Redbelt

In Redbelt, as ever in David Mamet's universe, the fight is the issue.

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The Return of the Popcorn Circus: May 2008

In the first act of this four-part production, Tinsel Town decides to do some unbelievable front loading. Will there be room for independent offerings, or former HBO carnal comedy divas? Who knows? Without a doubt, it's an interesting way to start the season.

Reviews

Lars and the Real Girl

This is the reductive conceit of Lars and the Real Girl, Lars' representative incongruity: he's so unlike everyone else that he becomes their cause and sign of sanity.

Reviews

Howl's Moving Castle (2004)

Howl's Moving Castle ticks with nervous energy and unsettledness. These jittery-edged images conjure exquisite rhythms as they approximate children's perspectives.

Cynthia Fuchs

Reviews

Match Point (2005)

Chris is fond of Enrico Caruso, whose voice 'expresses everything that's tragic about life,' one of these Allenish aphorisms that's probably true but just sounds trite.

Cynthia Fuchs

Film

Howl's Moving Castle (2004)

Charming, peculiar, and occasionally ingenious, Howl's Moving Castle tilts between fantastical beauty and philosophical pondering.

Cynthia Fuchs

Film

Dear Frankie (2005)

Dear Frankie uses humor to acknowledge and, temporarily, transcend the fragility of human survival.

Lesley Smith

Film

Bright Young Things (2004)

Stephen Fry can't throw us any curveballs because he's got to stick close to Waugh, so he subjects us to formulaic depravity for three-quarters of the film, with minor variations.

Dan Devine

Reviews

Young Adam (2003)

'Joe's abandonment is like a political act and a political philosophy, he's a libertine and a libertarian,' says Tilda Swinton.

Cynthia Fuchs

Film

Young Adam (2003)

Joe's trajectory through post-war Glasgow and Edinburgh takes on a sort of dread inevitability.

Cynthia Fuchs

Film

Formula 51 (2001)

In Ronny Yu's mostly formulaic Formula 51, Samuel L. Jackson plays Elmo McElroy, a chemical whiz busted for smoking reefer.

Cynthia Fuchs

Film

Lovely & Amazing (2002)

Even as the girls in Holofcener's world have their own problems, they provide acutely recognizable reflections.

Cynthia Fuchs

Reviews

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In Redbelt, as ever in David Mamet's universe, the fight is the issue.

In the first act of this four-part production, Tinsel Town decides to do some unbelievable front loading. Will there be room for independent offerings, or former HBO carnal comedy divas? Who knows? Without a doubt, it's an interesting way to start the season.

This is the reductive conceit of Lars and the Real Girl, Lars' representative incongruity: he's so unlike everyone else that he becomes their cause and sign of sanity.

Howl's Moving Castle ticks with nervous energy and unsettledness. These jittery-edged images conjure exquisite rhythms as they approximate children's perspectives.

Jean Reno gets the prize for infinite patience, as he maintains an admirable serenity amid the frenzy, perhaps especially when clobbering Clouseau.

Chris is fond of Enrico Caruso, whose voice 'expresses everything that's tragic about life,' one of these Allenish aphorisms that's probably true but just sounds trite.

Charming, peculiar, and occasionally ingenious, Howl's Moving Castle tilts between fantastical beauty and philosophical pondering.

Dear Frankie uses humor to acknowledge and, temporarily, transcend the fragility of human survival.

Stephen Fry can't throw us any curveballs because he's got to stick close to Waugh, so he subjects us to formulaic depravity for three-quarters of the film, with minor variations.

'Joe's abandonment is like a political act and a political philosophy, he's a libertine and a libertarian,' says Tilda Swinton.

Joe's trajectory through post-war Glasgow and Edinburgh takes on a sort of dread inevitability.

In Ronny Yu's mostly formulaic Formula 51, Samuel L. Jackson plays Elmo McElroy, a chemical whiz busted for smoking reefer.

Even as the girls in Holofcener's world have their own problems, they provide acutely recognizable reflections.