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Film
Friday, July 25 2008
By Cynthia Fuchs
In The X-Files: I Want to Believe, ooky canted shots of trundling agents in "FBI"-emblazoned jackets seem like refreshing counterprogramming amid the rumble of the season's action movies.
By Cynthia Fuchs
The new Brideshead Revisited doesn't grapple much with Charles' disconcerting mix of nostalgia and odium regarding British aristocracy.
By Cynthia Fuchs
In Step Brothers, Nancy (Mary Steenburgen) is the ideal audience, the girl who can't fathom the anti-nuances of masculine ritual.
Thursday, July 24 2008
By Cynthia Fuchs
Disfigured's focus on the friendship between Lydia (Deidra Edwards) and Darcy (Staci Lawrence) reveals they are not your average movie opposites who attract.
Wednesday, July 23 2008
By Cynthia Fuchs
Boy A, based on Jonathan Trigell’s novel, lays out an intricate map of how social expectations and limits shape individual horizons.
Friday, July 18 2008
By Cynthia Fuchs
Meryl Streep scampers and writhes with something like abandon in her tomboyish overalls, her glowing tan and perfectly arranged "wild" blond hair indicating Donna's stanch independence.
By Cynthia Fuchs
Transsiberian makes provocative connections between external and internal states, the ways that composition can reveal character.
By Cynthia Fuchs
Lacking forward motion, Space Chimps turns itself in circles.
Thursday, July 17 2008
By Cynthia Fuchs
Batman's dilemma in The Dark Knight is how to use his bad press, whether he will embrace it or continue to fight it.
Friday, July 11 2008
By Cynthia Fuchs
As he loves Liz, life, and TV, Hellboy embodies possibility, faith, and imagination.
By Cynthia Fuchs
Brendan Fraser is stuck inside Journey to the Center of the Earth, a movie with precious little new to say about journeys, centers, or -- amazingly -- action.
By Cynthia Fuchs
Meet Dave is "Eddie Murphy in Eddie Murphy," literally, metaphorically, exhaustively.
By Cynthia Fuchs
None of the interviewees in Marina Zenovich's fascinating documentary manages to make sense of the famous filmmaker's behavior or apparent thinking. But they all have compelling impressions.
Wednesday, July 9 2008
By Cynthia Fuchs
In Full Battle Rattle, the Iraq Simulation and the war are both real and not real, confusing, painful, and horrific, for the refugees working as role players.
Monday, July 7 2008
By Cynthia Fuchs
Seductive and stirring, Mia Zapata's gritty vocals and physical urgency are clear enough even in The Gits grainiest footage.
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Thursday, July 24 2008
By Karen Shimizu
The famed font aspires to eerie emptiness of meaning. Now, has it persuaded us to do the same?
Friday, June 27 2008
By Michael Buening
New York’s Film Forum offers an ambitious and inspired film series this summer, dedicated to the films of Japanese actor Tatsuya Nakadai. The series is as entertaining, provocative, and intricate as its subject.
Thursday, June 26 2008
By John Bohannon
Caetano Veloso’s 1973 album Araçá Azul is as defiantly unconventional and challenging as Godard’s pioneering New Wave classic Breathless (1960), altering the possibilities and expectations of his chosen medium.
Friday, July 18 2008
By Michael Barrett
In what might be called the curse of Chekhov, the common setting is a living room, the common characters a family, and the common dynamic a stew of bitter backbiting and recrimination that ultimately gives the lie to Tolstoy, because here each unhappy family seems perfectly alike.
(more Canon Fodder)
Monday, July 14 2008
By Matt Mazur
I Could Never Be Your Woman is the lone feminist antidote in a sea of venomous, misogynist, adolescent male comedies that people turn out for en masse.
(more Suffragette City)
Monday, June 30 2008
By Jennifer Makowsky
Who’s Afraid of Virginia Woolf?'s dark, witty banter and assessment of human malice made my brain tick and also made me glad I wasn’t married.
(more The Box Office Belletrist)
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Thursday, July 24 2008
By Matt Mazur
Mann scatters fragments of Shakespeare’s King Lear into the mix along with the familial clinches of Eugene O’Neill’s dour compositions
By Tiffany White
When it comes to depicting angst-ridden anti-heros like Theo, this film takes an approach most don't have the courage to try.
Wednesday, July 23 2008
By Jesse Hassenger
In a few devastating gestures, Heathers makes Sex and Death 101 look like a wannabe -- a script in search of a director and a star to complete the clique.
Tuesday, July 22 2008
By Stuart Henderson
This film navigates between two great emotional poles: the elation of national triumph on the soccer pitch, and the creeping terror of the thought police.
Monday, July 21 2008
By Shaun Huston
The violin is symbolic of our investment of objects with meanings and desires beyond their immediate uses, and it continues to entrance and engage even after the film's final shot.
Saturday, July 26 2008
Friday, July 25 2008
Thursday, July 24 2008
Friday, July 25 2008
Thursday, July 24 2008
Wednesday, July 23 2008
Tuesday, July 22 2008
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