Ned Kelly (review)

The story of Australian cult figure Kelly — a 19th-century Robin Hood–esque outlaw, child of an underclass of Irish immigrants — is a tricky film, punctuated by bursts of staccato surrealism and bitter humor, hard to love unreservedly but easy to appreciate for its ambition. Heath Ledger (The Order) finds a wary, cautious groove as … more…

I’ll Sleep When I’m Dead (review)

Legendary British director Mike Hodges (Croupier) and screenwriter Trevor Preston strip the mobster film down to its bare essentials, and the result is stark and relentless. It won’t be everyone’s cup of tea, but daring filmgoers will find a shattering exploration of the psychological assault of crime on the criminal. Clive Owen (Beyond Borders) finds … more…

The Door in the Floor (review)

“A sound like someone trying not to make a sound.” Four-year-old Ruth (Elle Fanning: Daddy Day Care) isn’t describing the shushed fury consuming the adults around her, but she might well be. Her parents’ marriage is collapsing, quietly and at long last, the strain of life-altering tragedy finally catching up to them, but they barely … more…

Daughters of Afghanistan (review)

Since the fall of the Taliban, Islamic fundamentalism has “reasserted itself in a sinister way,” according to Canadian journalist Sally Armstrong, and in this powerful, angry film she documents precisely how little has changed for women in that ravaged country. Through the eyes of four Afghani women — including Dr. Sima Simar, who was, for … more…

Wicker Park (review)

Who decided Josh Hartnett could act? Where do they come from, these bland, boring, untalented pretty boys? Is there a factory somewhere in South America that extrudes them in flesh-colored silicone? How can we stop this?

Criminal and Nicotina (review)

Now, I’m the first film fan to profess a disdain for foreign films revisited by American filmmakers — there’s usually little point in doing so rather than giving those foreign films a wider domestic release, beyond the sad fact that most mainstream American moviegoers simply don’t want to read subtitles. But damn if *Criminal* doesn’t actually improve upon *The Nine Queens,* the Argentine film upon which it is very closely based.

Shortcuts

These reviews have moved — sorry for the inconvenience. Conan O’Brien 10th Anniversary Special Daughters of Afghanistan The Door in the Floor I’ll Sleep When I’m Dead Laverne & Shirley: The Complete First Season Millennium: The Complete First Season Ned Kelly Stander SuperBabies: Baby Geniuses 2 Two Brothers Vanity Fair Wimbledon Young Adam

Open Water, Mean Creek, and Without a Paddle (review)

I knew the sketchiest outline of what *Open Water* was about before I went into it: A young couple goes scuba diving in the middle of the ocean and get left behind when the boat heads back to shore. And the whole movie is just them stranded out there. How scary could it be, anyway, a movie about people floating around in water? Sure, there’ll be sharks, and that’ll be good for about ten minutes of boo!s… and then what? Yeah, the movie’s only 79 minutes, but still… This can’t possibly work, can it?

Suspect Zero (review)

You wouldn’t think there’d be much left to say about cinematic serial killers and the cops they love to taunt, so it’s bonus points to *Suspect Zero* for even attempting to find something new in this, pardon the pun, done-to-death genre.

Alien vs. Predator (review)

I call bullshit on this movie. Bullshit for being a geeky tease. Bullshit for being bad in that way that’s super boring, for not even having the common decency to be bad in that way that’s super cheesy. You can’t even have fun making fun of this movie, it’s so not even trying. It barely even bothers to show up.