Reviews > Film

19 Nov 2004 // 12:00 AM

National Treasure (2004)

Popular propaganda at its best -- high quality creative work allied to a resounding endorsement of a status quo the American electorate seems determined to maintain.

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19 Nov 2004 // 12:00 AM

Kinsey (2004)

At its best, Kinsey turns nearly impressionistic, as when it represents the doctor's increasingly convoluted relationships with his team.

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19 Nov 2004 // 12:00 AM

Finding Neverland (2004)

As James Barrie, the Scottish-born playwright most famous for imagining Peter Pan, Johnny Depp appears the consummately charismatic child-man.

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Christmas with the Kranks (2004)

Tim Allen needs to stop making Christmas movies.

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Bad Education (La mala educación) (2004)

Bad Education tweaks the lesson just enough so that it doesn't turn out to be what you expect.

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11 Nov 2004 // 12:00 AM

Red Lights (Feux Rouges) (2004)

Billed as a thriller, Red Lights is also about a kind of heterosexual masculine crisis.

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11 Nov 2004 // 12:00 AM

The Polar Express (2004)

It's part Willy Wonka's Chocolate Factory, and part Terry Gilliam's Brazil, that is, just this side of sinister.

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In the Face of Evil: Reagan’s War in Word and Deed (2004) - PopMatters Film Review
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Such outrageous attacks on liberals are central to the film's attempt to appropriate the genuine achievements of history in order to embellish the mythology of Reagan.

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11 Nov 2004 // 12:00 AM

Enduring Love (2004)

Samantha Morton's face seems a perfect object for gazing on.

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Bridget Jones: The Edge of Reason (2004)

This time the bloom is quite off.

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5 Nov 2004 // 12:00 AM

p.s. (2004)

Simultaneously affectionate, startled, yearning, and anxious, Laura Linney and Topher Grace make awkwardness into art.

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5 Nov 2004 // 12:00 AM

The Incredibles (2004)

Instead of dolls and fishies, the stars of the The Incredibles are angsty adults, specifically, superheroes whose flying-high heyday is over.

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5 Nov 2004 // 12:00 AM

Birth (2004)

Catching her breath as if she's been hit, Mrs. Conte's (Cara Seymour) visceral reaction, amid the film's overwhelmingly somber, ethereal weirdness, is finally believable.

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5 Nov 2004 // 12:00 AM

Alfie (2004)

Surrounded by urgent, provocative signposts that he just can't see, Alfie remains lost.

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29 Oct 2004 // 12:00 AM

Undertow (2004)

Uncle Deel (Josh Lucas) hauls up in his muscle car, his face grizzled and his pink cowboy shirt weirdly stylish.

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29 Oct 2004 // 12:00 AM

Tying the Knot (2004)

The film opens with black and white footage from 1971: the Gay Activists Alliance takes over Manhattan's marriage bureau, explaining to straight couples that they cannot be married, since they are not gay.

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29 Oct 2004 // 12:00 AM

Saw (2004)

Detective Tapp's convoluted weirdness is attributable to Danny Glover's resourcefulness, since the script doesn't know quite what to do with him.

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29 Oct 2004 // 12:00 AM

Ray (2004)

Repeatedly, Ray collapses lore and desire into metaphorical, emotional, and narrative economy, occasioned by a groundbreaking song.

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22 Oct 2004 // 12:00 AM

Vera Drake (2004)

The war has disturbed all of their lives intensely, and if they don't quite have the words to express their trauma, they do have a sense of shared experience.

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22 Oct 2004 // 12:00 AM

Vodka Lemon (2004)

In an image evoking both Chagall and Kaurismaki, Hamo and Nina find, if not hope exactly, some acceptance and joy.

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