Monday, November 10 2014
Film and magic have always been intertwined. Some works take advantage of the relationship, but Houdini does not.
Monday, December 5 2011
Jackson's film is as unwieldy and difficult as it is gripping and moving, expanding upon the exotic spectacle of the original while simultaneously steering the tale into the realm of tragic lament.
Wednesday, November 30 2011
This film is keenly aware of the myriad meanings embedded in its cinematic myth and sets about re-contextualizing and commenting upon the implied politics while offering extravagant thrills and tragic, classic romance.
Friday, May 15 2009
Overrated as truth may be, in The Brothers Bloom, Penelope (Rachel Weisz) is supposed to signify it.
Wednesday, March 25 2009
Outsiders and oddballs make up Part Four's formidable filmmakers, an idiosyncratic collection of dreamers and visionaries.
Monday, March 23 2009
In Part Two of our look at the most memorable films of 1999, we experience music, foul-mouthed mayhem, and a late, great auteur's final cinematic statement.
Sunday, March 22 2009
The first part of PopMatters' look back at the films of 1999 is bookended by the long awaited return of two cinematic auteurs of wildly different styles, Terrence Malick and George Lucas.
Friday, December 5 2008
In the ambitious and cluttered Cadillac Records, Leonard Chess redistributes income among his artists, but the point is not lost on any of them that he decides who plays when and even how to play.
Thursday, February 21 2008
At last, as in the final scene taken by a camera fixed to the exterior of a train as it clickety-clacks forward, the countryside speeding by, the rails extending into the distance, we can see that Wes Anderson is back on track.
Thursday, January 10 2008
From Julian Schnabel's artsy The Diving Bell and the Butterfly to the legendary Coen Brothers splendid adaptation of Cormac McCarthy's No Country for Old Men, PopMatters counts down the 30 best films of 2007.