Marjorie Baumgarten

Marjorie Baumgarten is a senior editor at The Austin Chronicle, where she is the lead film critic and film reviews editor.

 

Articles by Marjorie Baumgarten

 

MIDDLE OF NOWHERE — Review by Marjorie Baumgarten

Ava DuVernay won a best director’s award at Sundance for Middle of Nowhere, a prize that seems fitting for the sort of film that has the kind of gravity and authority that sneaks up on the viewer. Read more>>

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AWFJ Women On Film – Marjorie Baumgarten’s Top Ten of 2009

1. WHERE THE WILD THINGS ARE

2. THE BEACHES OF AGNÈS

3. A SINGLE MAN

4. A SERIOUS MAN

5. THE HURT LOCKER

6. SUMMER HOURS

7. AN EDUCATION

8. UP

9. ANTICHRIST

10. BRIGHT STAR

And, for the annotated version: Read more>>

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Women On Film – “Coraline” – Marjorie Baumgarten reviews

Just as 3-D is heralded as the newest old trick in the cinema showman’s grab bag, along comes Coraline – the first animated stop-motion feature to be created in 3-D – to remind us that there can be more than mere gimmickry in the souped-up imagery.Read more>>

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“Persepolis” – Marjorie Baumgarten reviews

Persepolis is at once a confessional autobiography, historical re-enactment, graphic art object, and deeply involving contemporary story about a girl’s coming of age while circumventing not only the usual pitfalls of adolescence but also the enforced repression brought on by Iran’s Islamic revolution of the Eighties. Read more>>

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“Bee Story,” review by Marjorie Baumgarten

In his first major film venture and his largest-scale project since the conclusion of his watershed TV show in 1998, Seinfeld has made an animated movie that’s only little more than “about nothing.” Read more

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“Elizabeth: The Golden Age,” review by Marjorie Baumgarten

Nothing sets a girl’s heart racing more than having your dreamboat name a new world after you. Read more

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“We Own The Night,” review by Marjorie Baumgarten

The Russian crime syndicate in New York and conflicts between brothers on opposite sides of the law: These are Gray’s recurrent (redundant?) themes. That Wahlberg and Phoenix both co-starred in Gray’s last film, 2000′s The Yards, doesn’t ease We Own the Night’s sense of déj? vu. Read more

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“My Kid Could Paint That,” review by Marjorie Baumgarten

A truly perplexing documentary, My Kid Could Paint That begins as a fascinating cultural investigation, then events occur during the shooting of the film which cause filmmaker Bar-Lev to shift his focus and consequently render his finished product an ultimately creepy and exploitative document. Read more

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“The Darjeeling Limited,” review by Marjorie Baumgarten

With his fifth feature film, Anderson boards another train of ironic whimsy, although this time the train is quite literal and not just the train of thought in his head. Read more

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“Death Sentence,” review by Marjorie Baumgarten

Vigilantism is alive and flourishing in “Death Sentence,” the new revenge thriller from Wan, the so-called Splat Pack director of the original Saw movie. Read more

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“Sicko,” review by Marjorie Baumgarten

Professional gadfly Moore alights on the topic of the shortcomings of the American health-care system, and with this subject crafts his most widely accessible and least divisive documentary to date. Read more

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“Nancy Drew,” review by Marjorie Baumgarten

Although hardly clueless, this Nancy Drew seems like she’d be more at home in a movie titled thusly. read more

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“Grindhouse,” review by Marjorie Baumgarten

More than just a fun three hours at the movies, Grindhouse is a total immersion into movie geekdom, in which the packaging, marketing, lore, and accumulative experience are as much a part of the deal as the images that are up on the screen

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“The Hills Have Eyes II,” reviewed by Marjorie Baumgarten

This sequel to last year’s remake of the 1977 horror classic, The Hills Have Eyes, is as witless and simpleminded as the irradiated humanoids that serve as the franchise’s bad guys. read more

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“Brothers,” reviewed by Marjorie Baumgarten

Like her previous film, Open Hearts, Brothers is a psychological drama minus the psychology, and is based on a story idea by Danish director Bier and a screenplay by Anders Thomas Jensen. read more

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