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items tagged with Jennifer Lopez

"Shrek" Is For Kids: Also, "Angel Eyes" and "A Knight's Tale"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2001-05-23 00:00:00

ShrekSHREK

Let’s face it: Kids are gonna love Shrek, Dreamworks’ comedic, computer-animated fairy tale. They’ll get a kick out of the loud, outsize characters and superb visuals, and they’ll probably laugh a lot. No one under 12 will want to miss it.

As for the rest of us ... .


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Two and a Half Cheers: "Crouching Tiger, Hidden Dragon," "O Brother, Where Art Thou?", and "The Wedding Planner"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2001-02-07 00:00:00

Michelle Yeoh in Crouching Tiger, Hidden DragonCROUCHING TIGER, HIDDEN DRAGON

You may have heard that Ang Lee’s latest work, the historical-drama/romance/martial-arts/action pic Crouching Tiger, Hidden Dragon, is in Chinese with English subtitles. It's true. Yet no filmgoer with a subtitle phobia should be dissuaded from seeing the movie, because it’s such a thrilling, intoxicating, heady ride that its subtitles are absolutely superfluous. Ang Lee has created something rather amazing – an accessible, American-audience-friendly foreign work – that will leave you gasping at its audacity and superior visuals while finding yourself completely enraptured by its two sets of heartbreaking romances; it’s a Chinese Titanic with a better script.


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Finally! A Great Movie! (And Two More Crummy Ones...): "The Original Kings of Comedy," "The Cell," and "Bless the Child"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2000-08-30 00:00:00

D.L. Hughley, Cedric the Entertainer, Steve Harvey, and Bernie Mac in The Original Kings of ComedyTHE ORIGINAL KINGS OF COMEDY

If The Original Kings of Comedy, the filmed preservation of the wildly popular comedy revue, were merely as funny as it is, it would probably stand as the best American movie of the year so far. But director Spike Lee has done something incredibly savvy with the project. Aided by the terrific editor Barry Alexander Brown, Lee has given the material true cinematic fluidity. The editing rhythms are all right on, the camera is always right where it should be to give the performers their biggest laughs (and it seems that Lee has about a hundred different cameras at his disposal), and there are just enough segments with the performers joshing and relaxing off-stage to give the film true dimension; we’re aware that their stand-up personas only hint at who they are.


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