‘Doctor Who’ blogging: ‘The Sarah Jane Adventures’: “The Wedding of Sarah Jane Smith”
This is what I think: I think David Tennant is sorry he stepped down as the Doctor.
girls/women
Precious: Based on the Novel Push by Sapphire (review)
I’m not sure how a story like the one that unfolds in *Precious* can be anything other than the harrowing, painful, heartbreaking, explicit work that it is.
Women in Trouble (review)
Apparently, in Gutierrez’s mind, expanding the range of humanity available to women on film means they can be porn stars or prostitutes, they can be neurotic and indecisive, they’re all almost certainly suvivors of physical and emotional abuse, and they can be catastrophically dumb…
Coco Before Chanel (review)
Audrey Tautou looks *amazing,* surrounded by women who flounce around like fluffy Edwardian fruit cups. But moments like that — in which you really feel the impact of Chanel’s legacy — are, *tant pis,* all too rare…
Motherhood (review)
It’s too bad that writer-director Katherine Dieckmann couldn’t imbue her portrait of the titular state with as much easy, authentic panache as she does her setting.
Amelia (review)
This *Amelia* is a quiet, reflective film, and Earhart is not an icon or a symbol: she’s a human being, and the fantasy comes in how the film depicts her life and her achievements and everything about her not as something a *woman* did but something a *person* did.
An Education movie review: A-plus
Someone once said that perfect movies are boring and only flawed movies intriguing, and then along comes a movie like An Education, about which the number of things that are absolutely perfect is impossible to measure… and it’s thrilling and captivating anyway.
Zombieland movie review: dead funny
Kinda sorta Shaun of the Dead done up American style, so instead of cricket bats as weapons and jokes about tea, it’s shotguns as anti-zombie devices and a quest to find the last Twinkie.
Whip It (review)
I always knew Drew Barrymore could be this cool: her directorial debut is a simultaneously sweet and kickass story about one girl’s finding her bliss, a movie that works within Hollywood conventions of storytelling to handily demonstrate that just because a tale is familiar doesn’t mean it can’t be fresh and funny and edgy, too.
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.
