Articles tagged "julianne moore"

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

Short Ends and Leader

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...

Short Ends and Leader

Column: Pop Goes Philosophy

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.

Recent columns

News

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,...

PopWire

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.

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.

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.

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.