This review was originally published on June 23, 2005. Miranda July‘s “Me and You and Everyone We Know” is a film that with quiet confidence creates a fragile magic. It’s a comedy about falling in love when, for you, love requires someone who speaks your rare emotional language. Yours is a language of whimsy and […]
This review was originally published on June 6, 2008. Jeff Nichols‘ “Shotgun Stories” is shaped and told like a revenge tragedy, but it offers an unexpected choice: The hero of the film does not believe the future is doomed by the past. If it were, most of the key characters would be dead by the […]
This review was originally published on January 7, 2000. “Magnolia” is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. Paul Thomas Anderson here joins Spike […]
This review was originally published on March 14, 1997. “Love Jones” is a love story set in the world of Chicago’s middle-class black artists and professionals–which is to say, it shows a world more unfamiliar to moviegoers than the far side of the moon. It is also frankly romantic and erotic and smart. This is […]
It’s better than similar micro-budget horror flicks, in large part because it never takes itself seriously.
A thoroughly fascinating documentary about a family discovering the depth and complexity of their patriarch while coming to terms with his flaws.
“The Woman in the Yard” never quite manages to come together into an effective whole.
