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items tagged with Brian Cox

"Super Size Me" Funny and Scary, but Far from Perfect: Also, "The Bourne Supremacy"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2004-07-28 00:00:00

Morgan Spurlock in Super Size MeSUPER SIZE ME

At its best, Morgan Spurlock’s hit documentary Super Size Me plays like an adaptation of Eric Schlosser’s exposé Fast Food Nation: smart, funny, well-researched, and scary as hell.


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"Troy" Plays Like Greek Bedtime Story: Also, "Touching the Void"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2004-05-19 00:00:00

Brad Pitt in TroyTROY

About 100 minutes into Troy – director Wolfgang Petersen’s and screenwriter David Benioff’s very loose adaptation of Homer’s The Iliad, which details the events leading up to and during The Trojan War – there’s a battle sequence that gives the audience a true rush.


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"X2" Fun but Missing Its Soul: "X2: X-Men United," "It Runs in the Family," and "The Real Cancun"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2003-05-07 00:00:00

Hugh Jackman in X2: X-Men UnitedX2: X-MEN UNITED

Most reviewers disliked the original X-Men, Bryan Singer’s Marvel Comics adaptation that earned money but little critical respect in the summer of 2000. I, on the other hand, loved the original, so much so that, three years later, it still merits regular rotation in my DVD player.


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Lee’s Latest Should Not Be Missed: "25th Hour," "A Man Apart," "Dysfunktional Family," and "Anger Management"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2003-04-16 00:00:00

Barry Pepper, Edward Norton, and Philip Seymour Hoffman in 25th Hour25TH HOUR

I wish my schedule had allowed me to catch Spike Lee’s 25th Hour sooner, as I would have happily spent the last two weeks extolling its merits to everyone I saw. (It ends its run at the Quad Cities Brew & View on April 17.) The film, wherein a convicted drug dealer (Edward Norton) spends his last free day in New York tying up loose ends among family and friends, is probably Lee’s most passionate, exemplary work since 1989’s Do the Right Thing. Though the movie showcases Lee’s trademark anger, profane humor, and uncommon vibrancy, what sets the film apart from his usual fare is its sadness; it has an aura of melancholy that keeps the director’s more bombastic impulses in check. (He even pulls off a beauty of a lullaby ending, one which, in lesser lands, could have been disastrous.)


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