Just like the classic Ford model that inspired their name, Gran Torino is revving up for an appearance tomorrow night at Trax. "We're looking forward to playing Trax again," Scott Pederson said.
"Return to Me" will fulfill the craving of the most devoted sweet tooth. Utterly predictable and often insipid, this movie will make its way into the hearts of many viewers only because it is so darn cute. David Duchovny discards Mulder's suits to play Bob Rueland, who loses his wife in a car accident.
U2 is back ... sort of. It's been three years since the band last put out an album, and the anticipation for the follow-up to "Pop" is getting a bit ridiculous.
Ever wonder just what the Seven Society really does - I mean, besides provide a welcome distraction from boring convocation speeches?
"The Road to El Dorado" makes DreamWorks' animation mission perfectly clear: to be like Disney. Unfortunately, the somewhat-new company has found that a hit movie requires more than the music of Elton John, big-name voices and computer animation. The story opens with the heroic duo of Tulio (Kevin Kline), a character with a jarring American twang, and Miguel (Kenneth Branagh), who exhibits an out-of-place English accent.
It may seem somewhat of a moot point to review the movie "All About My Mother" now. It won the Oscar for best foreign film just last week and has been out for quite some time. However, this startling masterwork by Spanish director Pedro Almodovar has finally come to Charlottesville so our small community can partake in its strange beauty. The most important thing to remember about "Mother" is that it is not your typical fare; it is not even your typical foreign fare.
After seeing last semester's rousing rendition of "How to Succeed in Business Without Really Trying," audiences were breathless in anticipation of what First Year Players would do next.
Few films have the ability to make a seamless transition from book to big screen. "High Fidelity," however, does just that, smoothly morphing from British author Nick Hornby's cult novel into Stephen Frears' film. Chronicling the romantic misadventures of its narrator and central character, Rob Gordon (John Cusack), "Fidelity" presents real problems with wit and portrays a keen understanding of human relationships.
"Thats your dreams out now," author Frank McCourt writes in "'Tis," the sequel-memoir of the Pulitzer Prize-winning "Angela's Ashes." And certainly McCourt can claim those dreams with a second book as well written as his first. McCourt picks up where his life story left off in his first book -- on a boat about to dock in America.
It is truly 'N credible that 'N Sync manages to attract the 'N terest of millions. If the little teeny-bopper 'N fidels had any sense, they'd ignore 'N Sync altogether and be die-hard Backstreet Boys fans. The fact is, the Backstreet Boys make 'N Sync look like walking scrambled eggs when it comes to appearance.
In mining possible story ideas to write about as I debut my television column, I found myself inundated by the same concept over and over again: "The Sopranos." But I'll refrain from writing here about HBO's award-sweeping seriocomic story about family and the mob ties that govern them for two main reasons: every other print magazine has already salivated over the show, and more importantly, I don't get cable here so I haven't seen the majority of its episodes this season. Instead, I'll focus on network television and an overriding theme of the last few weeks: death.
The martial arts movie and Hong Kong action genre have always been closely associated with an aesthetic ideal, and director Andrzej Bartkowiak's "Romeo Must Die" is no exception. The new film stars Jet Li, a long time martial arts and Hong Kong action flick veteran, who broke onto the American movie scene in "Lethal Weapon 4." Li works his artistic magic when it comes to kicking butt in "Romeo," shining as a violent virtuoso. The fighting brilliance does not, however make up for the film's completely ridiculous plot.
I usually cite "She's All That" as the low point in what otherwise has been a fairly successful reinvention of the intelligent and incisive teen film genre.
In a never-ending current of commercially-manufactured teen flicks, one may have difficulty deciding whether a film merits the cost of a non-matinee show or whether it can wait for a delayed video viewing.
I have to take you to task. Your choices this year for Academy Award nominations have made me almost as scared of you as I am angry.
There is an expansive list of semi-star rock bands popular enough to keep selling records until their lead singer overdoses, but not popular enough to stamp their group's logo on the forehead of the American music visage.
In director Steven Soderbergh's diverse body of work, there emerges one unifying theme: His protagonists are all loners, all male.
Recently, audiences have witnessed modern-day incarnations of "Hamlet," "Romeo and Juliet" and "The Taming of the Shrew," so it was only a matter of time until Shakespeare's sonnets received similar treatment. An interesting, if uneven experiment, "Love's Fire," is a medley of seven scenes penned by some of the most eminent playwrights working today. Playing at the Helms through Saturday, the Drama Department's "Fire" establishes seven different scenarios that lead into the delivery of one of the Bard's sonnets (including Sonnet 154, wherefrom the play gets its name). An early highlight from the opening night performance March 9 was "Waiting for Philip Glass," in which Wendy Wasserstein abandons her generally brash sense of humor for a more low-key tone.
Houston, we have a problem. That problem has a name: "Mission to Mars," which marks a disastrous attempt to explain the universe and our existence.
7:05 Picked up new Bridget Jones' diary (hurrah!) 7:08 Singleton life over for Jones. Should pay attention.
