Schulz's MediaCom VOD Picks
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If I Picked the 2003 Oscars … PDF Print E-mail
Movies - Feature Stories
Written by Mike Schulz   
Sunday, 09 March 2003 18:00
Excepting a few quibbles – Where’s Richard Gere? Where’s Dennis Quaid? How did The Time Machine get nominated for anything?! – reactions to this year’s Oscar nominations have been remarkably subdued, with a minimum of bitching.

 
2002 in Movies PDF Print E-mail
Movies - Feature Stories
Written by Mike Schulz   
Monday, 23 December 2002 18:00
So, just how good were the movies of 2002? By way of demonstrating, allow me to present, as a prelude to my 10 favorites, a few other lists of 10: My 10-best runners-up, in descending order of preference, are 13 Conversations About One Thing, Spider-Man, Igby Goes Down, Minority Report, 8 Mile, Changing Lanes, Auto Focus, Frailty, Solaris, and Sunshine State, films that in any other year might easily have ranked in the top 10.

 
"Journey into Amazing Caves": The Trouble with IMAX PDF Print E-mail
Movies - Feature Stories
Written by Jeff Ignatius   
Tuesday, 09 April 2002 18:00
Journey into Amazing Caves is a perfectly enjoyable IMAX movie, which is another way of saying that the medium triumphs over the work itself. If you’ve never seen an IMAX movie, it’s a novel experience that showcases the multimedia power of large-format cinema.

 
If I Picked the 2001 Oscars... PDF Print E-mail
Movies - Feature Stories
Written by Mike Schulz   
Tuesday, 05 March 2002 18:00
With the Academy Awards a few weeks away – they’re scheduled to air on ABC on Sunday, March 24, at 7:30 p.m. – the nominees are currently basking in the publicity, visiting Entertainment Tonight and E! Television, making the requisite statements about how they feel lucky to be in the company of their fellow nominees, and how they feel undeserving of such an honor.

 
A Critic’s Guide to the 2002 Oscar Nominees PDF Print E-mail
Movies - Feature Stories
Written by Mike Schulz   
Tuesday, 12 February 2002 18:00
ALI (in theatres): Covering Muhammad Ali’s personal and professional life from 1964 to 1974, Michael Mann’s biopic has everything except what it can’t live without: a reason for being. You really have no better understanding of Ali after seeing the film than you had before; director Mann, along with his topnotch cast and crew, has dedicated an enormous amount of time, money, and talent to a technically adept yet vacuous experience.

 
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