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Writing as War: 'Hemingway & Gellhorn'

For Martha Gellhorn and Ernest Hemingway, their love is their writing, and their writing—much like the wars they cover—lacerates, brutalizes, and kills.

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Accepting the Blame: The Top Guilty Pleasures of 2007

PopMatters proffers its collection of 2007's most notable defective faves. And it's okay to laugh. After all, we'd probably do the same to you and your uncomfortable fixations as well.

Reviews

Elizabeth: The Golden Age

The movie feels more superficial than significant, like it's stuck behind a pane of glass.

Reviews

Shoot Em Up

By the time Shoot 'Em Up is done with all the "phallic mumbo jumbo," it doesn't seem to be saying much that's new.

Film

Future Shock: The Death of Serious Science Fiction

The serious Science Fiction film genre is dead or at least on cinematic life support. As the new millennial marches forward, and an omnipresent production paradigm that substitutes spectacle for smarts, futurist filmmaking is definitely gasping for breath.

Film

The Pay Off: The Best Film of 2006

For many of the movies on PopMatters' 2006 list of the year's best films, it is clear that a heavy personal and professional stake was riding on the final product.

Reviews

Children of Men (2007)

Even with so much attention paid to her body and to her child, Kee's story is secondary to Theo's, as his loss of hope must be undone and his past redressed.

Reviews

Inside Man (2006)

Appearing in tight shots, the grainy hi-def digital exacerbating their complexities, the interviewees are traumatized or performative, sometimes both.

Reviews

Inside Man (2006)

New York is everywhere in Spike Lee's sharp, new, genre-bending movie.

Cynthia Fuchs
Film

Derailed (2005)

While RZA and Xzibit deliver their own delights as performers, their characters' aggression and victimization are of a piece, and left to the white guy to sort out.

Cynthia Fuchs
Reviews

Sin City (2005)

Like the guys, the girls are undone by their reliance on conventional male power signs.

Cynthia Fuchs
Reviews

Closer (2004)

This leads to titillation, judgment, desire, and commerce all around. How Howard Stern.

Cynthia Fuchs
Film

Sin City (2005)

Distraught, ornery, self-critical, these heroes are certainly more "anti" types than straight-ahead.

Cynthia Fuchs
Reviews

King Arthur: Extended Unrated Director's Cut (2004)

'The idea of these young boys being taken away from home at a young age... reminded me a lot of my own culture,' says director Antoine Fuqua.

Cynthia Fuchs
Film

Closer (2004)

This leads to titillation, judgment, desire, and commerce all around. How Howard Stern.

Cynthia Fuchs
Reviews

I'll Sleep When I'm Dead (2003)

For all the inevitability of Will's descent, I'll Sleep When I'm Dead is an almost perversely moving experience.

Cynthia Fuchs
Film

King Arthur (2004)

This generically gritty and solidly PG-13 King Arthur isn't even much of an action picture.

Jesse Hassenger
Film

I'll Sleep When I'm Dead (2003)

Will (Clive Owen) is a menace, even to the bad guys.

Cynthia Fuchs
Reviews

Beyond Borders (2003)

The truth is shifty throughout Beyond Borders, primarily because its fiction is filtered through Sarah's eyes.

Cynthia Fuchs
Film

Beyond Borders (2003)

The scene inspires Sarah to do a right thing, that is, leave her comfy urban environs for the deserts of Ethiopia.

Cynthia Fuchs
Reviews

Gosford Park (2001)

It is clear about what it is, a study of affect that is also affected.

Cynthia Fuchs
Film

The Bourne Identity (2002)

The CIA here is an intensely low-down, sinister, and duplicitous organization.

Cynthia Fuchs
Reviews
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