Oops, There It Is -- Best Film Flubs of '04
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LOS ANGELES  - Buried under the  avalanche of year-end lists is one that won't make moviemakers  very happy. MovieMistakes.com has named and shamed its 15  favorite continuity errors of 2004.
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Top 5 Movies of the Week (As on October 28th, 2004)
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Comedies dominated the top ten films this weekend.
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[Hollywood News]: London, Nov 2 : Remember those times when your only excuse for watching kung flu flicks were those terribly dubbed movies with no story lines whatsoever?
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Manohla Dargis's picks for the best films of 2004 include "The Big Red One," "Before Sunset," "Collateral" and "Blind Shaft."
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'Tis the season, finally, for some good films. As Hollywood gets serious, our critic delivers his verdict on who's been naughty and who's been nice.
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Top five movies of the week 19-08-2004
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Much was expected from a number of big-budget/talked-about films that opened this year.
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It has been well recorded that the mid-nineties are best known for sudden popularity of independent cinema, but independent from what? The term "indie" is as slippery when applied to films as it is to music. The studio at the vanguard of this "revolution" was Miramax, which was long a subsidiary of Disney, and as for the "revolution" itself, it unleashed more painful and derivative Pulp Fiction clones than it did anything truly revolutionary. It was bled dry, turned inside out, repackaged, and sold back to the masses until it became the paradigm of unhipness. This seems to be the nature of all revolutions, from the Soviets to the Sixties; the bullshit always comes full circle.     While it's easy to be cynical of all so-called revolutions in hindsight, what one can't be cynical about is the intense enthusiasm audiences had for the so-called independent cinema of this era. To every person who ever dreamed of being in the director's chair, it seemed like all one needed to have the new hit movie was a vast knowledge of pop culture, the ability to write pages worth of rambling dialogue, and a Visa card.
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A fantastically grotesque retrospective of an influential-yet-overlooked filmmaker. By Jason Silverman.
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What good is a Bond flick without far-fetched gizmos? Here are some ideas to get the franchise back on the right track. Commentary by Lore Sj&#246;berg.
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Steven Soderbergh's latest film is the ultimate guilty pleasure.
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It's never happened in all the time we've been doing this: Associated Press reviewers David Germain and Christy Lemire agree on the year's best film. Here's how the rest shake out.
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Steven Soderbergh's unabashedly trivial sequel may be slim pickings, but when it works, it's a blast.
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By David Sterritt | Film critic of The Christian Science Monitor. It&#39;s a double whammy, and almost nobody but Steven Soderbergh could have pulled it off.
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Godspeed, 2004. You may be remembered as the year the movies took on the enigmas, and the enigmas won. With the exception of &quot;Kinsey,&quot; none of the year&#39;s celebrated big-screen bios of privacy
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I met an old friend for coffee in San Francisco yesterday afternoon, and had a few hours to kill before stopping in at the Wired reunion party. I didn't want to drive back to Berkeley because the weather was so crummy, and I was just across teh street from a movie theater and was just in time for the start of a movie that lots of people had been telling me to see. So I went. The movie -- The Diving Bell and the Butterfly, I had no idea what it was about until the movie started, then I remembered hearing a Fresh Air show about it and finding it too painful to listen to. Now here I was in the theater, not just being asked to listen to it, but being asked to live it. Through some very wonderful film-making, you feel as if what is happening to the main character is happening to you. Or more accurately, probably, you get the slightest hint of what it's like to be this person. My immediate impulse, one which I gave serious consideration to, was to pack up my things and leave. Anything would be better than spending three hours living this guy's life.  Two things happen over time: 1. You get over it. 2. They change perspective, and instead of being inside his body, you move outside it.  I think those two things are the story we all live as we mature and learn to live inside our own bodies, with their limits. You learn to step outside and see the humor in your predicament. The main character says he lives in a diving bell because it's as hard for him to communicate with other people as it would be at the bottom of the ocean inside a diving bell. The movie teaches that it's not much easier for the rest of us, even though we can manipulate symbols better. On the other hand, of course it is. The film develops a relationship between the hero and his father, between the hero and his own children, his ex-wife, his lover.  We strive for deeper understanding of ourselves and each other. But it may be ridiculously easy to find the only meaning that exists, without language, without intellect, by just being. The Diving Bell and the Butterfly should probably be the picture of the year for 2007, it's that good. But like all great art it shows you something truthful about yourself, and you may or may not want to see it.