Sep
2nd
Tue
2nd
- “Intervention” April 24, 2001
- “Forever” April 17, 2001
- “Crush” February 13, 2001
- “Checkpoint” January 23, 2001
- The Bone Collector 2001
- Bring It On
- Run Lola Run 2001
- “Into the Woods” December 19, 2000
- “Listening to Fear” November 28, 2000
- “Fool For Love” November 14, 2000
- “Family” November 7, 2000
- “There’s no place like home” October 24, 2000
- Independence Day 2000
- Derek’s 2000 Oscar Picks March 2000
The group quickly confronts her about sex with Spike, and far too many good lines are rattled off for me to keep up with.
Xander and Anya lie in bed in some terrible scene with soft music in the background, talking about their sex being intense because of what they’re feeling. Very Dawson’s Creek. Xander being single again doesn’t sound like such a bad idea.
He looks on the train and discovers a bloody mess (and I mean “bloody” as in red stuff, not some sort of Spike dialect reference).
Buffy proceeds to get pissed like the girl I thought we had lost last episode. Saying she has now realized that she has power and that everybody wants it, Buffy is no longer anybody’s bitch.
By now, this genre has become a once-a-month delivery to theaters, and like telemarketing calls, herpes, and Alan Thicke, you just wish they’d go away.
I expect few cynics will be won over by this basic premise, but as directed by Peyton Reed, Bring It On makes up for it’s occasional missteps (Torrance’s love interest subplot, though charming, is hopelessly predictable) by being bolder and more brazen than the usual teen dreck.
Take a breath. Treasure it. Tom Tykwer’s dazzling, kinetic Run Lola Run is an incredibly lively little gem.
Riley’s speech is surprisingly good, as he admits to his recent actions being caused because he felt the vamp women “needed” him.
Riley’s agent friends, the pansies in berets, show up to look at the fat guy. Lots of sophisticated hardware talk, with the underlying message being that Riley knows what he’s doing and these other guys don’t.
In the tradition of giving to those you love, Spike lets Drusilla taste the blood of a Slayer, and the flames in the background serve nicely for the duo’s foreplay as they slip off screen.
Along comes a scene with that annoying Ben guy again, and is anybody else hoping for a demon to strangle this dude with a stethoscope?
Riley and Willow enter now, and a couple entrances in this new magic shop, I’m already begging for them to lose the annoying bell over the door. Buffy finally produces the orb she was given, beginning immediate “what is that?” type questions.
There’s a token death thrown in the mix, and let’s just say it wasn’t who I was hoping to join the deceased, but it’s still played out as if it were Terms of Endearment.
With the “Oscar season” (usually jam-packed with award-nominee hopefuls) failing to deliver this year, it’s harder to not only predict the winners, but really accept that this is all we can choose from.
