Articles tagged "julianne moore"

Mixed Media

The Private Lives of Pippa Lee dir. Rebecca Miller (trailer)

by Matt Mazur

[11.Jun.09] :. Arthur Miller’s granddaughter has written and directed some unique female-centered stories (Personal Velocity and the underrated The Ballad of Jack and Rose), so hopefully the...

Mixed Media

Decade-Dense: The 60 Most Memorable Films of 1999 Feature

Part 5: Toy Story 2 to Titus (November - December 1999)

by PopMatters Staff

[27.Mar.09] :. On this final day of PopMatters' 1999 overview, awards season hype gives way to pure acting prowess and definitive directorial flair.

Decade-Dense: The 60 Most Memorable Films of 1999

Column: The Box Office Belletrist

Woolf at the Door

by Jennifer Makowsky

[1.Mar.09] :. Both Virginia Woolf's Mrs. Dalloway and Michael Cunningham's The Hours offer an illuminating look at the choices we make, the roles we play, and the hours that hinge our lives together.

Recent columns

PopMatters Picks: The Best TV, Film, and DVD of 2008 Feature

Off the Radar - The Top 30 DVDs of 2008

by PopMatters Staff

[13.Jan.09] :. Oddly enough, while the major studios continue scratching their heads over how to sell yet another new format (Blu-ray) to disinterested consumers, several outside distributors made sure that this would be a digital year to remember.

PopMatters Picks: The Best TV, Film, and DVD of 2008

Film Review

Blindness

by Cynthia Fuchs

[3.Oct.08] :. If its political metaphor is plain, the aesthetic allusions are more intriguing, as Blindness works to show what can't be shown, to find a visual language for what's not visual.

Recent Film reviews

Column: The Screener

In the Land of the Blind

by Chris Barsanti

[3.Oct.08] :. Fernando Meirelles’ adaptation of Jose Saramago’s Blindness fails because the source material doesn’t easily lend itself to cinema, and because the filmmaker is clearly out of his depth.

Recent columns

Fable Feels ‘Blind’ to its Own Illogic

by Bill Gibron

[2.Oct.08] :. Before Star Wars, serious science fiction survived on the allegorical. Take a typical situation, instill it with some sort of out of this world premise, and watch as humanity races toward its...

Talk, Talk, Talk: September 2008

by Bill Gibron

[9.Sep.08] :. From wars both past and present to a number of nail-biting thrillers, September is sizing up as a potentially profitable one.

I’m Not There, and Neither Are You

by George Reisch, Peter Vernezze and Paul Lulewicz

[9.Sep.08] :. The Bob Dylan film, I’m Not There, shows that the main puzzle behind pop music’s most enigmatic personality resides right here, within us all.

Fast chat with ‘Savage Grace’ star Julianne Moore

by Joe Amodio [Newsday (MCT)]

[5.Jun.08] :. NEW YORK - Julianne Moore is wearing little to no makeup and killer platform boots. And her laugh - she laughs a lot - is infectious. The whole casually sexy vibe is a far cry from Barbara Baekeland,...

Savage Grace

by Cynthia Fuchs

[28.May.08] :. Based on the Baekelands' true and infamous story, Tom Kalin's Savage Grace, like his wondrous Swoon (1992), considers the dysfunctions produced by wealth and leisure.

A Gallery of Good Works: The Best Films of 2007

by PopMatters Staff

[11.Jan.08] :. 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.

Performance Art: The Best Acting of 2007 - Female

by PopMatters Staff

[9.Jan.08] :. From the most sweetly nuanced performance of Jennifer Jason Leigh's career to Cate Blanchett's revelatory portrayal of Bob Dylan in I'm Not There, the women of 2007 were stellar.

Movies 101

by Gavin Williamson

[4.Dec.07] :. Movies101invites you to audit the NYU course with a Special Edition, four-DVD box set with interviews with 16 recent guests including Martin Scorsese, Jennifer Aniston, George Clooney, Willem Dafoe, and Julianne Moore.

Director Todd Haynes rediscovers Bob Dylan

by Rene Rodriguez [McClatchy Newspapers (MCT)]

[26.Nov.07] :. NEW YORK—It was in the year 2000 that filmmaker Todd Haynes rediscovered Bob Dylan all over again. “I had always admired Dylan—I was a fan in high school—but then I kind of...

Next

by Bill Gibron

[5.Oct.07] :. Suspense and that familiar adrenaline rush come with creativity, not clock crunching. Next fails to fully understand this, and ends up paying for it in the end.

Part 5: The Return of the Auteur

by PopMatters Staff

[22.Jun.07] :. That noise you heard near the start of the new millennium was the creative din of a brash new breed of filmmakers tearing down the traditions of mainstream moviemaking. Their motion picture mission statements -- including the ones featured on this list -- remain the rulebook for new generations of anxious film artists.

Future Shock: The Death of Serious Science Fiction

by Bill Gibron

[29.May.07] :. The serious Science Fiction film genre is dead or at least on cinematic life support. As the new millennial marches forward, and an omnipresent production paradigm that substitutes spectacle for smarts, futurist filmmaking is definitely gasping for breath.

Next (2007)

by Cynthia Fuchs

[27.Apr.07] :. The film doesn’t try to explain or rationalize its essential trick, but drops you rather perfunctorily into Cris' multiple dilemmas.

Alfonso Cuaron: ‘The present, projected into the future’

by Joshua Klein [McClatchy Newspapers (MCT)]

[26.Mar.07] :. Cuaron talks about Children of Men, his powerful film with explicit references to the political present.

Trust the Man (2005)

by Matt Mazur

[8.Feb.07] :. Trust the Man is definitely enjoyable: as one of the guiltiest of pleasures that you only watch at home during the cold, dark winter, with the curtains drawn, alone and in shame with a whole bag of potato chips.

The Pay Off: The Best Film of 2006

by PopMatters Staff

[11.Jan.07] :. For many of the movies on PopMatters' 2006 list of the year's best films, it is clear that a heavy personal and professional stake was riding on the final product.

Children of Men (2007)

by Cynthia Fuchs

[5.Jan.07] :. Even with so much attention paid to her body and to her child, Kee's story is secondary to Theo's, as his loss of hope must be undone and his past redressed.

Trust the Man (2005)

by Cynthia Fuchs

[18.Aug.06] :. Trust the Man is primarily focused on women trusting men, because the men find it nearly impossible to trust each other.

Freedomland (2006)

by Cynthia Fuchs

[17.Feb.06] :. The new Samuel L. Jackson and Julianne Moore thriller is full of hauntings, institutional and personal.

The Prize Winner of Defiance, Ohio (2005)

by Cynthia Fuchs

[14.Oct.05] :. Prize Winner goes through odd motions to set Evelyn's taxing context and her admirable survival, its most extraordinary moment turns surreal.

Short Cuts (1993)

by Daniel Mudie Cunningham

[14.Apr.05] :. Death, or that state 'beyond natural color', is Short Cuts' common denominator.

The Forgotten (2004)

by Cynthia Fuchs

[23.Sep.04] :. In The Forgotten, the ethical terms are laid out: it's good to remember, fervently, and it's weak and bad to forget.

The Laws of Attraction (2004)

by Cynthia Fuchs

[23.Aug.04] :. All this back-and-forth is tedious, in part because it means that Audrey and Daniel spend a lot of time together.

The Laws of Attraction (2004)

by Cynthia Fuchs

[29.Apr.04] :. Daniel inhabits a universe where his judgments, his desires, and his insights (no matter how obnoxious, self-serving, or willfully blind) are always right.

The Hours (2002)

by Cynthia Fuchs

[14.Jul.03] :. 'What I learned seeing the movie is that yes, you do lose that ability to go into people's minds, but you gain Meryl Streep's ability to separate an egg, in a way that tells you everything you need to know about who that person is at that point.'"

The Hours (2002)

by Cynthia Fuchs

[16.Jan.03] :. The women are also functions of a coherent narrative, made comprehensible as embodiments of historical patterns.

Far From Heaven (2002)

by Cynthia Fuchs

[29.Nov.02] :. For Haynes, much of this surface is simultaneously supple and precise, 'girly-swirly,' as he terms it.

Far From Heaven (2002)

by Lucas Hilderbrand

[7.Nov.02] :. Just beneath this conservative façade lies a complicated and progressive commentary on the present that Todd Haynes leaves to the viewer to interpret.

Vanya on 42nd Street (1994)

by Elbert Ventura

[3.Oct.02] :. Elastic yet precise, Malle's film has the vitality and vividness of a Renoir -- it breathes.

World Traveler (2001)

by Cynthia Fuchs

[25.Apr.02] :. World Traveler returns to the 'problem' of Cal's appearance, as several characters... remark on his beauty.

The Shipping News (2001)

by Cynthia Fuchs

Quoyle is yet another of Kevin Spacey's damaged souls, but a nice one.

Magnolia (1999)

by Cynthia Fuchs

Riding in his cruiser, LAPD Officer Jim Kurring (John C. Reilly) explains what his days are like. While he laments “so much violence,” he also understands it as “the way of the...

Magnolia (1999)

by Todd Ramlow

As Academy Award nomination season rolls around, I hope that Paul Thomas Anderson’s absolutely brilliant Magnolia receives the accolades that it so richly deserves. The pedestrian tastes...

Hannibal (2001)

by Todd R. Ramlow

As his immense popularity suggests, there is something about Lecter that appeals to 'us', there appears to be some level on which 'we' all wish we could be a little more like him, which is precisely what the filmmakers are banking on. And this is, in the end, the scariest thing about 'Hannibal' -- its perverse worship of the cannibalistic Doctor.

Evolution (2001)

by Cynthia Fuchs

It feels like a chain industry has bought up a neighborhood institution. It's inevitable, but it is also, like the mall that looms so prominently in Evolution's imaginative realm, routine and uninspired.

Evolution (2001)

by Tobias Peterson

For a film that concerns itself with the increasing complexity of hyper-evolutionary organisms, 'Evolution' is decidedly simplistic and one-dimensional.

The End of the Affair (1999)

by jserpico

This is a diary of hate, reads Maurice Bendrix (Ralph Fiennes) aloud as he simultaneously types these same words onto a page. Contrary to what you might expect following such a declaration, however, there is no violent emotion displayed in this introductory scene; no screaming, no violence, no melodrama.

The End of the Affair (1999)

by Cynthia Fuchs

On its surface, Neil Jordan's film of Graham Greene's The End of the Affair is about love. In particular, it appears to be about heterosexual love, or maybe the similarities and disjunctions between spiritual and physical manifestations of such love.