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Greed or Incompetence? PDF Print E-mail
Feature Stories
Written by Todd McGreevy   
Tuesday, 06 July 2004 18:00
During the screening of Fahrenheit 9/11 that I attended, someone opened the door of the theatre and screamed into the auditorium, “Liberals suck! Michael Moore’s a bitch!” and ran off. Moore has, once again, obviously touched a tender nerve with his latest production.

 
Does Fahrenheit 9/11 Connect the Dots? PDF Print E-mail
Feature Stories
Written by Jeff Ignatius   
Tuesday, 06 July 2004 18:00
As a screed against George W. Bush to justify the feelings, suspicions, and thoughts of people who already dislike the president and plan on voting against him in November, Fahrenheit 9/11 is strikingly effective.

 
Moore Becomes an Artist with "Fahrenheit 9/11": Also, "The Terminal" and "Dodgeball: A True Underdog Story" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 29 June 2004 18:00

President George W. Bush in Fahrenheit 9/11FAHRENHEIT 9/11

I have several friends, including professed liberals, who can’t stand Michael Moore, and it’s not hard to see why: Even if you’re on-board with Moore’s politics, his glibness, bullying tactics, self-promotion, relentless simplifying, and anything-for-a-laugh gags can get in the way of his Bigger Picture, to the point where his methods overcome his message.

 
Script, Performers Elevate "Stepford" Remake to Guilty Pleasure: "The Stepford Wives," "The Chronicles of Riddick," and "Garfield: The Movie" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 22 June 2004 18:00

Matthew Broderick and Nicole Kidman in The Stepford WivesTHE STEPFORD WIVES

As crummy movies go, Frank Oz’s remake of The Stepford Wives is pretty darned terrific. The film has been plagued by rumors of trouble on the set and post-production nightmares and general confusion throughout, and you can practically see these turmoils on the screen; the movie is bizarrely assembled and terribly edited – characters’ motivations change from scene to scene with little rhyme or reason – and it all falls apart before your eyes. Oz doesn’t seem to have a clue how to treat the material, but one person does: screenwriter Paul Rudnick. He knows exactly what he’s up to – a bitchy, campy tale involving a group of nerdy men who enact revenge on the successful women they feel inferior to – and individual scenes in this Stepford Wives are so hilarious and dead-on smart that you wind up enjoying the movie despite being aware of how awful much of it is. Like last summer’s Rudnick-written Marci X, it’s a perfect example of a comedy in which individual set pieces far exceed the whole, and it can be blissfully enjoyed on its own underwhelming terms.

 
"Harry Potter" Series Finally Finds Its Magic: "Harry Potter & the Prisoner of Azkaban" and "Saved!" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 15 June 2004 18:00

Daniel Radcliffe in Harry Potter & the Prisoner of AzkabanHARRY POTTER & THE PRISONER OF AZKABAN

Anyone interested in the distinction between routine direction and inspired direction – anyone who has ever wondered what, exactly, it is that a director brings to a movie – should compare Chris Columbus’ first two Harry Potter films with Harry Potter & The Prisoner of Azkaban, helmed by Alfonso Cuaron; Columbus’ films are the work of a by-the-numbers craftsman, and Cuaron’s is the work of an artist. (Which isn’t to say that everyone will prefer Cuaron’s style; many people would rather dine on Big Macs than filet mignon.) Cuaron isn’t quite able to overcome the series’ built-in limitations – the familiarity of the storytelling arc, the “surprising” character reversals that aren’t really much of a surprise, the fact that all three movies are too damned long – but for those viewers, like me, who’ve never been overly enamored of the Harry Potter film series, Azkaban is as fine an entertainment as you could hope for, a visually audacious work with moments of true magic, and it improves on Chris Columbus’ vision tenfold.

 
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