Reviews: Films

The Dancer Upstairs

John Malkovich has made a clever movie about the hunt for a fat, cardigan-wearing philosophy professor with blood on his hands. Rich Guilfoyle watches The Dancer Upstairs.
[Issue 43: October/November 2003]

The Matrix Reloaded

Our movie maestro Thomas Wartenberg plugs himself into The Matrix Reloaded but says that philosophically, it was destined to be dull.
[Issue 42: July/August 2003]

Gladiator

Stoics on the Big Screen? John Sellars examines the ancient philosophy which surfaces in Gladiator.
[Issue 41: May/June 2003]

My Big Fat Greek Wedding

Our film columnist Thomas Wartenberg ponders the pitfalls of cross-cultural coupling as he watches this season’s romantic comedy hit My Big Fat Greek Wedding.
[Issue 40: March/April 2003]

Lord of the Rings

This film column has been seized by Christian allegorists. Tom Wartenberg has been overthrown! (For now.) Meanwhile, here is Bill Murray’s commentary on Lord of the Rings.
[Issue 39: December 2002 / January 2003]

The Road to Perdition

Our philosophical film columnist Thomas Wartenberg ponders the complexity of human motives as he takes in the latest gangster movie, The Road to Perdition.
[Issue 38: October/November 2002]

Metropolis

Fritz Lang’s film Metropolis is a classic thanks to its timeless warning about the perils of technological mastery without social justice, says Scott O’Reilly.
[Issue 37: August/September 2002]

Together

Thomas Wartenberg watches a radical movie about some unlikely couples grappling with homophobia, feminist ideology and each other in a 1970s Swedish commune… and enjoys it!
[Issue 36: June/July 2002]

Nosferatu

What dark secrets can vampires reveal to us about German Romanticism? Behind the rows of screaming teenagers sits Scott O’Reilly, with a bag of popcorn and the collected works of Friedrich Schelling.
[Issue 35: March/April 2002]

Films and Plays

What happens when a playwright and a theater director make a movie? Our film critic Thomas Wartenberg recently found out, and it led him to ponder the less obvious differences between films and plays.
[Issue 34: December 2001 / January 2002]

...