in a giant bottle of vodka. Terry’s is the cold, composed visage of a woman struggling to keep it together; through her…
The Ring, Gore Verbinski’s 2002 remake of Hideo Nakata’s Ringu, offered sufficient closure that it didn’t exactly demand a sequel. The horror lay in wondering why a mysterious videotape kills viewers seven days after they watch it; to a lesser extent, there was the mystery of the creepy girl, face…
“From the creators of Ice Age,” boasts the poster for Robots, which is no ringing endorsement. That 2002 animated feature, a sort of Three Mammals and a Baby in a prehistoric setting, looked and felt every bit as frigid as its snowbound scenery; it was impossible to warm to a…
Everyone with a TV remembers President Bush in the flight suit, landing on that aircraft carrier, standing in front of a “Mission Accomplished” banner and triumphantly declaring that major combat operations in Iraq were over. Two years on, many feel like asking what exactly he meant by that. Gunner Palace…
The chilling oddity of Oliver Hirschbiegel’s Downfall is not limited to the fact that it’s the first mainstream German film to grapple with Adolf Hitler–six decades after his death. Set, for the most part, in the underground Berlin bunker where the Nazi dictator spent his last days, this is a…
The novel Be Cool, written by Elmore Leonard in 1999 while the ink was still wet on the publisher’s advance, existed only because the beloved writer of seedy thrillers and westerns knew it was guaranteed gold–the sequel to the 1991 hit novel Get Shorty that, in 1995, became a hit…
Come this time next year, The Jacket may well occupy the slot in movie discourse that Eternal Sunshine of the Spotless Mind does now–that of the film that coulda-shoulda-woulda received more Oscar nominations if only it hadn’t come out so early in the year and been forgotten by those with…
Give Dan Harris, the writer-director of Imaginary Heroes, plenty of credit for boldness and ambition. Not many kids fresh out of Columbia University would have the wherewithal to tackle a complex family-crisis drama with four or five different kinds of trouble running through it and half a dozen crucial minor…
Toward the end of Born Into Brothels, a superb and piercing documentary by directors Zana Briski and Ross Kauffman, a 12-year-old child examines a photograph. It’s beautiful, he says, because it shows us how its subjects live. Yes, they’re very poor, and the shot is hard to look at, because…
It’s hard to know what to expect from Wayne Wang. The Hong Kong-raised director has made one gorgeous mood movie (Chinese Box) and two intelligent literary adaptations (Smoke and Anywhere But Here); he was also responsible, in his early days, for the overwrought sobfest Joy Luck Club. Then, in 2002,…
At first (and second and maybe even third) glance, it’s all so familiar: Keanu Reeves shrouded in a black trench coat that flaps behind him like a superhero’s wings, moving between netherworlds and a real world used as a battleground, breeding ground and playground for higher beings amused and appalled…
The small Appalachian community of Whitwell, Tennessee, boasts two traffic lights and a population of 1,600, nearly all of them white and Christian. Lying just 100 miles from Pulaski, where the Ku Klux Klan was founded, this town would seem an unlikely place to find a memorial to the 6…
If you want to know what Ong-Bak: The Thai Warrior is all about, it’s pretty easy to sum up. It starts with a big fight, as a group of local villagers plays capture the flag in the branches of a large tree. Then there’s a brief stretch of plot, as…
One should expect little from the man who has directed an Olsen twins movie (It Takes Two, the one with Steve Guttenberg, no less), Matthew Perry’s first Friends-to-film entry (Fools Rush In, its title an apparent nod to audiences that went to see it) and Sweet Home Alabama, one of…
The Sea Inside, the new right-to-die drama from Spanish director Alejandro Amenábar (The Others), is a flawed film worth seeing. Based on Letters From Hell, a book by quadriplegic Ramón Sampedro about his 30-year quest to kill himself, the movie favors the emotional over the legal, foregrounding Sampedro’s relationships with…
PARK CITY, UTAH–John Singleton, director of Boyz n the Hood, was all warm grins at the frigid outdoor party on January 22, and with good reason. Hustle & Flow, a movie he produced for 33-year-old writer-director Craig Brewer, was in the process of being sold for $9.5 million to Paramount…
When was the last time you lost yourself in a Shakespeare film? It’s a testament to the success of William Shakespeare’s The Merchant of Venice, the sharp and brooding new version directed by Michael Radford (Il Postino), that we leave the theater without concern for the production. Instead, the response…
In her first stab at narrative drama, writer-director Shainee Gabel has managed to assemble a superstar cast and a seasoned technical team. She spent five years on the project, adapting an unpublished novel written by the father of a friend, working with a clarity of vision and an admirable goal:…
Assault on Precinct 13, the sluggish remake of John Carpenter’s grungy 1976 movie of the same name, begins with a bang to which it never lives up. In a smoky den of all manner of iniquity, Ethan Hawke’s trying to close a drug deal. With his girl splayed out on…
“Twenty-four hours. 350 miles. His girlfriend’s kids. What could possibly go wrong?” In the case of Are We There Yet?, here’s the short answer: a flaccid screenplay, bratty kids stripped of depth and personality, a single joke replayed in every scene, unearned attempts at sentiment and a bizarrely whitened backdrop,…
Bad Education, the new film by the flamboyant Spanish director Pedro Almodóvar, opens on a man sitting at a table, poring over the tabloids for stories of interest. When he finds something he likes, he reads it to his lover: Isn’t this an arresting image? Could we generate drama from…
