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Young Actors Salvage "Murder": "Murder by Numbers" and "The Scorpion King" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 23 April 2002 18:00

Michael Pitt and Ryan Gosling in Murder by NumbersMURDER BY NUMBERS

In Barbet Schroeder’s thriller Murder by Numbers, Sandra Bullock stars as Cassie Mayweather, a Southern California detective who, along with her nebbishy partner (Ben Chaplin), attempts to solve the murder of a local Jane Doe, killed in a seemingly haphazard fashion and left beside a creek.

 
Two Springtime Gems – and a Serious Dog: "Frailty," "Changing Lanes," and "The Sweetest Thing" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 16 April 2002 18:00

Bill Paxton in FrailtyFRAILTY

Until it flirts with supernatural looniness in its last reel, Bill Paxton’s directorial debut Frailty is a strong, scary, deeply affecting piece of work – so good, in fact, that it easily ranks, thus far, as 2002’s finest film achievement.

 
Two Stupid Movies Don’t Spell "Trouble": "High Crimes" and "Big Trouble" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 09 April 2002 18:00

Morgan Freeman and Ashley Judd in High CrimesHIGH CRIMES

If Hollywood studios absolutely insist on feeding us one piece-of-crap potboiler after another, they could certainly do worse than the trashily entertaining military thriller High Crimes.

 
"Journey into Amazing Caves": The Trouble with IMAX PDF Print E-mail
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.

 
Fincher’s Latest Leaves No Room for "Panic": "Panic Room" and "Death to Smoochy" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 02 April 2002 18:00

Kristen Stewart and Jodie Foster in Panic RoomPANIC ROOM

David Fincher can pull off some amazing tricks. Early on in Panic Room, the director’s latest thriller, the camera, initially located in an upstairs bedroom where newly single mom Meg (Jodie Foster) rests, glides away from the bed, through the banister of the staircase, and down the flight of stairs, and then scoots through the kitchen – and, it must be added, over countertops and appliances – until it finally lands on the kitchen doorway, where a shady character is waiting to break in.

 
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