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Film
Friday, August 29 2008
By Cynthia Fuchs
The faux interview preserves Darby Crash's self-image, the reenactment in What We Do Is Secret remembers the preservation.
By Cynthia Fuchs
Lanre Olabisi's first feature offers an intricate portrait of relationships and individuals, histories and hopes.
Wednesday, August 27 2008
By Cynthia Fuchs
While the film appears at first to be complicating the definition of "traitor," it's not long before the potential meanings are reductive and literal.
Tuesday, August 26 2008
By Cynthia Fuchs
In I.O.U.S.A. explains in clear and compelling terms fiscal problems that have been in motion for decades.
Friday, August 22 2008
By Cynthia Fuchs
Trouble the Water reveals not only the terrors of the hurricane but also the political and personal valences of its legendary mismanagement.
By Cynthia Fuchs
Dana's inability to parse the difference between acting and living is put to several tests in Hamlet 2, which is not only the name of his movie but also the title of the audacious play he writes for his students to perform.
By Lesley Smith
Anderson dilutes Roger Corman’s satire by locating Death Race among society’s transgressors, depicting their dysfunctions with gory relish, and confining the race safely behind the walls of an isolated prison.
By Brendon Bouzard
The House Bunny is truly toxic, telling women to hate their bodies and hide their talents.
Thursday, August 21 2008
By Cynthia Fuchs
Not talking about controversial election issues is a first target for Stealing America.
Wednesday, August 20 2008
By Cynthia Fuchs
The Rocker is almost salvaged by the charming performances of its actual youngsters (as opposed to the adults doing youngster shtick).
Monday, August 18 2008
By Cynthia Fuchs
While Ben's (Kiefer Sutherland) bouncing between selves is distracting, it's not nearly so irksome as Mirrors' general incoherence.
Friday, August 15 2008
By Cynthia Fuchs
Maria Elena (Penélope Cruz) is the figure least obviously dictated by the Woody Allen template. And for that, you are eternally grateful.
By Lesley Smith
In Clone Wars, one battle seems exactly like the last (and the next): the 'droids shoot like amateurs and the Republican troops always prevail, whatever the odds.
By Cynthia Fuchs
The international competition serves as backdrop for a cloying tale of underdogs inspired by rather sudden patriotic fervor.
By Todd R. Ramlow
Your faith and your patience won't fare well for sitting through the slow-moving, lackluster Henry Poole is Here.
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Friday, August 22 2008
By Matt Mazur
Death and sex were verboten, and Mishima took it upon himself to be a virtuosic provocateur; part passionate expressive modernist, part fervent traditionalist.
Thursday, August 14 2008
By Robert Loerzel
The Canadian cult director talks to PopMatters about family, childhood, memory and his cinematic Gesamptkunstwerks that often look like damaged artifacts dredged up from an archive of lost 1920s and '30s film.
By Shaun Huston
Strange Culture is a critical entry point into the current discussion of what makes a documentary a documentary, most notably because it announces its own subjectivity in a clear and provocative way.
Friday, August 29 2008
By Matt Mazur
Whether it was through silence, grotesquerie, fury or intelligence (or, at times, lack of intelligence), Cartlidge was not afraid to upturn the dark corners of the women she portrayed.
(more Suffragette City)
Monday, August 25 2008
By Jennifer Makowsky
The kids who grew up in the '90s had the haunted Kurt Cobain; my generation had the tormented Ian Curtis.
(more The Box Office Belletrist)
Friday, August 22 2008
By Marco Lanzagorta
The artificial connection between homosexuality and communism created the popular myth of evil and undetectable gay subversives living inside 1950s American society.
(more Dread Reckoning)
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Friday, August 29 2008
By Chris Robé
As Frank’s films reveal, a lack of access to avant-garde cinema is a collective denial of a vital part of our selves.
By Sam Maclean
As the saying (sort of) goes, what happens in Vegas should stay in Vegas -- so, too with this film.
Thursday, August 28 2008
By Shaun Huston
Wong's films are structured around images of characters in repose, of interactions weighted with desire, and of individual memory and fantasy.
By Matthew Sorrento
Powell's groundbreaking blend of art and terror cut short a career at its most innovative moment.
Wednesday, August 27 2008
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By Christel Loar
The film—and Ferris—is still as fresh and fun, witty and irreverent as ever. It’s a true classic, a pinnacle of its genre.
Friday, August 29 2008
Thursday, August 28 2008
Tuesday, August 26 2008
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