Gemma Files

Chan's glorious madness.

This is a waking dream of truly operatic dimensions.

Opinionated magic and mayhem

Quills -- like the Marquis himself--is a posey, pungent, ultra-theatrical yet weirdly seductive mess which wants to have its cake, eat it too and discuss the whole concept and context of its meal (constantly, contradictorily) while it does so.

It's a rollicking good time, full of genuine emotional pull and incandescent acting, and anchored by a passionate love for the theater itself which puts most human liaisons--including Shakespeare and Viola's -- to shame.

Though issues of politics and philosophy are touched upon, this is a film about the people inside the uniforms -- a story of human beings under pressure, forced by circumstance to make choices both impulsive and, on occasion, heroic. It's also the new year's single most satisfying movie experience thus far.

Confirming the moral of a thousand "Twilight Zone" episodes: Don't play with time.

A startling debut full of emotional depth and political punch.

It's adult and humane, genuinely sexy, laugh-out-loud funny.

Man, I just can't recommend this enough.

Well worth the price of admission.

A tiny slice of bleak, black near-perfection.

Nothing less than stunning: a slapstick ballet of choreographed buffoonery.

This is independent acting (and movie-making) at its best -- true, tight, anything but trite.

Mehta's latest release, combines a similarly intoxicating visual immediacy and delight with a sobering outsider's long view.

The kind of thing Franz Kafka might have dreamed up, had he only had access to a daily dose of MTV.

Expertly done, and a real joy to watch.

Breaks virtually no new narrative ground, yet treads the familiar territory it does cover with grace, style, wit and fun.

A true achievement -- no matter who eventually wants to take, or deny, credit for its creation.

Retains enough of Soderbergh's usual indie sensibility to make some sly but contentious points.

An incredible star turn from Hilary Swank.

Horror presented without restraint or apology, as a full-bore, blood-soaked load of nomad nastiness caught in constant forward motion.

A gorgeous and enduring piece of work.

One of the most consistently amusing ways in which it frustrates audience expectations has to do with how amazingly little of this very violent cast of characters' violence actually ends up being expressed onscreen.

Here in the rotting depths of pulp horror/adventure territory, that's the entire point of the exercise.

A two-hour slice --of comedy pie.

Starting small and building steadily, the movie reaps some fall-down funny laughs.

A fascinating combination of dare, stunt and genuine artistic risk -- often disorganized, but never less than entertaining.

It always surprises, never bores. It's also just damn good, on every possible level -- so go see it. Now.

But it IS enjoyable.

Silly in some parts, but sheer fun in most, Bootmen will get you wiggling in your seat with a big grin pasted on your face.

Sweet and hilarious, a classic crowd-pleaser which elevates rather than eviscerates the homespun eccentrics who make up its cast of characters.

Ferociously inventive.

Subtle, strange, off-putting, fascinating.