Bright Star movie review: cinematic poetry
John Keats is the intruder in Fanny Brawne’s story, and you might be forgiven for assuming that she’s the one who became legendary, for how the film defies convention by lavishing its focus on her.
based on fact
The Baader Meinhof Complex (review)
Oh, what a riveting mess!
The Informant! (review)
Danged if the flick don’t feel like the Coen Brothers, if it ain’t redolent with the wonderfully odd tang of farce and feeling that they invariably bring to, at least, their lighter films.
My One and Only (review)
What could have been a maddening portrait of spoiled self-entitlement is, instead, a plucky tale about how tough life could be a woman, even a beautiful one, in the 1950s…
Taking Woodstock (review)
Isn’t it a nice fantasy, that music and comtemplation (even if it’s enabled by LSD) and just chillin’ out with 500,000 of your closest friends might change the world?
Julie & Julia movie review: the joy of cooks
It’s just about two women doing something for themselves, for their own amusement and enlightenment, and not even to please their men — hell, they’re not even competing for the same man!
Public Enemies (review)
I’m wildly intrigued by *Public Enemies* even though I readily concede that character development is all but nonexistent, and that it leaves me more wanting to know who notorious bank robber John Dillinger was than I did before I went into the film.
Little Ashes (review)
Only indiscriminate vampire-swooning tweens will appreciate Robert Pattinson’s portrayal of the surrealistic Spanish painter and filmmaker Salvador Dali…
The Soloist movie review: hard music
Not a magical-negro flick, I promise…
American Violet (review)
Lest we forget, the slide into a fascism in America didn’t begin with George W. Bush: it was well underway in the 1990s, when our police went paramilitary in the “war on drugs” and new federal incentives for local communities to get drug convictions — however they could — led to a huge increase in … more…
