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Movie Reviews

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    Anger Management: Rachel Boynton's "Our Brand Is Crisis"

    How ironically fitting "Our Brand Is Crisis" should open the same weekend as the Academy Awards. While Hollywood will undoubtedly give itself a big ol' pat on the back for recognizing the progressive messages of four of its five Best Picture noms, the immediate cultural and political challenges thes...

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    Tabula Rasa: Rupert Murray's "Unknown White Male"

    On a cold and rainy morning in July, 2003, Douglas Bruce, a 35-year-old stockbroker-turned-photographer, woke to find himself on a subway train headed for Coney Island with no knowledge of who he was or where he was going. In his backpack were dog medicine and a book with a scrap of paper on which s...

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    Head Trip: Carlos Reygadas's "Battle in Heaven"

    Sadly, in 2006 opening your film with a seemingly real blow job isn't quite the shot across the bow of good taste that it once was. Finishing right where you started perhaps ups the ante slightly, but if Carlos Reygadas thinks his by-now infamous bookends are throwing anyone for a loop then he's pr...

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    White Trash: Hunter Richards's "London"

    The saying goes that everyone has at least one story worth telling. Frankly, that's bullshit. Some stories--and some people's lives, for that matter--are not worth unleashing on the rest of us; their twisted, narrow ideas of the world should only be left to serve their own myopia. Take Hunter Richar...

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    A "Woman" of No Importance: Mike Barker's "A Good Woman"

    "A Good Woman," the original title of Oscar Wilde's 1892 play "Lady Windermere's Fan," is a film about the same characters we've met in the play's previous incarnations, only this time many of them are Americans and they're on the shores of the Italian Riviera in 1930. This shuffle of accents, cost...

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    The Dead Zone: Eugene Jarecki's "Why We Fight"

    Documentaries like Eugene Jarecki's Sundance Grand Jury Prize-winning "Why We Fight" put me in two frames of mind. On the one hand, its staid and steady by-the-PBS-book blend of talking heads, archival footage, and recent news clips makes one ponder the necessity of a theatrical release. On the oth...

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    Reverse Shot's 11 Annoyances of 2005

    How we hated them. So much that we can't stop talking about them. Certainly our second annual list of the most obnoxious experiences we had in 2005 watching ostensibly our favorite art form could come across as nothing more than a mean-spirited endeavor, but keep in mind that some of these titles se...

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    Reverse Shot's Best of '05: "Kings & Queen" and 9 More

    A grab bag of 2004 festival faves just getting "wider" releases. Misunderstood studio experiments. Inventive indie charmers. It becomes increasingly ridiculous to try and separate one year's best-of list from the next in any sort of edifying ideological, spiritual, or political manner, as the dispar...

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    A History of Reference: Woody Allen's "Match Point"

    There are those who will take the opportunity to elevate "Match Point" to instant classic status and those who will damn it with faint praise -- yet both will do so by saying the same thing: "Woody Allen's best in years!" Never mind that Allen stands utterly alone in output quantity, and that approx...

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    A View to a Kill: Michael Haneke's "Cache"

    Shock the bourgeois. That rallying cry of early 20th Century European art and art cinema -- apres Baudelaire -- becomes less effective as each passing year pulls us further from the canonized abrasions of modernity and deeper into the postmodern neutralization of visceral, disarming violence. In ret...

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