Intruders (review)
Alas that Intruders doesn’t seem to understand that movie monsters need something more primally urgent about them than it has bothered to attach to its Hollowface.
girls/women
Haywire (review)
There’s a lot of fight in Haywire, but very little punch — it starts to feel very grim and plodding…
The Artist (review)
Who does this? Who makes a black-and-white movie in the 21st century? Who makes a silent film in the 21st century? The Artist: Not in 3D, not in IMAX, not even in widescreen!
The Girl with the Dragon Tattoo (review)
I’m not sure I’ve seen a more superfluous film that Fincher’s pointless second take on a story that was served supremely well onscreen so recently.
New Year’s Eve (review)
What are you doing New Year’s eve? Not seeing this cheap, lazy excuse for a movie, I hope…
Sleeping Beauty (review)
I despair at the feature debut of screenwriter and director Julia Leigh: she celebrates a notion that any woman filmmaker should be kicking in the nuts…
The Descendants (review)
One of the very best movies of 2011. It is the movie of the year, in many ways beyond its simple superlative overall excellence.
The Twilight Saga: Breaking Dawn Part 1 (review)
It. Is. So. Romantic! I could almost die. Just like Bella does here. Almost die, I mean. Because that’s what you do for love.
The Awakening (review)
An elegantly creepy tale of a haunting that, wonder of wonders, one may approach equally well from the perspective of total supernatural belief or entrenched skepticism…
Martha Marcy May Marlene movie review: occupy victimhood
It takes an extraordinary film to turn the notion of woman-as-victim on its head… and an even more extraordinary film if it does posit as its central conceit that its protagonist has unquestionably been victimized.
