AltWeeklies Wire
Protocols of Zion
This is a rambling and inconclusive but intermittently incisive tour of neo-Nazis, radical Muslims, and other conspiracy-inclined types.
Washington City Paper |
Mark Jenkins |
11-11-2005 |
Reviews
Aw, Shoot
For all its absurd complications, the plot of this film is ultimately unsurprising and not all that interesting.
Washington City Paper |
Mark Jenkins |
11-10-2005 |
Reviews
Outsider Drama
Turning his multiplatinum Get Rich or Die Tryin' into a movie is a logical way for 50 Cent to expand his franchise, but that doesn't guarantee he can enlarge his abilities along with it.
Washington City Paper |
Mark Jenkins |
11-10-2005 |
Reviews
Love in Space
Ultimately, though, this is a story about love -- with robots, reptilian monsters, and unfriendly spaceships that try to shoot the kids' home into oblivion.
Washington City Paper |
Tricia Olszewski |
11-10-2005 |
Reviews
Twit Wit
The heroine of Jane Austen's novel is not a giggler. She is quick-witted and headstrong, capable of being charming and even playful but more known for sharply speaking her mind. Unless, that is, she's being played by Keira Knightley.
Washington City Paper |
Tricia Olszewski |
11-10-2005 |
Reviews
Derailed
Though it may take a few years and many movies to wash the Rachel out of Aniston's hair, her turn in Derailed is a good Good Girl-ish step.
Washington City Paper |
Tricia Olszewski |
11-10-2005 |
Reviews
After Innocence
People convicted of murder or rape and then cleared by DNA evidence often remain incarcerated, as authorities desperately try to convince judges that they got the right guy, or even that blameless men should remain behind bars on procedural grounds.
Washington City Paper |
Mark Jenkins |
11-04-2005 |
Reviews
Dying for Undying Fame
If the theme of Jarhead is killers wanting to kill, the theme of Paradise Now is killers wondering if they should kill.
Washington City Paper |
Louis Bayard |
11-04-2005 |
Reviews
Violence Is Golden
Sam Mendes' bleakly funny, stunningly realized Jarhead brings us a world in which violence, far from erupting, remains eternally, almost unnaturally, constrained.
Washington City Paper |
Louis Bayard |
11-04-2005 |
Reviews
Rainy-Day Man
In The Weather Man, director Gore Verbinski has achieved the impossible: making Bob Seger's Chevy-pushing "Like a Rock" poignant again (or, perhaps more accurately, for the first time).
Washington City Paper |
Tricia Olszewski |
11-04-2005 |
Reviews
Scarred Lives
The directorial debut of playwright and screenwriter Craig Lucas, The Dying Gaul is a slick, Hollywood-style vehicle powered by anti-establishment anger.
Washington City Paper |
Mark Jenkins |
11-04-2005 |
Reviews
Breaking Up and Down
The fourth and best film by second-generation Brooklyn boho Noah Baumbach, The Squid and the Whale is partially autobiographical, and it seems as uncensored and intimate as entries from someone's diary.
Washington City Paper |
Mark Jenkins |
11-04-2005 |
Reviews
The Legend of Zorro
The film falls flat in its seriously siesta-inducing pace.
Washington City Paper |
Mario Correa |
10-27-2005 |
Reviews
Fast-Forwarding Through Life
Writer-director Ben Younger seems to think that merely showing Rafi (Uma Thurman) and David (Bryan Greenberg) tonguing each other after each sparkless date is enough to make the audience believe in their romance.
Washington City Paper |
Tricia Olszewski |
10-27-2005 |
Reviews
Lost in Interpretation
Shopgirl, based on the novella by Steve Martin, will inevitably be viewed as Martin's Lost in Translation. But Martin, it turns out, is no Bill Murray.
Washington City Paper |
Tricia Olszewski |
10-27-2005 |
Reviews
