To Kill is to Love

Where Kill Bill: Volume 1 ended with a dizzying bang, a clandestine revelation and an uncertain future, Quentin Tarantino?s Kill Bill: Volume 2 finalizes on a d...read more

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The Reinvention of Chopsloitation

As quintessentially Tarantino as Quentin Tarantino can get, Kill Bill Vol.1 is also the film the most dissimilar to the manic director’s past work (the genr...read more

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Sloppy Thirds

With only its wonderfully caricatural final act and denouement as its principle virtues, one wonders if Robert Rodriguez is channeling only Sergio Leone's weave...read more

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The Little Engine that Couldn't

Nearing its first act’s end, at long last, with the inevitable congregation of its main character trio (after an elongated intro mired by two marriages, a c...read more

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The shivering of timbers

Eloquently verbose, chillingly extraordinary and distinctly more authentic in eliciting that innate pirate spirit than any contemporary swashbuckling picture th...read more

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Psychology and Smashing Things 101

One of the more or less highly anticipated comic book adaptations in recent memory, Ang Lee’s Hulk is also one of the more visibly deceitful and accordingly...read more

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God has an anomalous sense of humor

Manning its moral lighthouses with a creepy homeless man, mannequin-esque and complete with doomsday signs in hand (who later turns out to be something else, ir...read more

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Uninspired flamboyance as insouciant blah

Roger Donaldson’s The Recruit is a voluptuous Venus Flytrap of an espionage caper, complete with a monochromatic and appealing exterior of deceptive attract...read more

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The (unofficial) fourth in Wes Anderson's oeuvre

Burr ''Flock of Seagulls'' Steers’ Igby Goes Down is a quirky, ambitious and corybantic little thing to behold, retooling the Wes Anderson structure past ...read more

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The fall of an empire. The descent of man.

Opening with something along the lines of a Tarantino gimmick and concluding with something of a Scorsese gimmick, Spike Lee’s 25th Hour, indeed, enthuses...read more

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Destruction of the pro-military apologue

Narrow and feeble in consideration, construction and execution, Denzel Washington’s debut, Antwone Fisher, is a grand faux pas in the scheme of invoking d...read more

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The Falsity About Charlie

Obscure by design and endlessly inventive, in a Soderbergh and Coen kind of way, Spike Jonze’s Adaptation is bottomless self-deprecating Charlie Kaufman a...read more

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The Travels of Schmidt

The blistering irony and torture of retirement seems (and if not, should be) more dreadfully anticipated with the onslaught of modern technology nowadays; the b...read more

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Death shall have no dominion

Deviant in its distortions of preconceived expectations attributed to science-fiction films Steven Soderbergh’s abstruse Solaris is opaquely intellectual an...read more

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The Analytical Descent of a Career

With uncouth composure and deliriously soporific pace Harold Ramis’ Analyze That is as unfunny as it is tortuously inert, castrated by a grievous sense for ...read more

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Scorsese's American History X

Resembling a colossal gaffe of equal parts James Cameron imitating Martin Scorsese, Michael Bay imitating the same, and the Raging Bull himself pulling an impud...read more

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The Art of War

Pummeling the timorous competition and obliterating mountainous ranges of expectation this second installment of J.R.R. Tolkien’s The Lord of the Rings epic...read more

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Ian Fleming rolls ever-so-slightly in his grave

Laden with homage to the past nineteen films this XXXed James Bond adventure is hyperbolically grandiose and a chic exercise in the passé spy ritual. The e...read more

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The Mysterious Voyage of Sandler

A speciously tangible veracity and contradictory recitation, positioned with a quirky cadre of animal magnetism, subtly and antagonism, Punch-Drunk Love is Paul...read more

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Harry Potter and the Great Beneath

Essentially saturated with a consummate propensity for the authentically whimsical and an ingeniously conjured universe of contemporary and mythological assimil...read more

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