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No Means Ho: Debating 'Observe and Report''s Most Controversial Scene

Rape? Or the Reality of Relationships circa 2009? Jody Hill's Observe and Report is being vilified over that very question.

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The House Bunny

The House Bunny is truly toxic, telling women to hate their bodies and hide their talents.

Brendon Bouzard
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The Return of the Popcorn Circus: August 2008

Talk about a crowded schedule. There are more offerings scheduled this month than in the previous two combined.

Reviews

My Super Ex-Girlfriend (2006)

This film hovers somewhere between sappy romantic comedy and action movie, falling back on lazy gender-reversal jokes and super hero tropes.

Kelley Schei
Reviews

Scary Movie 4 (2006)

This isn't a movie so much as a series of set pieces with a theme of parody in mind, only to quickly devolve into toilet humor of the most literal kind and asinine, gross-out histrionics.

Ron Mashate
Reviews

My Super Ex-Girlfriend (2006)

Eddie Izzard brings a whole other dimension to My Super Ex-Girlfriend, being wily and subversive rather than flamboyant.

Film

Scary Movie 4 (2006)

The problem is that none of this is surprising. We've seen these jokes on late night television, heard them on the radio or even thought of them ourselves.

Noah Davis
Reviews

Brokeback Mountain (2005)

While the movie's poetry is often stunning, the DVD docs are decidedly and disappointingly banal.

Cynthia Fuchs
Film

Brokeback Mountain (2005)

It's Alma's silence that makes Brokeback Mountain feel so serious. Her pain is neither exquisite nor elegiac. It is only hard.

Cynthia Fuchs
Reviews

Lost in Translation (2003)

Lost in Translation one-ups its peers with better music, prettier shots, and a more charismatic lead, but its racism is all the more insidious for being wrapped in a pleasing package.

Sharon Mizota and Oliver Wang
Film

Scary Movie 3 (2003)

Just when you thought the Scary Movie franchise had run out of ideas, here it comes again -- looking like it's run out of ideas.

Cynthia Fuchs
Film

Lost in Translation (2003)

. . . about seeing and not seeing at the same time, a series of incredibly precise, meticulous images of faces and hands and doorframes.

Cynthia Fuchs
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