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September 2012
September 09, 2012
Argo (Affleck, 2012)
I approached Argo with a certain amount of trepidation since it depicted events very close...
September 05, 2012
Wonder Women!: The Untold Story of American Superheroines (Guevara-Flanagan, 2012)
Wonder Women!: The Untold Story of American Superheroines is a serviceable if somewhat superficial summary...
September 01, 2012
Leviathan (Castaing-Taylor and Paravel, 2012)
Leviathan is not a narrative film.
August 2012
August 24, 2012
Something’s Gonna Live (Raim, 2010)
Does the film community do a better job than the larger American community at respecting...
August 13, 2012
La Source (Shen, 2012)
Everyone thinks they would be more generous if they had just a little more.
August 10, 2012
The Law in These Parts (Alexandrowicz 2011)
What is the difference been "occupied" and "held" territories?
August 08, 2012
The Bourne Supremacy (Greengrass, 2004)
Assassins don't kill people. Corrupt bureaucrats who control assassins kill people.
August 05, 2012
Punch-Drunk Love (Anderson, 2002) — 10 Years Later
When one thinks of Paul Thomas Anderson, one normally doesn’t think of romantic comedy.
August 04, 2012
Far From Heaven (Haynes, 2002) — 10 Years Later
The quickest and easiest way to annoy a fan of Far From Heaven, I suppose,...
July 2012
July 28, 2012
Emma, Merida, and the Female Bildungsroman
In his critical reception history for the novel in the Bedford edition, Alistair Duckworth notes...
July 19, 2012
The Dark Knight Rises (Nolan, 2012)
As I've acknowledged elsewhere, the Batman of this series of films is not the same...
July 18, 2012
The Dark Knight (Nolan, 2008)
In social media I quipped that I thought The Dark Knight was essentially a Saw...
July 15, 2012
Bonnie and Clyde (Penn, 1967)
Are Bonnie (Parker) and Clyde (Barrow) supposed to be sympathetic?
June 2012
June 30, 2012
Road to Perdition (Mendes, 2002) — 10 Years Later
Road to Perdition was not officially Paul Newman's last movie. He did some television work...
June 19, 2012
Brave (Chapman, Andrews, and Purcell 2012)
Payoff there is, but I found my own emotions at the conclusion somewhat muted by...
June 15, 2012
Rock of Ages (Shankman, 2012)
The most surprising thing about Rock of Ages is that I was prepared to like...
June 08, 2012
Prometheus (Scott, 2012)
Prometheus's biggest problem is not a lack of ambition, but of execution. The film is...
May 2012
May 29, 2012
U.N. Me (Horowitz and Goff, 2009)
U.N. Me describes scandal after scandal with a relentless dullness and surprisingly glib attitude.
May 25, 2012
Pink Ribbons, Inc. (Pool, 2011)
Pink Ribbons, Inc. is really three different documentaries: one that works, one that doesn't, and...
May 25, 2012
The Best Exotic Marigold Hotel (Madden, 2011)
I've often said I would pay to watch Tom Wilkinson or Judi Dench read the...
May 17, 2012
Minority Report (Spielberg, 2002) — 10 Years Later
I listed Minority Report as my #1 film of 2002, and ten years later the...
May 07, 2012
Chicago (Marshall, 2002) — 10 Years Later
I'm not saying Chicago was cursed, but it is really strange to watch the film...
April 2012
April 22, 2012
Blue Like Jazz and other Podcasts
I have been busy podcasting over at Film Geek Radio. New episodes include discussions with...
April 19, 2012
Girl Model (Redmon and Sabin, 2011)
From an audience perspective--at least from my perspective--the initial response is a bit of shock...
April 19, 2012
Alberto Tihan Interview
"Make your own work."
April 16, 2012
First Position (Kargman, 2012)
Admittedly, my two favorite moments in Bess Kargman's First Position happened when nobody was dancing.
April 14, 2012
The Queen of Versailles (Greenfield, 2012)
Not just one of the best documentaries at the Full Frame Documentary Film Festival, Lauren...
April 13, 2012
Big Boys Gone Bananas!* (Gertten, 2012)
Big Boys Gone Bananas!*, aside from having the distinction of the hardest title in awhile...
April 13, 2012
Love Free or Die (Alston, 2012)
Nobody has ever hated me the way Christians have hated me.
April 11, 2012
Italy Love It or Leave It (Hofer and Ragazzi, 2011)
Italy Love It or Leave It is a modest film, almost modest enough to work.
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