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Hawn and Sarandon Miraculous as "The Banger Sisters": Also, "The Four Feathers" and "Trapped" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 24 September 2002 18:00

Susan Sarandon and Goldie Hawn in The Banger SistersTHE BANGER SISTERS

The Banger Sisters is a textbook example of the alchemy that can occur when two movie stars, stuck in a rather worthless vehicle, say, “What the hell, let’s run with it.”

 
Williams Only Scratches the Surface in "One Hour Photo": Also, "Barbershop" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 17 September 2002 18:00

Robin Williams in One Hour PhotoONE HOUR PHOTO

One Hour Photo has a simple, juicy premise that’s just right for an art-film creepshow. The meek, late-middle-aged nebbish Sy Parrish (Robin Williams) has, for 11 years, run the photo lab at the California discount store Sav-Mart and has become inordinately fond of his regular customers, the Wilsons.

 
De Niro Helps Drown "City by the Sea": Also, "Swimfan" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 10 September 2002 18:00

James Franco and Robert De Niro in City by the SeaCITY BY THE SEA

If Robert De Niro ever decides to quit acting, I hope he receives retirement benefits from the NYPD. In Michael Caton-Jones’s police melodrama City by the Sea, De Niro plays Vincent LaMarca, who is, by rough estimate, the 7,000th cop character he has played onscreen in the past two decades.

 
"The Good Girl" Offers a Surprising High: Also, "Undisputed" and "Fear Dot Com" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 03 September 2002 18:00

Jennifer Aniston and Jake Gyllenhaal in The Good GirlTHE GOOD GIRL

The Good Girl is the most fun I’ve had at the movies since Spider-Man and, with the possible exception of Y tu mama tambien, the finest movie I’ve seen all year, and I can’t begin to describe how shocking that is.

 
Ideas Salvage "Simone": Also, "Serving Sara" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 27 August 2002 18:00

Al Pacino and Rachel Roberts in SimoneSIMONE

Andrew Niccol appears to be obsessed with a theme that, in all likelihood, he can spend his entire filmmaking career exploring: What is the nature of reality? In 1997’s vastly underrated Gattaca, which Niccol wrote and directed, he investigated the perils of genetic engineering, as his biologically “natural” protagonist Vincent assumed the identity of the genetically “perfect” Jerome to further his space-exploration career; the film, which on paper might seem a cerebral sci-fi comedy of mistaken identity, dramatized what it meant to be “real” in an unreal world, and was a heady, thrilling experience.

 
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