Guild Goes Monthly—The Guild Cinema in Nob Hill has finally gotten around to producing their long-promised monthly film schedules. These handy oversized calendars hearken back to the good old days of Albuquerque's late, great repertory theater Don Poncho's. The first schedule features a full two month's worth of Guild films at a glance. Mark up your calendars with all the great foreign, indie and documentary films (not to mention crazed Alibi Midnight Movie Madness selections) that you want to see in the coming weeks. You can pick one up at the Guild Cinema box office, Bound To Be Read, Title Wave, Charlie's Records and Tapes, Il Vicino and Alphaville video.
The Bourne Supremacy
Damon puts the thrill in thriller with another amped-up outing
In the summer of 2002, The Bourne Identity was an iffy moviegoing prospect. It was based on a pulpy page turner by Robert Ludlum that had been floating around supermarket shelves since 1980. It had been made into a serviceable, if forgettable TV movie staring Richard Chamberlain. And it was to star Matt Damon, who had just tanked in All the Pretty Horses and The Legend of Bagger Vance. In fact, there was every reason to believe that The Bourne Identity would be crushed under the tank treads of The Sum of All Fears, a mega-budget paperback-turned-movie, which had opened two weeks earlier. Surprisingly, Bourne proved to be a sharp and savvy piece of entertainment, grabbing more than $100 million at the box office and its fair share of critical praise.
Harold & Kumar Go to White Castle
A movie succeeds or fails based on its own merits. If a film is trying to be a dumb movie, and it undoubtedly is (like, say, Airplane), then it must be deemed a success. If a film is trying its damnedest to gross you out, and it's succeeding (There's Something About Mary, for example), then it is—for lack of a better word—a “good” movie. Given this argument, we can't simply dismiss a film like Harold & Kumar Go to White Castle. Yes, it looks rude, crude and incredibly juvenile—but it's trying really hard to be rude, crude and incredibly juvenile. And in this respect, it is a rousing success.
“Rescue Me” on FX
Networks suck. They do. Network TV is dead to me. Let's just soak the “big three” in kerosene and drop a match. We'll collect the insurance and start a new life in the fertile realm of basic cable. Think about it. When's the last time a new network TV show scored critical raves, high audience ratings and an Emmy or two? Now, think about all the TV shows you talk about around the water cooler at work. I'm guessing 9 out of ten are cable TV shows.
The Week in SlothHighlights from around the dial. Except no one has dials anymore.