AltWeeklies Wire

The Eccentric Tony Kaye Weighs in on Abortion Debatenew

As it turns out, Lake of Fire is serious and provocative and heartfelt and probably as close as any movie on an issue this vast and irresolute can come to being an exhaustive survey.
L.A. Weekly  |  Scott Foundas  |  10-12-2007  |  Profiles & Interviews

Sarah Silverman, Devastatingly Cute and Vice Versanew

In the first two second season episodes, Silverman's character takes a joyful trip down memory lane reliving her past abortions, sympathizes with a guy who had to give up crack and rigorously defends her right to lick a dog's anus. It's sick, stupid, brilliant and the bravest sitcom on TV.
New York Press  |  Stan Friedman  |  10-12-2007  |  TV

Boston Lethal

The soul- (and body-) killing streets of a city come to life in Gone Baby Gone.
Salt Lake City Weekly  |  Scott Renshaw  |  10-12-2007  |  Reviews

Anton Corbijn on His Biopic of Joy Division's Ian Curtisnew

"Control is about a boy -- where we see his dream and what happens when it turns out to be different than he thinks," Corbijn explains about his first feature film.
New York Press  |  Jennifer Merin  |  10-12-2007  |  Profiles & Interviews

Sweet Boy Falls for Inflatable Sex Toy in 'Lars'new

Craig Gillespie and writer Nancy Oliver have reduced the ick factor by desexualizing the setup; Bianca may be anatomically correct, but she and Lars have a chaste relationship.
Los Angeles CityBeat  |  Andy Klein  |  10-12-2007  |  Reviews

'Elizabeth: The Golden Age': Thin Lizzienew

When a director starts marshalling wordless heavenly choirs in the third act, you know his picture's in trouble.
NOW Magazine  |  John Harkness  |  10-12-2007  |  Reviews

'We Own the Night' Works if You Ignore the Finalenew

The first 90 minutes are very good, though, and they mark a leap forward for a director whose thrillers previously wavered between dour and depressing.
NOW Magazine  |  John Harkness  |  10-12-2007  |  Reviews

Evan Rachel Wood, the Princess of Californianew

It girl is now free to explore more grown-up roles -- and her inner rock chick.
NOW Magazine  |  Barrett Hooper  |  10-12-2007  |  Profiles & Interviews

Michael Caine Goes Back to the House of Gamesnew

In Sleuth, Caine returns to a psychodrama of his youth, with the all-star support of Pinter, Branagh, and Law.
Los Angeles CityBeat  |  Andy Klein  |  10-12-2007  |  Profiles & Interviews

Book Smartnew

The Jane Austin Book Club and The Heartbreak Kid require no dumbing down.
Creative Loafing (Charlotte)  |  Matt Brunson  |  10-11-2007  |  Reviews

Documentary Captures the Katrina Refugee Experience in Utahnew

In his second feature film, director Alex LeMay attempts to answer the question: What do you get when you take a nearly all-white state filled primarily with Mormons and add 600 black Hurricane Katrina refugees?
New York Press  |  Nida Najar  |  10-11-2007  |  Reviews

Hear it From Golda Meirnew

In Golda’s Balcony, the eponymous subject spends the full running time talking to herself. This being filmed theater, it’s clear we’re not dealing with a weirdly nostalgic case of schizophrenia, but I wouldn’t reject the possibility that the entire movie takes place inside Israel’s most iconic prime minister’s head.
New York Press  |  Eric Kohn  |  10-11-2007  |  Reviews

Naturalism Meets Superstition in 'Khadak'new

The filmmakers capitalize on the poetic quality of the nearly wordless movie’s storybook images, but they don’t fetishize the culture; rather, they view it through an honest lens by taking the superstitious elements at face value.
New York Press  |  Eric Kohn  |  10-11-2007  |  Reviews

'We Own the Night' Disappointsnew

The "two brothers on opposite sides of the law" storyline is formulaic and uninspired, but the presence of loveable freaks Mark "Marky Mark" Wahlberg and Joaquin "It's Not a Harelip!" Phoenix offers faint hope. Alas, mediocrity wins the day.
The Portland Mercury  |  Alison Hallett  |  10-11-2007  |  Reviews

Morality 101 with Professor 'Michael Clayton'new

It's nothing that we haven't seen before: A stereotypically villainous corporation hurts the little guy; our conflicted protagonist has to figure out what to do. But an impressive cast and Tony Gilroy's sharp direction allow the smart, intense film to take a John Grisham-y concept and amp it up.
The Portland Mercury  |  Erik Henriksen  |  10-11-2007  |  Reviews

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