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What's popped
and what's flopped,
In a theater near you.
F ahrenheit 9/11
dud, bottom of the bag
only if you’re really hungry
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<§><%> T he I ntended
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U1
You may have heard about this little
film—you know, that one that’s going to
change the course of world history? What
might get lost in the hype and hyperbole is
that Bowling for Columbine shit-starter
Michael Moore has created an incendiary,
heartbreaking masterpiece of investigative
journalism that does a better job document
ing current events than all of our “liberal
media” outlets combined. President Bush
comes off as a bufftxm at best—and a cold,
corrupt, elitist warmonger at worst.
—Jim Radosta
COCKTAIL PARTIES
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I rt e Acoustic Munir
Non-Smoking
A poorly executed period piece about an
English surveyor and his fiancée who find
work at an isolated trading post in the
primeval forests of Malaysia. The characters
are two-dimensional and the plot is general
ly lost at sea, grasping at clichés and under
developed conflicts. To make matters worse,
the film, which opens July 9, pushes a
decrepit moral lesson about the eeeevils of
money and the subsequent corruption of the
human soul. Been there, done that.
—Evan James
T he M other
A beautifully filmed and provocative story
about a 60-year-old widow who, before her
dead husband’s body has had time to cool,
starts an affair with her daughter’s strapping
lover. Anne Reid does a brilliant job with the
titular character, but the film lacks a certain
believability and consistency of tone.
Nonetheless, it is something you haven’t seen
before and is worth a trip to the theater.
—J.B. Rabin
<g> N apoleon D ynamite
Mercifully, this flick starring Oregon-
grown actor Jon Heder turns around after
the first dismal 30 minutes and proves to be
an agreeably quirky story about the ultimate
high school goof, his embarrassing family
and his divinely placid friends. Stuck mid
way between inane National Lampoon
offerings and the calculatingly droll films of
Todd Solondz, Jared Hess’ first feature ulti
mately reaches a nice balance of pathos and
smarm.
—Lisa Bradshaw
T he N otebook
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Private Partin
No matter how big a cynic you are and
how much you try to dislike this movie
about young lovers separated by class and
World War 11, it will end up charming the
pants off you. And while you sit, pantless,
in the theater, be sure to take in the phe
nomenon that is Ryan Gosling’s (The
good effort, pass the salt
mmmm, tasty!
get the big tub o’ com
United States of Leland) on-screen chemistry
with relative newcomer Rachel McAdams.
Bring tissues.
—JBR
The amount of sequels better than their
predecessors can be counted on one hand; add
director Sam Raimi’s Spider-Man 2 to that list.
Peter Parker
(Tobey
Maguire) is
so tortured
by his secret
for so much
of the film
that when
he’s “outed,”
it’s a huge
relief for the
character
and the
audience
both. Excel
lent special
effects and strong acting make this not just a
summertime must-see but one of the best
superhero films ever made.
—Andy Mangels
T he S tepford W ives
In the ultimate remake gone wrong,
writer/director team Paul Rudnick and Frank
Oz (In & Out) take a chilling 1970s novel
about paranoia and the gender wars and turn it
into a circus farce starring Nicole Kidman as a
new suburbanite trying to figure out her robot
ically perfect neighbors. The addition of a gay
family somewhat intrigues, but the strong cast
is wasted on a film that doesn’t know where
it’s going and doesn’t know what to do when it
gets there.
—LB
Two B rothers
Beautifully shot in remote jungle temples,
this fabulous feature by Jean-Jacques Annaud
(The Bear) follows the adventures of separated
tiger cubs against the dramatic backdrop of
early 20th century Cambodia. Despite the
film’s seeming kids-only appeal, adults will J
respond to its powerful mix of myth
and pathos. Two Brothers is also a
JrSC
perfect argument for replacing
human actors with animals.
I A
—Gary Morris
I Ayl