Let's not forget how George Bush won the presidential election or the inanities he's uttered before or since. Despite the war, despite everything, the man is a chucklehead.
The federal government isn't paying reparations to black folks in the form of a special tax rebate ... but there are thousands of people asking for it on their returns.
There's hope for disabled folks who want to score, although they might have to lower their standards a bit. Dan's not afraid to give it to 'em straight (or bi, or whatever).
Watching the feature debut by Belgian director Lieven Debrauwer, one becomes increasingly dismayed at the gap between what the film aspires to be and what's actually on the screen. It plods along with steady and shallow steps, alternately clichéd, cute and appallingly sentimental.
Directed by and starring Bill Paxton, Frailty has a weakness for perversely parodying ’60s TV shows and Christian family values. The title may be the only perfect thing in this changeling of a horror flick that ends up shifting its bad religion from the psychological to the supernatural.
Random chance or divine intervention puts two men on a literal crash course. But car crashes don’t drive this flick; they just start it up and shift it into high gear as it breaks open a view of an America where races, classes, and power and ethics clash. For a Hollywood movie, that’s a welcome change — with Ben Affleck and Samuel L. Jackson.
Brazilian director Walter Salles' film is a visual step up from his last (and Oscar-nominated) feature, Central Station,while again sentimentalizing its story by having a young boy as a central character. It's an entertaining little tale, if you like the lavishly downbeat.
In this romantic comedy, romance is just an excuse for a string of very funny shtick — featuring the dazzling Cameron Diaz and Christina Applegate as her best friend. It’s a lot of laughs, poking fun at both men and women, with a split-your-gut dream sequence (girls, you gotta see this one).
The contemporary ballet Cendrillon (Cinderella), performed by France's Lyon Opera Ballet at Ann Arbor's Power Center, is both unsettling and wonderfully miraculous.