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'Identity Thief' Struggles With Its Own Identity

Despite a solid trope and a topical premise, the story and characters aren’t quite sure what, or who, they want to be.

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The X-Files: I Want to Believe

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.

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The Return of the Popcorn Circus: July 2008

And it just doesn't stop. If part two in this three-ring play was packed with well hyped product, July just keeps the receipt treats coming.

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Griffin & Phoenix

It’s hard to tell whether first-time director Ed Stone set out to make the saddest romantic-comedy of all time or to see how much comic relief could be crammed into a maudlin drama.

Amos Posner
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Studio 60 Live on the Sunset Strip: The Complete Series

Despite its purported faults (critics were divided), Studio 60 Live on the Sunset Strip holds up well on DVD, as viewers can quickly proceed to the next episode without losing momentum, without losing the smart, subtextual thread of the prior episode.

Mehera Bonner
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Martian Child

Based on David Gerrold's semi-autobiographical novella, the movie digs its thematic hole early, and never finds a way out.

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The Ex (2007)

Zach Braff just gets more annoying by the minute. Braff brings what he always does -- a basic mopey charm, some sarcasm, even a rudimentary self-awareness.

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Net-Works: The Best TV of 2006

You won't have to look far along your television dial to discover the Top TV picks from PopMatters staff. From 20 upward, each entry represents the boob tube at its best.

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Studio 60 on the Sunset Strip

Studio 60 on the Sunset Strip plays a lot like a lip-glossed The West Wing. Not a bad thing necessarily, but not a radical rethinking of primetime TV either.

Daynah Burnett
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Syriana (2005)

If you come away with nothing else from Syriana, it's that this concept -- winning -- is an illusion, at least in any sort of long run.

Cynthia Fuchs
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Syriana (2005)

This Middle Eastern spy thriller is complex and earnest, a film that repays close attention.

Cynthia Fuchs
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Melinda and Melinda (2005)

In Melinda and Melinda, full of women struggling to make their desires known to men who suppose they know what women want and mean, the women are infinitely less regular and more interesting.

Cynthia Fuchs
Reviews

A Lot Like Love (2005)

The Ashton Kutcher vehicle tries to make use of its stars' appeals, structuring a regular romantic comedy out of charmingly imperfect, well-performed moments.

Cynthia Fuchs
Film

A Lot Like Love (2005)

Any movie that engineers a comic hijinksy highlight around Amanda Peet smacking herself into a glass door is not thinking too far beyond surfaces.

Cynthia Fuchs
Reviews

Melinda and Melinda (2005)

Hobie rejiggers his life in order to make himself look 'available' for Melinda, the joke being that the Allen character is never actually available, but rather, needy, fervent, and clumsily scheming.

Cynthia Fuchs
Reviews

Something's Gotta Give (2003)

Something's Gotta Give is best when it backs off the cute dialogue and the actors create their own moments.

Cynthia Fuchs
Film

Something's Gotta Give (2003)

Overstays its welcome, yes, but worse, it pretends like it's news when it isn't.

Cynthia Fuchs
Reviews

Identity (2003)

As James Mangold neatly puts it, these characters are running along 'a kind of Möbius strip of hell.'"

Cynthia Fuchs
Film

Identity (2003)

Amanda Peet, not incidentally, throws some fine, even sublime, attitude.

Cynthia Fuchs
Film

Igby Goes Down (2002)

Burr Steers' first feature is populated by exceptionally quirky characters, most related by blood.

Cynthia Fuchs
Film

Changing Lanes (2002)

PULL.

Cynthia Fuchs
Film

High Crimes (2002)

'High Crimes' is a movie starring Ashley Judd whom someone has determined is the ideal Flinty Woman in Danger.

Cynthia Fuchs
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