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Sunday, January 1 1995

The Forsaken (2001)

It's hardly a new idea to call vampirism a virus. Nor is it original to portray it as a spiritual scourge, a youthful disorder, or even a politically charged plague.


The Filth and the Fury (2000)

If director Julien Temple had chosen to explore the implications of his opening sequence, he might well have produced a film about punk as a movement instead of a rockumentary about a particular band.


The Filth and the Fury (2000)

Directed by Julien Temple, who also helmed McLaren's original myth-making film project, 'The Filth' frames the tragicomedy of the Pistols with a keen sense of its cultural and historical context.


Fever (2001)

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Flawless (1999)

These are the first of many derogatory adjectives that come to my mind when trying to describe writer-director Joel Schumacher's new film, Flawless, which stars Robert DeNiro and Philip Seymour Hoffman (the latter being one of my favorite character actors, who has, sadly, two recent misses with Flawless and The Talented Mr. Ripley).


The Five Senses (1999)

It's about the ways that your senses are deluded and depressed by daily emotional beat-downs, the kinds of events that are so routine, they hardly register, except by their long-term effects.


Fat Girl (2001)

The sex in 'Fat Girl' is an all-consuming, character-defining process of sorting through emotions and attitudes that convincingly perplexes these girls.


The Family Man (2000)

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The Fantasticks (2000)

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The Fast and the Furious (2001)

But the movie isn't really about breaking laws, being punished, lamenting Ja Rule's teeny part, or even learning how to be a man. It's really about cars. If that sounds like a metaphor, well, okay.


The Forsaken (2001)

What makes a vampire movie sexy? For most people I have talked with, it is the subtle sexuality in the biting of the neck, the mysterious nature of the vampire, and the danger he or she represents.


Freddy Got Fingered (2001)

'Freddy Got Fingered' lowers the bar, and not just a little bit, for what has been popularly passing as 'comedy' in recent days.


Finding Forrester (2000)

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East Is East (1999)

As East is East has it, family is the cause of, and solution to, the various problems facing the Khan children.


Everybody’s Famous! (2001)

...offers a cautionary tale for those for whom the distinction between life and live television has lost focus.


An Everlasting Piece (2000)

Just in case there is an audience member who hasn't seen the news since, like, 1970, the film uses this conversation and some supposedly comic comparisons between the Catholic and Protestant neighborhoods to illustrate Colm's inferior position in society (and by extension, the position of Belfast's Catholics generally).


Eureka (2001)

Harshly beautiful, 'Eureka' is also contrary and strange: intertwining subjects as sensational as serial killing and as mundane as life on the road in a Winnebago, it never quite takes you where you think it will. "


Exit Wounds (2001)

The first scene in 'Exit Wounds' shows Boyd (Steven Seagal) arriving to a speech on handgun control given by the Vice President. He arrives late to the speech, cueing the audience -- and his superiors -- to his renegade spirit.


Eye of the Beholder (2000)

Wigs. Ideally, they can change everything: your appearance, your self-image, your imagined possibilities, your identity. In the movies, wigs can also effect change, but at the same time, they carry moral meanings, they can suggest artifice and disguise, dashed dreams and pathologies.


The Emperor’s New Groove (2000)

There are a lot of things to like about 'The Emperor's New Groove', and one of the most compelling is the fact that the lead character, the teenaged Emperor Kuzco (voiced by David Spade) is largely unlikable.


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