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Truth and the Classic Heist Film: Director James Marsh on 'King of Thieves'

James Marsh reflects on embracing the truth in spite of its vulgarity and awkwardnesses to tell a dramatised factual account of the Hatton Garden diamond heist in his film, King of Thieves.

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Reviews

Brian de Palma's 'Dressed to Kill' Is Still Sexy, Still Shocking, Still Classic

Dressed to Kill doesn't address itself to every viewer, but for those who love horror and the tradition of suspense that de Palma so expertly participates in, it will always deliver.

Reviews

Is Anybody There?

Is Anybody There? provides an insightful and sensitive look at the pain of isolation and the connections between people, no matter their ages.

Renee Scolaro Mora
Film

Part 5: Toy Story 2 to Titus (November - December 1999)

On this final day of PopMatters' 1999 overview, awards season hype gives way to pure acting prowess and definitive directorial flair.

Film

Superheroes Versus Comics

There can be no doubt that the summer of 2008 stands as a high-water mark for superheroes. But in the wake of a superhero renaissance and the growing cultural legitimacy of the genre, the question must be posed: Has the superhero genre evolved beyond the comics medium?

shathley Q
Film

The New Classics - The 30 Best Films of 2008

Unlike previous years, where classics came crawling out of the celluloid woodwork with regular reckless abandon, 2008 was more calm… and considered. That's not to say that choosing 30 top titles was hard. The difficulty in placing them in some manner of rank order suggests the actual depth of quality involved.

Film

Iconic - The Top 20 Male Performances of 2008

Like the gladiators of old, 2008 resembles a battle of formidable acting gods, especially when looking over the 20 choices presented below. Indeed, if anything, choosing a winner requires more of a leap of faith than any amount of critical skill - they all were that good.

Comics

Let Us Now Praise Ordinary Men: Normalcy, Comics, and The Dark Knight

Without a couple of recognizably fallible and ordinary men like Harvey Dent and Commissioner Gordon at its center, The Dark Knight would ultimately be nothing more than an exceptionally well-tooled and smartly-acted thriller.

Chris Barsanti
Reviews

The Dark Knight

Batman's dilemma in The Dark Knight is how to use his bad press, whether he will embrace it or continue to fight it.

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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.

Reviews

Sleuth

Both dazzlingly brilliant and incredibly irritating, often most irritating when it catches itself being brilliant.

Reviews

Flawless

For all Flawless' interest in the workings of Laura's mind, the caper part of the plot is awfully regular.

Reviews

Sleuth

The various distancing effects make the watching somewhat abstract, an exercise in self-awareness.

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.

Reviews

The Prestige (2006)

Fans of this wonderful film are left to puzzle not just over its thematic and narrative layers, but its respectable but perfunctory treatment here.

Jesse Hassenger
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.

Film

The Prestige (2006)

This trick -- The Transported Man -- is at the center of the film's thematic concerns with replication, movement, and deception.

Reviews

The Weather Man (2005)

'The Chicago weatherman,' says Nicolas Cage, 'is a very important weatherman, because everyone in Chicago relies on him so much, and if he gets it wrong, it really ruins their day.'"

Cynthia Fuchs
Reviews

Batman Begins (Two-Disc Deluxe Edition with Comic Book) (2004)

Nolan's Batman is perpetually knotted up, unable to forget his dead parents, seeking a vague solace in his hard body's capacity for violence.

Cynthia Fuchs
Film

The Weather Man (2005)

Dave begins to carry his bow with him on the sidewalk, a man suddenly proud, slow-motioned, and anachronistic, a walking metaphor.

Cynthia Fuchs
Reviews

Bewitched (2005)

As Jack goes overboard in usual Ferrellian fashion, Isabel's insistence that he is the perfect mate for her go-normal plan never makes sense.

Cynthia Fuchs
Film

Bewitched (2005)

Like most movies starring Will Ferrell and all movies based on TV series, this one tries too hard.

Cynthia Fuchs
Film

Batman Begins (2005)

Christian Bale brings a menace to Batman, making him radically distinct from alter ego Bruce Wayne.

Todd R. Ramlow
Reviews

Around the Bend (2004)

Henry's instructions bring Turner and Jason to important landmarks that dredge up memories and force them to face events that have haunted their lives.

Kevin Jagernauth
Film

The Statement (2003)

The Statement is a rarity: a serious, politically-minded thriller.

Michael Healey
Reviews

The Italian Job (1969)

'Michael [Caine] at that time, did not drive a car. He could just about manage the idea of pulling up at three miles an hour.'"

Cynthia Fuchs
Film

Secondhand Lions (2003)

The phallic imagery of guns as associated with male potency is everywhere in Secondhand Lions.

Todd R. Ramlow
Film

The Quiet American (2002)

That the U.S. imagines itself in the position to take unilateral decisions that affect the rest of the world is as much a function of the nation's founding myths (all that 'city on a hill' business, represented in Pyle's notion that he can save Phuong) as it is its economic might (Pyle's knowledge that he can support Phuong).

Cynthia Fuchs
Film

Austin Powers in Goldmember (2002)

The so-called postmodern self-references of the previous Austin Powers films here become epidemic, though more is not exactly better. It's just more. And it is repetitive.

Cynthia Fuchs

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