Cynthia Fuchs

Cynthia Fuchs is Director of George Mason University Film & Media Studies Program. She is Film-TV Editor for popmatters.com and film reviewer for Common Sense Media and Philadelphia Citypaper.

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Articles by Cynthia Fuchs

“Brick Lane” - Cynthia Fuchs reviews

Sarah Gavron’s movie lapses into a series of clichés. Read more>>

Reviews and Criticism, Women on Film

“Under The Same Moon” - Cynthia Fuchs reviews

In another movie, such faith might seem admirable or ridiculous, a sustaining fiction or damaging delusion. But in Under the Same Moon, it’s just the way the world works. Read more>>

Reviews and Criticism, Women on Film

“Mad Money” - Cynthia Fuchs reviews

As unsubtle as it is, the movie’s broadly gendered arrangement seems tailor-made for director Callie Khouri (who wrote Thelma & Louise, back in the day). But the blatancy quickly turns from cute to tiresome, as the women appear to be genetically smarter and more sympathetic than the men. Read more>>

Reviews and Criticism, Women on Film

“27 Dresses” - Cynthia Fuchs reviews

Sweet and nurturing and passive-aggressive, Jane (Katherine Heigl) is yet another movie girl in need of rescue. Ho hum. Read more>>

Reviews and Criticism, Women on Film

“Cassandra’s Dream” - Cynthia Fuchs reviews

The first few minutes of Woody Allen’s Cassandra’s Dream are not bad. Read more>>

Reviews and Criticism, Women on Film

“Oswald’s Ghost,” review by Cynthia Fuchs

The images are iconic. Dealey Plaza. The Texas School Book Depository. Jackie’s pink suit. The grainy film shot by Abraham Zapruder, showing John Kennedy’s head falling back, back, and back again. And yet, as familiar as the pictures may be, the story they tell—the story of John Kennedy’s assassination in Dallas—remains unclear. Read more

Reviews and Criticism, Women on Film

“The Diving Bell and The Butterfly,” review by Cynthia Fuchs

The movie follows the outline of Bauby’s memoir, not only recounting his former, super-glam playboy life, but also reckoning with his current condition, asserting a self without speech or gesture—save for his left eye, whose blinking is his only means of communication.Read more

Reviews and Criticism, Women on Film

“Starting Out In The Evening,” review by Cynthia Fuchs

This conventional story is complicated by the film’s performances. And while Langella’s much-praised work here is surely haunting, Taylor, who makes Ariel’s struggles to be heard amid the literary chatter feel immediate, is more often surprising. Read more

Reviews and Criticism, Women on Film

“I’m Not There,” review by Cynthia Fuchs

Trust in the myth of Bob Dylan goes a long way toward making I’m Not There make sense. But its portrait of this notoriously shape-shifting artist is not the film’s most significant achievement, or even its most interesting. Read more

Reviews and Criticism, Women on Film

“Beowulf,” review by Cynthia Fuchs

It’s not so much that women are always right or good (though Wealthow seems so), but that men are relentlessly thick-headed. Carrying on like mead-swilling frat boys, all are determined to have their way, or at least pretend they have it. Read more

Reviews and Criticism, Women on Film