"Transcendence" is a serious science fiction movie filled with big ideas and powerful images, but it never quite coheres, and the end is a copout.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Director Brian Percival and actors Geoffrey Rush and Sophie Nélisse discuss "The Book Thief."
"The Wes Anderson Collection" video essay series continues with "The Darjeeling Limited," the director's comedy about brotherhood, death, and the limits of control.
A lost John Lennon interview; Goodreads' growing pains; 41 books a sexist professor should read; breaking down the visual composition of "Breaking Bad"; a letter from Steve Albini to Nirvana.
Since 1996 Yoko Ono has incorporated a wish tree into her work. Four years ago, my husband, who was only my dance partner at the time, and I went to her Wish Tree for Pasadena and filled out wishes on pieces of paper and tied them to a tree at One Colorado. I don't recall what I wished for, and the tags with string are more American than Japanese. I was reminded of those tags when I saw SDSU professor Wendy Maruyama's "The Tag Project." Keep both the wish trees and The Tag Project in mind when you see the movie "Emperor." Maruyama's project uses 120,000 paper identification tags—each representing an individual of Japanese descent who was imprisoned in one of the ten so-called relocation centers during World War II—and the tags are grouped by camp into an 11-foot-tall 100-pound hanging mass that resembles a trunkless tree. My relatives names would be included on those tags in at least two different internment camps. The Japanese wish trees are commonly seen at temples or shrines. People buy scraps of paper and write wishes before tying them to a tree. The strips of paper flutter in the wind. From afar, they could be white flower blossoms. In some cases you can read what other people wrote. On the Asian sweetheart's day, Tanabata, this act can be particularly romantic. Tanabata is a festival about star-crossed lovers and "Emperor" is also about ill-fated lovers. Based on the real Occupation of Japan, the movie uses romance to make the journey worth taking because we already know how history played out. The emperor of Japan, Hirohito, was not tried as a war criminal and was allowed to remain the figurehead of the Japanese government until his death in 1989. The Japanese Imperial House is the oldest continuing hereditary monarchy in the world. The movie takes and expands a vague notation from a real general, Bonner Fellers, about visiting an unnamed friend in Japan. Davis Klass and Vera Blasi's screenplay supposes that friend was female and the object of Fellers' affection. You might be tempted to dismiss this as another white man's exotic Oriental adventure in the same mold as Madame Chrysantheme (the French precursor to Madame Butterfly), but this movie displays more than the usual sensitivity toward Japanese attitudes on American policy. Yet these culture crossing ambitions aren't fully developed, leaving us with a love story that is more simplistic than simple and with a history lesson that has managed to raise some objections in the Los Angeles Japanese American community. While I understand "Emperor" is only based on a true story and I shouldn't expect it to be faithful to history, it is also not the story about being unfaithful. You'll see what I mean below. The movie starts with grainy black and white archival shots of "Little Boy," the atomic bomb that was dropped on August 6, 1945 on Hiroshima (Three days later "Fat Boy" was dropped on Nagasaki). The film shows us the devastation of Hiroshima, a stark treeless landscape. By the end of August, Douglas MacArthur (Tommy Lee Jones) is on a plane with his staff (including Fellers), going to Tokyo to set up the Occupation of Japan at the Dai Ichi Life Insurance Building. MacArthur's staff on the plane and, indeed, all the people at Dai Ichi are portrayed as white men and this sets up the first historical and logical problem. The military at the time was still segregated, but one possible exception to this was Military Intelligence Service members. MIS during World War II had two branches—one specializing in Japanese and the other in German. The Japanese branch was comprised predominately of Japanese American Nisei who helped military units with translation, interpretation and interrogation. Although they were a secret much like the Navajo Code Talkers and the female "computers," in 2010 the 6,000 Japanese Americans who worked as part of the MIS were awarded the Congressional Gold Medal. Yet you won't see any trace of the MIS Nisei service men in this movie. At the end of World War II, the victorious Allies had to decide who would be tried for war crimes and in Japan's case, MacArthur needed to decide if Japan's emperor would be found responsible for the war and tried as a Class A criminal. He puts Japanophile Fellers in charge. Through flashbacks we learn that Fellers (Matthew Fox) has an ulterior motive. After meeting a beautiful Japanese exchange student, Aya (Eriko Hatsune), at the fictional Douglaston College in 1932, he pursued her even after she suddenly returned to Japan. A member of the military already, he finagled an assignment in Japan to write about the psychology of the Japanese. Fellers based his article on conversations with Aya's military officer uncle. Not the best methodology, but dammit, we were on the brink of war and that's unfortunately how a lot of research materials on Japan was produced during that time period. The coming war forced the two apart. During the war, Fellers lost contact with Aya, and now back in Japan, he searches for her during the ten days the Supreme Commander of the Occupation, Douglas MacArthur, has given him to decide if the emperor will be charged as a Class A Criminal in the Tokyo War Crimes Trials. Fellers is well aware that while MacArthur wants to show Japan "old-fashioned American swagger" and declares that his mission is to rebuild Japan, MacArthur also intends to enlarge his legend and potentially run for the White House. Bonner Fellers's investigation and his search for his beloved Aya are assisted by his English-speaking Japanese chauffeur, Takahashi (Masayoshi Haneda). This is not exactly shades of the Green Hornet's Kato, but this single role eliminates the need for any MIS Nisei. Yet would U.S. military really trust a Japanese national to facilitate these top secret actions, particularly after forcing the American-born ethnic Japanese to sign loyalty oaths during their incarceration at internment camps? What Klass and Blasi's script does provide is a small historical counterpoint. Aya's uncle mentions the pre-Pearl Harbor oil embargo in 1941 (Pearl Harbor was bombed in December of the same year). Consider what the U.S. has been willing to do in recent years for oil. Further, the former prime minister Fujimaro Konoe (1940-1941) asks what is different about Japan's imperialism (the motto then was "Asia for the Asians") compared to what the British, French and Americans had been doing. "We are simply following your fine examples," he comments. Contrasting aspects of imperialism could have made this movie more complex and increased understanding of the Tokyo Trials but this thread isn't pursued. Yet "Emperor" gives us the impression that except for one bad egg, the U.S. Forces in Japan were an impressively upstanding and fair bunch. Fox as Fellers has that anxious integrity he also displayed in the TV series "Lost." Fox also has real chemistry with the willowy Hatsune, but that alone is not enough to create a believable torrid romance. When Hatsune's Aya tells Fox for a Japanese woman, she's quite daring the only evidence we have is her hairstyle. Her courage rationalizes her risk at having an affair with a foreigner but director Peter Webber doesn't draw out much more than that. In the movie, what prevents Fellers and Aya from getting married are her dead father's request that she not marry a foreigner and the Japanese military propaganda which encourages kids and others to hate foreigners. The Japanese propaganda is only half of the story. In the real world, prior to the militarization of the Japanese government and the oil shock, anti-foreign sentiment in Japan was also stirred up by the unequal treaties forced on Japan by Western nations (U.S., Great Britain, Netherlands, France and Russia), and biased laws in other countries such as the U.S. that treated Japanese nationals poorly. Similar treaties had been forced on China (China's Century of Humiliation) and Korea (by Japan first and then Western nations including the U.S., France, Germany, Italy and the U.K.). The U.S. and other countries portrayed East Asians as the yellow peril. Some U.S. states had miscegenation laws that included Asians, Native Americans and Filipinos as well as blacks. Then there were the anti-immigration acts aimed at the Chinese and Japanese. This reality is left out and in the movie, in the flashback sequences where Fellers romances Aya, the U.S. seems dreamily peaceful, even for East Asians. The real Fellers had a longer deadline to accomplish his mission and historians such as Herbert Bix and John W. Dower concluded that MacArthur's headquarters and Fellers worked almost as a defense team for the emperor. Then there's that one detail which could kill the romantic storyline and make the love story flutter into "Madame Butterfly" territory: In 1925, Fellers married Dorothy Dysart. She was not, like the MIS, a secret that the writers could have easily overlooked. He wrote letters to her about his relationship with MacArthur at a critical time when Fellers and Dwight Eisenhower were both on his staff. She died in 1981. This movie doesn't mention her, and Fellers and Aya's love isn't tainted by adultery. Of course, other movies have conveniently removed wives from the story such as the 1989 "Glory," which looked at the 54th Massachusetts Volunteer Infantry—the first all African American formal infantry unit. To my memory, Matthew Broderick's Colonel Robert Gould Shaw wasn't portrayed as married although the real Shaw was. But that movie was about race and war, not star-crossed lovers separated by war. "Emperor" attempts to treat this moment in history as if race didn't matter. The Tokyo War Crime Trials and the conviction of Japanese American Iva Toguri D'Aquino, the reputed Tokyo Rose, were plagued by questions of law and racism. Consider the judges of the Tokyo Trials. One of the 11 judges, Delfin Jaranilla, was a Bataan Death March survivor. The Chinese justice, Mei Ju-ao, had no experience as a judge at all. The judge from the U.S.S.R., I. M. Zaryanov, didn't speak either of the two official languages of the tribunal. The designated president of the tribunal, Australian William Webb, had investigated Japanese Imperial Army actions in New Guinea. Despite this Webb was against the death penalty for conspiring to wage, or planning, preparing, initiating or waging aggressive war, observing that no Nuremberg defendant had been sentenced to death for the crime of aggressive war and questioned if the Japanese defendants were being treated "with less consideration than the German accused." Roling objected to the death penalty for non-military personnel and for anyone for crimes against peace. Justice Radhabinod Pal of India was the only justice with prior experience in international law and his dissenting opinion was banned during the Occupation. He would have found none of the defendants, including the emperor, guilty because conspiracy to wage aggressive war was not considered an international crime in 1937 and Western colonialism and the dropping of the atom bomb were not on the list of war crimes. Justice B. V. A. Röling of the Netherlands commented, "It was horrible that we went there for the purpose of vindicating the laws of war, and yet saw every day how the allies had violated them dreadfully… Tojo was right that in this respect Tokyo was victor's justice only." "Glory" looked at the uncomfortable gray areas of racism and the two cultures that uneasily co-existed in America during the American Civil War. You could hardly imagine a historical black-white romance set during the Civil War or the 1940s involving Africa and the U.S. that didn't touch on American racism. Without the inclusion of American racism toward Japan and the Japanese Americans, the movie "Emperor" remains within the propaganda of MacArthur's time. The movie ends by telling us the fate of the Class A war criminals who were portrayed, but doesn't hint at the true nature of the trials or the Occupation. The absence of the changing landscape of race and segregation within the armed forces and the attending legal and moral considerations set "Emperor" in another era of movie-making. Is that really acceptable now? With all the legal racism within the victorious countries of World War II in the 1940s and after, how could we expect the Tokyo Trials to be fair? Why even bother to name the character after a real person when you conveniently forget his wife? Oddly, director Webber and his crew set the mood for the film with loving attention to the surroundings. The sets are certainly beautifully done. According to the press notes, the period of Japan hasn't been seen in a Hollywood film since the 1956 "Teahouse of August Moon" which starred Marlon Brando. That was Brando in historically acceptable 1950s yellowface. The production designer for "Emperor," Grant Major ("Lord of the Rings"), used an industrial site in New Zealand to create the burned-out Tokyo scenes which were quite effective. Grant also re-created the Imperial Palace and MacArthur's offices based on black and white photos. The look of the movie and the attention to detail in the costumes (Oscar-winning Ngila Dickson who worked on "The Last Samurai") are exceptional, but in the end, the story is not. So you might be wondering why I mentioned the wish trees. Keep the wish tree images in mind for the scene where the Fox as Fellers discovers the fate of his beloved Aya. Yet do not think of Aya when you want to see a real strong Japanese woman. Instead think of Yoko Ono as an example of a Japanese woman who rebelled against tradition. She was famous in the art world before she met and married John Lennon. "Emperor" had the potential to begin a discussion about Japan, race and history and peace but falters, wasting the convincing imagery of the set design and the tender chemistry of its leads. In the end, "Emperor" makes me wonder about artistic license versus ethics and how Bonner Fellers will be remembered in popular culture or if the existence of his wife Dorothy will be remembered at all. And, sadly, I also wondered how long Japanese Americans and other minorities will be whitewashed out of history at the movies. August is the month when the atomic bombs were dropped on Hiroshima and Nagasaki and when the Japan surrendered in 1945. August is also the month that President Ronald Reagan signed the Civil Liberties Act of 1988 into law, officially apologizing for the incarceration of 120,000 Japanese Americans during World War II and awarding $20,000 to each of the survivors. By the lunar calendar, Japanese and Japanese Americans celebrate Tanabata and this movie and others have left both a lot to wish for. "Emperor," which was given a limited release in March of this year, is now available on Amazon Instant.
How does screen violence make you feel? What kind hurts, and what kind doesn't? What goes through your mind when you see blood on the screen?
Susan Wloszczyna wonders if women at the helm might be just the thing to revitalize the foundering, repetitive comic-book movie genre.
"American Masters: Inventing David Geffen" premieres Tuesday, Nov. 20th at 8:00pm on PBS. (Check local listings.) It can also be viewed, where available, via PBS On Demand.
by Jeff Shannon
It was my good fortune to be working at Microsoft when the big announcement was made in March of 1995: Microsoft was entering into a joint venture with DreamWorks SKG, the new film studio and entertainment company founded the previous year by mega-moguls Steven Spielberg, Jeffrey Katzenberg and David Geffen (the "SKG" in the company's original moniker). At the time, Microsoft dominated the booming business of multimedia publishing, and the group I was working in, nicknamed "MMPUB," was producing a dazzling variety of CD-ROM games and reference guides. As an independent contractor I was the assistant editor of Cinemania, a content-rich, interactive movie encyclopedia (later enhanced with a website presence) that was an elegant and in some ways superior precursor to the Internet Movie Database.
Or: This IS my beautiful life! How did I get here?
The deaths of Andrew Sarris and Bill Sweeney on the same day last week got me to ruminating about my own life with movies and what drew me to them so strongly from an early age. Yes, there's that innate childhood desire to escape into new worlds (see "Moonrise Kingdom), and to create them, too (I started writing stories and shooting live-action and animated movies with my dad's wind-up 8mm Kodak Brownie before I was in my teens). But I think I've always known, too, that movies are like dreams, less about escapism or distraction than about getting closer to an understanding of the relationship between your inner self and the world. Tom Noonan said: "I think life generally is a distraction and that going to a movie is a way to get back, not go away." To me, the best movies have always been more real than real. Life, John Lennon sang, is what happens while you're making other plans; art gets to the core of what it means to be alive.
I've had many life-and-death (and near-death) experiences in waking life that were no more vividly real, memorable, ecstatic, traumatic, or profoundly and indelibly affecting* than certain (sometimes recurring) dreams or, oh, "2001: A Space Odyssey," "Sherlock Jr.," "Sansho Dayu," "Chinatown," "Nashville," "Kings of the Road," "Close Encounters of the Third Kind," "The Searchers," "Only Angels Have Wings," "The Magnificent Ambersons," "Vertigo," "Un Chien Andalou," "No Country for Old Men" -- and those are just a few of the titles that popped into my head as I was typing this sentence. (And yet it's still such a young medium -- only a little more than a century old.) There are familiar places that exist only in my dreams, that I remember from dream to dream, and I revisit them often. Movies are those kinds of places, too.
Marie writes: As some of you may know, it was Roger's 70th birthday on June 18 and while I wasn't able to give the Grand Poobah what I suspect he'd enjoy most...
Siskel & Ebert fight over a toy train (1988)
Marie writes: kudos to club member Sandy Kahn for finding this - as I'd never heard of the Bregenz Festival before, despite the spectacular staging of Puccini's opera Tosca and which appeared briefly in the Bond film Quantum of Solace; but then I slept through most of it. I'm not surprised I've no memory of an Opera floating on a lake. Lake Constance to be exact, which borders Germany, Switzerland and Austria near the Alps...
Tosca by Puccini | 2007-2008 - Photograph by BENNO HAGLEITNER(click to enlarge)
Marie writes: I attended three different elementary schools; St. Peter's, Our Lady of Mercy (which was anything but) and finally St. Micheal's; where I met my Canadian-Italian chum, Marta Chiavacci (key-a-vah-chee) who was born here to Italian immigrants. We lost touch after high school, moving in different directions til in the wake of a trip to Venice and eager to practice my bad Italian and bore friends with tales of my travels abroad, I sought her out again.We've kept in touch ever since, meeting whenever schedules permit; Marta traveling more than most (she's a wine Sommelier) living partly in Lucca, Italy, and happily in sin with her significant other, the great Francesco. I saw her recently and took photos so that I might show and tell, in here. For of all the friends I have, she's the most different from myself; the contrast between us, a never-ending source of delight. Besides, it was a nice afternoon in Vancouver and her condo has a view of False Creek...smile...
(click images to enlarge)
Marie writes: I love illustrators best in all the world. There's something so alive about the scratch and flow of pen & ink, the original medium of cheeky and subversive wit. And so when club member Sandy Kahn submitted links for famed British illustrator Ronald Searle and in the hopes others might find him interesting too, needless to say, I was quick to pounce; for before Ralph Steadman there was Ronald Searle... "The two people who have probably had the greatest influence onmy life are Lewis Carroll and Ronald Searle."-- John LennonVisit Kingly Books' Ronald Searle Gallery to view a sordid collection of wicked covers and view sample pages therein. (click to enlarge image.) And for yet more covers, visit Ronald Searle: From Prisoner of War to Prolific Illustrator at Abe Books.
If we are to believe some of his many fans, then Tupac Shakur was never murdered. Rather, he is today living a quiet life, perhaps playing chess under quiet New Zealand clouds with Jim Morrison and Elvis Presley. And while Lauren Lazin bookends her documentary, "Tupac: Resurrection," with his murder, the movie takes us through the turbulent world that formed and informed his biography. The movie convinces us that we have entered not only his mind, but his heart.
Marie writes: There's a glorified duck pond at the center of the complex where I live. And since moving in, my apartment has been an object of enduring fascination for Canadian geese - who arrive each Spring like a squadron of jet fighters returning from a mission in France, to run a sweeping aerial recon my little garden aka: playhouse for birds... (click to enlarge)
Marie writes: you've all heard of Banksy. But do you know about JR...?(click to enlarge image)
Linked here are reviews in recent months for which I wrote either 4 star or 3.5 star reviews. What does Two Thumbs Up mean in this context? These films are worth going out of your way to see, or you might rent them, add them to your Netflix, Blockbuster or TiVo queues, get them by VOD, watch for them on cable, anything. Many of the older titles are already streaming on Netflix and Amazon.
"Another Year" (PG-13, 129 minutes). Tom and Gerri (Jim Broadbent and Ruth Sheen) and long and happily married. Their frequent visitor is Mary (Lesley Manville), a unhappy woman with a drinking problem who needs shoring up with their sanity. Mike Leigh's new film is one of his best, placing as he often does recognizable types with embarrassing comic and/or dramatic dilemmas. One of the year's best films. Four stars
"My Dog Tulip" (Unrated, 83 minutes). The story of a man who finds love only once in his life, for 15 perfect years. It is the love of a dog. It may be the only love he is capable of experiencing. This is an animated film combining elating visuals with a virtuoso voice performance by Christopher Plummer. Nor for children. Foe adults who will admire its beauty and profundity. Directed and animated by Paul and Sandra Fierlinger. Four stars
"Inspector Bellamy" (Unrated, 110 minutes). Gerard Depardieu stars as a famous Parisian police inspector who is on holiday when a man tells him, "I committed murder...sort of." Claude Chabrol's final film, written with Depardieu in mind, is inspired in part by Simenon's Inspector Maigret, and follows Bellamy as he unwinds the strange story of the murder, while also, like Simenon, becoming fascinated by side characters, such as Bellamy's troubled half-brother. Marie Bunel is warm and supportive of her husband, and a good confidant during pillow talk about crime. Three and a half stars.
"The Illusionist" (PG, 90 minutes). A magician named Tatischeff fails in one music hall after another, and ends up in Scotland, where a young woman takes care of him and believes in him, even when he's reduced to performing in store windows. An animated film based on the final screenplay of Jacques Tati, and directed by Sylvain Chomet ("The Triplets of Belleville"). Four stars
"Barney's Version" (R, 132 minutes). Paul Giamatti stars as an unremarkable Montreal TV producer who drinks too much, smokes too many cigars, and discards two women in quick divorces before finding at last one far too good for him (Rosamund Pike). Dustin Hoffman has a smallish but particularly good role as his father. Giamatti won the 2011 Golden Globe award as best actor. Three and a half stars
"All Good Things" (R, 101 minutes). David (Ryan Gosling) is the rebellious son of a wealthy Manhattan family that owns sleazy 42nd Street real estate. He marries Katie (Kirsten Dunst), and they move to Vermont to open an organic products store. But his father (Frank Langella) pressures him to return to the family business, and he undergoes alarming changes eventually connected to two murders. Based on one of those true stories Dominick Dunne used to write about in Vanity Fair. Three and a half stars
"Blue Valentine" (R, 120 minutes). Ryan Gosling and Michelle Williams as Dean and Cindy in two seasons of marriage: Six years ago when love was fact, and today, when love proves unable to support the weight of real life. Director Derek Cianfrance closely observes the details as his couple fail to comprehend the larger picture. Dean thinks marriage is the station. Cindy thought it was the train. Three and a half stars
"The King's Speech" (R, 118 minutes). After the death of George V and the abdication of his brother Edward, Prince Albert (Colin Firth) becomes George IV, charged with leading Britain into World War Two. He is afflicted with a torturous stammer, and his wife (Helena Bonham Carter) seeks out an unorthodox speech therapist (Lionel Logue) to treat him. Civilized and fascinating, this is the story of their unlikely relationship. (The R rating, for language, is absurd; this is an ideal film for teenagers.) Four stars
"True Grit" (PG-13, 110 minutes). An entertaining remake of the 1969 film, and more. Jeff Bridges as Rooster Cogburn easily fills John Wayne's boots, and Hailee Steinfeld is very special as young Mattie Ross, who hires the old marshal to help her hunt down the varmit what killed her old man. Not a "Coen Brothers Film," but a flawlessly executed Western in the grand tradition. Strong support from Matt Damon, Josh Brolin and Barry Pepper. Three and a half stars
"Somewhere" (R, 96 minutes). Johnny Marco Stephen Dorff is a movie star. He has access to sex, booze, drugs, but feels no pleasure. He sits in a Los Angeles hotel room, stuck. His 11-year-old daughter (Elle Fanning) comes to stay for a few days, but he clearly has no feeling for fatherhood. He's given an award in Milan but hardly notices in the confusion of strangers around him in a hotel suite. He retreats to the same famous West Hollywood where John Belushi died, which for him might have been a recommendation. Sofia Coppola's film, winner of the Golden Lion at Venice, is a masterpiece of observation of hopelessness. Four stars
"Rabbit Hole" (R, 91 minutes) Becca (Nicole Kidman) and Howie (Aaron Eckhart) are trying their best to get on with things. This is the tricky and very observant story of how a married couple is getting along, eight months after their 4-year-old ran out into the street and was struck dead by a car. They were leveled with grief. Their sex life stopped. They lived for a time in a daze, still surrounded in the house by the possessions of the child who no longer lives there. I know all this sounds like a mournful dirge, but in fact "Rabbit Hole" is entertaining and surprisingly amusing, under the circumstances. Three and a half stars
"Black Swan" (R, 108 minutes). Natalie Portman in a bravura performance as a driven perfectionist, a young ballerina up for a starring role at Lincoln Center. Her life is shadowed by a smothering mother (Barbara Hershey), an autocratic director (Vincent Cassel) and a venomous rival (Mila Kunis) and her deposed predecessor (Winona Ryder). A full-bore melodrama, told with passionate intensity, gloriously and darkly absurd. Directed by Darren Aronofsky. Three and a half stars
"Carlos" (Unrated, 332 minutes). A remarkable portrait of a despicable man, the terrorist Carlos ("the Jackyl"), who from 1975 to 1994 directed a shadowy group of violent militants that dealt in kidnapping and murder. Edgar Ramirez is powerful in the title role, as an egomaniac whose primary cause seems to be himself. With reckless boldness he eludes an international manhunt until finally even his masters grow tired of him. Unflinching, detailed, absorbing. Directed by Olivier Assayas. Three and a half stars
"White Material" (Unrated, 105 minutes). Isabella Huppert plays a French woman in Africa, managing the coffee plantation that was her ex-husband's. War stirs in the land, and she is warned to evacuate. She finds that unthinkable. This is her home, this is her farm, and she will bring in the crop. The movie doesn't sentimentalize or make a political statement; like its heroine, it doesn't have theories. A beautiful, puzzling film; the enigmatic quality of Huppert's impassivity draws us in. Three and a half stars
"I Love You Phillip Morris" (R, 98 minutes) Jim Carrey in the true life story of outrageous con man Steven Russell, who impersonated doctors, lawyers, FBI agents, and corporate executives. He convinced prison officials he had died of AIDS, successfully faked a heart attack, and escaped from jail four times (hint: always on Friday the 13th). Ewan McGregor plays his cellmate Phillip Morris, who Steven falls in love with. Thereafter his life consists of trying to get Steven out of jail, or trying to escape to be with him. Audacious. Jim Carrey's mercurial personality was almost necessary to even make this movie. Three and a half stars
"Hereafter" (PG-13, 129 minutes). Clint Eastwood considers the idea of an afterlife with tenderness, beauty and a gentle tact. Matt Damon stars as a man who believes he has a genuine psychic gift, and suffers for it. Cecile de France is a French newsreader who has a near-death experience. Frankie McLaren is a small boy seeking his dead twin. The stories converge, but in a way that respects the plausible. Not a woo-woo film but about how love makes us need for there to be an afterlife. Four stars
"Made in Deganham" (R, 113 minutes). Delightful serious comedy about the historic 1968 in Ford's British plant that ended its unequal pay for women, and began a global movement. Sally Hawkins plays Rita O'Grady, who caught the public fancy as a strike leader. Bob Hoskins is a sympathetic union organizer, and Miranda Richardson plays Barbara Castle, the minister of labor who unexpectedly sided with the striking women. Three and a half stars
"Monsters" (R, 93 minutes). An American photojournalist (Scoot McNairy) shepherds the daughter of his boss (Whitney Able) north from Mexico though a dangerous Infected Zone occupied by an alien life form. But this isn't a "monster movie," or an exploitation film. It's an uncannily absorbing journey transformed by the fact of Beings who are fundamentally different from any life form we have imagine. Writer-director Gareth Edwards, who also created the special effects, builds toward a climax combining uncommon suspense and uncanny poetry. Three and a half stars
"Unstoppable" (PG-13, 98 minutes) A runaway train hurtles at 70mph, and the movie is as relentless as the train. Denzel Washington and Chris Pine try to stop it, and Rosario Dawson is the hard-driving dispatcher. In terms of sheer craftsmanship, this is a superb film. Directed by Tony Scott. Three and a half stars
"Morning Glory" (PG-13, 110 minutes). Rachel McAdam transforms a conventional plot into a bubbling comedy with her lovable high energy. She plays an ambitious young producer on a last-place network morning news show, who forces a reluctant TV veteran (Harrison Ford) to do the kind of TV he despises. A lot of laughs, including Diane Keaton as Ford's veteran co-anchor, Matt Malloy as a goofy weatherman and Jeff Goldblum as the boss who considers the show dead in the water. Three and a half stars
"127 Hours" (R, 93 minutes). The harrowing true story of James Franco, a rock climber whose arm was pinned to a Utah canyon wall by a boulder. In desperation he amputated his own arm to free himself. James Franco stars in Danny Boyle's film, which is gruesome but not quite too gruesome to watch. It's rather awesome what an entertaining and absorbing film Danny Boyle has made here. Yes, entertaining. Four stars
"Buried" (R, 93 minutes). Paul Conroy (Ryan Reynolds) is a truck driver working for a private contractor in Iraq. He comes to consciousness in blackness. He feels around and finds a lighter. It its flame his worst fears are realized. He has been kidnapped, buried alive, and is a hostage. Taking place entirely within the coffin, this is a superior suspense picture that's ingenious in devising plausible events inside the limited space. Three and a half stars.
"Tamara Drewe" (PG-13, 110 minutes) A mischievous British comedy, set in a rural writer's retreat where egos and libidos are in contention. When a once-homely local girl returns home with newfound fame and an improved nose, all the men perk up with unfortunate results. With Gemma Arterton, Roger Allam, Dominic Cooper, Luke Evans and Tamsin Greig. Directed by Stephen Frears. Delightful. Three and a half star
"The Social Network" (PG-13, 120 minutes). The life and times of Mark Zuckerberg (Jesse Eisenberg), who created Facebook, became a billionaire in his early 20s, and now has 500 million members on the site he created. A fascinating portrait of a brilliant social misfit who intuited a way to involve humankind race in the Kevin Bacon Game. Everybody likes Facebook--it's the site that's all about you. With Justin Timberlake as Sean Parker, the Napster founder who introduced Zuckerberg to the Silicon Valley fast lane, Andrew Garfield as the best friend who gets dumped, and Armie Hammer as the Winklevoss twins, who sued Zuckerberg for stealing their idea. One of the year's best films. Four stars
"Secretariat" (PG, 116 minutes). A great film about greatness, the story of the horse and the no less brave woman who had faith in him. Diane Lane stars as Penny Chenery, who fell in love with Secretariat when he was born, and battled the all-male ring fraternity and her own family to back her faith in the champion. A lovingly crafted film, knowledgeable about racing, with great uplift. Also with John Malkovich, Scott Glenn, James Cromwell, Nelsan Ellis, Dylan Walsh. One of the year's best. Four stars
"Last Train Home" (Unrated, 87 minutes). Begins as a documentary about an annual New Years migration from cities to villages by 180 million Chinese, and focuses on one family; the parents have labored at low factory wages for 15 years to pay for their children's education back home, and now, as their daughter graduates high school, they may find only heartbreak as repayment. Shot over three years, it's one of those extraordinary films, like "Hoop Dreams," that tells a story the makers could not possibly have anticipated in advance. Works like stunning, grieving fiction. One of the year's best. Four stars
"Inside Job" (Unrated, 108 minutes). Exactly how Wall Street thieves eagerly sold bad mortgages, bet against them, and paid themselves millions in bonuses for bankrupting their own companies. And the Street is having another good year at our expense, because Financial Reform is as far away as ever. An angry, devastating documentary. Four stars
"Let Me In" (R, 115 minutes). A well-made retelling of the Swedish "Let the Right One In," which doesn't cheapen the original but respects it and adds some useful events. Owen (Kodi Smit-McPhee) is a bullied, neglected boy, and Abby (Chloe Grace Moretz of "Kick Ass") is the girl who moves into the next apartment and has "been twelve for a very long time." The same cold, dark atmosphere of foreboding, in a doom-laden vampire drama. Not for Team Edward. Three and a half stars
"Scrappers" (Unrated, 90 minutes). A portrait of Otis and Oscar, two self-employed collectors of scrap metal, who troll the alleys in their trucks and vacant lots of Chicago for metals that can be sold. They work hard, they support families, they perform recycling on metals that might end up buried in garbage, and they like the work--its freedom, its independence. But metals dropped from $200 to $300 a ton to $20 with the economic collapse, and now their trade is desperate. See this and you'll never look at a scavenger with the same eyes. Three and a half stars
"Never Let Me Go" (R, 104 minutes). In an alternative time line, test-tube babies are created solely for the purpose of acting as Donors for body parts. Raised in seclusion, they accept their role. Are they really human, after all? In this sensitive, teary adaptation of the Kazuo Ishiguro novel, three of them begin to glimpse the reality of their situation, and its tragedy. With Carey Mulligan, Andrew Garfield, Keira Knightley, Charlotte Rampling, Sally Hawkins. Four stars
"Nowhere Boy" (R, 97 minutes). The Beatles are only distantly on the horizon in this deeply-felt biopic of young John Lennon growing up in Liverpool. He's at the center of a tricky relationship involving his mother, who he didn't know growing up, and his aunt, who raised him. From these years perhaps came and simultaneous elation and sadness of many of his songs. Aaron Johnson as John, Kristin Scott Thomas as his Aunt Mimi, Anne-Marie Duff as his mother Julia. Three and a half stars
"Waiting for Superman" (PG, 102 minutes). The new documentary by Davis Guggenheim ("An Inconvenient Truth") says the American educational system is failing, and dramatizes this failure in a painfully direct way, saying what is wrong, and what is right. He points to existing magnet schools that draw their students by random lottery and virtually guarantee high school graduation and acceptance by a college. He explains why bad teachers who cannot be fired are a national scandal. The film is alarming, fascinating, and in the end hopeful. Three and a half stars
"Easy A" (PG-13, 93 minutes). Funny, star-making role for Emma Stone, as a high school girl nobody notices, until she's too embarrassed to admit she spent the weekend home alone and claims she had sex with a college boy. When word gets around, she uses her undeserved notoriety to play the role to the hilt, even wearing a Scarlet Letter. And she's able to boost the reps of some of her pals by making up reports of their process. Sounds crass. Isn't. Three and a half stars
"The American" (R, 95 minutes). George Clooney is starkly defined as a criminal as obedient and focused as a samurai. He manufactures weapons for specialized jobs. He lives and functions alone. He works for a man who might as well be a master. He used few words. Only his feelings for a prostitute named Clara (Violante Placido) supply an opening to his emotions. Zen in its focus. Four stars.
"Flipped" (PG-13,90 minutes) Juli (Madeleine Carroll) has adored Bryce (Callan McAuliffe) ever since he moved into the neighborhood in the second grade. Bryce has been running away from her ever since. Now they're 14 and they seem to be flipping: he more interested, she less. Rod Reiner's warm human comedy tells their stories by showing the same crucial events from both their points of view. He returns to the time of his "Stand By Me" with the same endearing insights. Rating: Four stars
"Mesrine: Public Enemy No. 1" (R, 133 minutes). Continuation of the brutal life of France's most notorious criminal, who survived a 20-year series of bank robberies, kidnappings, prison breaks and murders. Vincent Cassel makes him brutal, ugly, powerful and inscrutable. Winner of French Oscars for best director and actor. Three and a half stars
"Mesrine: Killer Instinct" (R, 113 minutes) He was a ruthless killer, bank robber, kidnapper and prison break artist--and a self-promoting egomaniac who wrote books some compared to Camus. Vincent Cassel stars in a hard-boiled performance as the French criminal who killed on three continents and was in love with his image. Three and a half stars
"Salt" (PG-13, 100 minutes). A damn fine thriller. It does all the things I can't stand in bad movies, and does them in a good one. Angelina Jolie stars as a CISA agent fighting ingle-handedly to save the world from nuclear destruction. Hardly a second is believable, but so what? Superbly crafted, it's a splendid example of a genre action picture. Directed by Philip Noyce. Four stars
"Inception" (PG-13, 148 minutes). An astonishingly original and inventive thriller starring Leonardo DiCaprio as a men who infiltrates the minds of others to steal secrets. Now he's hired to implant one. Ken Watanabe is a billionaire who wants to place at idea in the mind of his rival (Cillian Murphy). DiCaprio Assembles a team (Joseph Gordon-Levitt, Tom Hardy, Ellen Page) to assist him, in a dazzling achievement that rises above the thriller level and enters the realm of mind control--in the plot, and in the audience. Written and directed by Christopher Nolan ("Memento," "The Dark Knight"). Four stars
"The Kids are All Right" (R, 104 minutes). A sweet and civilized comedy, quietly satirical, about a lesbian couple, their children, and the father the kids share via sperm donation. When they meet him, they like him, he likes them, and their moms are not so sure. What happens is calmly funny, sometimes fraught, and very human. With pitch-perfect performances by Julianne Moore and Annette Bening as the moms, Mark Ruffalo as the dad, and Mia Wasikowska and Josh Hutcherson as the 20-something children. Directed by Lisa Cholodenko. Three and a half stars
"The Girl Who Played with Fire" (R, 129 minutes). Noomi Rapace, electrifying in last year's "The Girl with the Dragon Tattoo," returns for the second film drawn from Stieg Larsson's Millennium Trilogy. Once again she's following the same crimes as journalist Mikael Blomkvist (Michael Nyqvist), but they don't meet until late in the game as a murder trail leads to old family secrets. Well constructed, good cast, not quite up to the "Dragon" standard. Three and a half stars
"Restrepo" (R, 94 minutes). A documentary shot during the 15 months an American company fought under almost daily fire in Afghanistan's Korangal Valley, described as "the most dangerous place on earth." The Taliban is a constant presence; the Americans take fire three, four, five times a day; they establish the strategic Outpost Restrepo, named for the first of their number to die, and it seems to turn the tide in the Valley. The 15-month tour is hard duty, and our admiration grows for these men. The film is non-political; the men are fighting above all to simple survive. Four stars
"9500 Liberty" (Unrated, 80 minutes). A law similar to Arizona's controversial recent measure was passed and briefly enforced a few years ago in Virginia's Prince William County, and what happened there may be instructive. This documentary shows the rise and fall of a movement led by a right-wing blogger, and the groundswell of opposition (including many whites and Republicans) that ended it. The cost of the law in higher taxes, exposure to lawsuits and the city's image was startling. The doc shows the rise and fall of the county law, and centers on the American tradition of citizens speaking out in town hall meetings. Three and a half stars
"A Small Act" (Unrated, 98 minutes). A documentary about a Kenyan boy named Chris Mburu who grew up in a mud house, graduated from Harvard Law School, and is today a United Nations Human Rights Commissioner. His education was made possible by a $15-a-month gift from Hilde Back, a Swedish schoolteacher whose parents were Holocaust victims. Mburu started a foundation in her honor to grant more scholarships, and in the film they meet and she is honored by his village. To call it "Heartwarming" would be an understatement. Three and a half stars
"Cell 211" (Unrated, 111 minutes). Very effective thriller about a man's attempt to save his life by thinking quickly. A new prison guard, being given a tour, is left behind when a riot breaks out. Pretending to be a new prisoner, he improvises well enough to become a de facto leader of the riot, and develops a subtle relationship with the rock-hard leader of the prisoners. Winner of eight Goya awards, the Spanish Oscars, this year, including Best Picture. Three and a half stars
"I am Love" (R, 120 minutes). A sensuous and fascinating story about a modern family of Italian aristocrats. Tilda Swinton plays a Russian who has married the oldest son, learns her husband and their son will take over the family textile business, then suddenly finds herself in the middle of an unexpected affair. Masterfully direct by Luca Guadagnino. One of the year's best. Four stars
"Cyrus" (R, 91 minutes). Two lonely people (John C. Reilly and Marisa Tomei) meet at a party and like each other. She has a 20ish son (Jonah Hill) who welcomes Reilly to their home and invites him to stay for dinner. But a comedy of social embarrassment develops when it becomes clear that the son is jealous and possessive of his mother, and perhaps to physically familiar with her. No, it's not incest; let's call it inappropriate behavior that his mom doesn't seem to discourage. Reilly is caught in an awkward position, which the film simply regards, leaving us to wince in a fascinated way. Three and a half stars
"Winter's Bone" (R, 99 minutes). Jennifer Lawrence is brilliant as a 17-year-old girl who father has skipped bail and left his family threatened with homelessness. In a dirt poor area of the Ozarks, she goes seeking him among people who are suspicious, dangerous and in despair. Winner of the Grand Jury prize at Sundance 2010 and the screenwriting award, this film by Debra Granik is one of the year's best. Four stars
"Joan Rivers: A Piece of Work" (R, 84 minutes). Rivers was 75 in this film, and never tires of reminding us of that fact. She remains one of the funniest, dirtiest, most daring and transgressive of standup comics, and she hasn't missed a beat. The doc follows her for a year as she relentlessly pursues the career that her daughter, Melissa, says was like having another sister. She violates her own privacy, speaks from the heart, does not know tact, and makes us laugh a lot. If you've only seen Rivers on TV, you ain't seen nothing' yet. Three and a half stars
"The Karate Kid" (PG, 126 minutes). Faithfully follows the plot of the 1984 classic, but stands on its own feet and takes advantage of beg shot on location in China. Jackie Chan dials down convincingly as the quiet old janitor with hidden talents, and Jaden Smith (son of Will and Jada Pinkett Smith) holds the screen with glowing charisma. The obligatory final fight climax is unusually well-handled. Three and a half stars
"Solitary Man" (R, 99 minutes). Michael Douglas in one of his best performances, as a once rich and famous car dealer, now in hard times but still tireless as closing the hardest sell of all--himself. He's a seducer, a cheater, a user, but running outgo of options, in a smart comedy/drama with an excellent supporting cast including Jesse Eisenberg, Jenna Fischer, Danny DeVito and Susan Sarandon. Three and a half stars
"Please Give" (R, 91 minutes). Catherine Keener and Oliver Platt play a Manhattan couple who have a daughter and run an antique store and live next to a mean-tempered old lady (Ann Morgan Guilbert) . When she dies, they can buy her apartment. The old lady has two granddaughters, played by Rebecca Hall and Amanda Peet. When the couple invites everyone over for dinner, events are set in motion that are true, funny, and ruefully observant. Writer-director Nicole Holofcener is so perceptive about women whose lives are not defined by men; that's rare in the movies. Three and a half stars
"Death at a Funeral" (R, 92 minutes). The best comedy since "The Hangover." A big family home is the setting for a funeral that's just one damn thing after another. Remake of a 2007 Brit comedy, but a lot funnier. All-star cast includes Chris Rock, Martin Lawrence, James Marsden, Peter Dinklage, Loretta Devine, Regina Hall, Zoe Saldana, Tracy Morgan, Luke Wilson and on and on. Three and a half stars.
"Home" (Unrated, 98 minutes) A family live in a small home in the middle of vast fields and next to the highway, which hasn't been used for ten years. Then big trucks arrive to lay down a fresh coating of asphalt, and the arrival of traffic puts unbearable pressure on a family that seems a little strange from the first. With Isabelle Huppert and Olivier Gourmet. 2008 winner of the Swiss Film Prize. Three and a half stars.
"Date Night" (PG-13, 88 minutes) Steve Carell and Tina Fey play a perfectly nice married couple from New Jersey who simply want to have a great night out together in Manhattan. Mistaken for another couple, they're spun into a nightmare involving a mob boss and an unpaid debt. Funny, because they seem halfway plausible. With Ray Liotta, Mark Wahlberg, James Franco. Directed by Shawn Levy ("Night at the Museum"). Three and a half stars
"Greenberg" (R, 107 minutes). Ben Stiller in one of his best performances as a chronic malcontent who returns to L.A. to house-sit, nurture his misery, and reconnect with people who quite rightly resent him. With Greta Gerwig as an aimless but pleasant young college graduate who feels sorry for him, and Rhys Ifans and Jennifer Jason Leigh as survivors of his troublesome past. Directed by Noah Baumbach, of "The Squid and the Whale." Three and a half stars.
"Vincere" (Unrated, 128 minutes) The long-suppressed story of Mussolini's early mistress, who bore him a son and then was pushed into the shadows after he made a respectable marriage. She obsessively follows him, confronts him with their child in public, and is finally locked away by the fascists in an asylum. Giovanna Mezzogiorno's performance as Ida, the mistress, reminds me of Sophia Loren in the way she combines passion with dignity. Directed by the legendary Marco Bellocchio. Three and a half stars
"Leaves of Grass" (R, 105 minutes). Edward Norton plays a dual role as brothers: One a professor of philosophy at Brown, the other still back home in Little Dixie, Oklahoma, growing the best marijuana in the state. He may be the better philosopher. With Susan Sarandon as their mother, and Richard Dreyfuss as the state's drug kingpin. Norton gives two inspired and entirely different performances. Written and directed by Tim Blake Nelson, who also plays the best friend. One of the best films of 2010. Four stars
"45365" (Unrated, 90 minutes). An achingly beautiful portrait of small town America. The title is the zip code of Sidney, Ohio, and brothers Bill and Turner Ross grew up there and spent seven months on 2007 creating this portrait in sound and images of ordinary people, mostly nice, living their lives. No obvious structure, no message, just an appreciation of daily life that becomes haunting in its poetry. Winner of the Truer than Fiction Award at the 2010 Independent Spirits. Four stars (3/27/10)
"Mother" (R, 128 minutes). A mentally-deficient 27-year-old seems almost certainly guilty of murder. His mother, who has protected him all his life, is determined to prove his innocence. She is a remorseless force of nature, in a South Korean thriller that moves far beyond our expectations, into labyrinths deeper than reality. Written and diffracted by Bong Joon-ho ("The Host"). Three and a half stars
"Chloe" (Unrated, 96 minutes). A woman doctor (Julianne Moore) suspects her husband (Liam Neeson) of cheating, and hires a young call girl (Amanda Seyfried) to test how he might respond. She is fascinated by the girl's reports. Her jealousy shifts into curiosity. And the call girl? What's in this for her? Egoyan weaves a deceptive erotic web. Three and a half stars
"Waking Sleeping Beauty" (PG, 86 minutes). A privileged inside look at the Disney animation studio from 1984 to 1994, a golden age that essentially recreated feature animation in the form we know it now. From "The Little Mermaid" to "The Lion King," interviews, archives, home movies and interviews recreate a time of creative turmoil and backstage rivalries. It was the best of times, it was the worst of times. Three and a half stars.
"The Girl with the Dragon Tattoo" (Unrated, for adults, 148 minutes). Compelling thriller with a heroine more fascinating than the story. She's Lisbeth (Noomi Rapace), a 24-year-old Goth girl with body piercings and tattoos: thin, small, fierce, damaged, a genius computer hacker. She teams up with a taciturn Swedish investigator to end a serial killer's 40 years of evil. Based on the international best-seller. Intense and involving. The planned Hollywood remake will probably have to be toned down. Four stars.
"Diary of a Wimpy Kid" (PG, 92 minutes). Nimble, bright and funny comedy about the hero's first year of middle school. Zachary Gordon stars as the uncertain newcomer, and Robert Capron is his pudgy best pal, who still acts like a kid. Chloe Grace Moretz sparkles as the only student who's nice to them, and the movie amusingly remembers the tortures of early adolescence. Based on the books by Jeff Kinney. Three and a half stars.
"The Green Zone" (R, 114 minutes) Matt Damon and his two-time "Bourne" director Paul Greengrass team up for a first-rate thriller set early in the war in Iraq. Damon's chief warrant officer finds that U.S. intelligence is worthless, and his complaints lead him to discover the secret conspiracy intended to justify the American invasion. Greg Kinnear is the deceptive U.S. intelligence puppet-master, Brendan Gleeson is a grizzled old CIA hand whose agency has always doubted the stories sabot Saddam's WMD, and Amy Ryan plays a newspaper reporter who served Kinnear as a pipeline. Four stars.
"A Prophet" (R, 154 minutes). An unformed young man is imprisoned, and behind bars he terrifyingly comes of age. A remorseless consideration of the birth of a killer. With Tahar Rahim as the clueless young prisoner and Niels Arestrup as the powerful boss of the gang controlling the prison. Swept the 2010 Cesar awards ("the French Oscars"), won the Grand Jury Prize at Cannes 2009, a 2010 Oscar nominee for best foreign film. Directed by Jacques Audiard. Four stars
"The Ghost Writer" (PG-13, 124 minutes). In Roman Polanski's thriller, a man without a past rattles around in the life of a man with too much of one. Ewan McGregor plays a ghost writer hired by a former British prime minister (Pierce Brosnan), whose previous ghost has mysterious drowned. In a rain-swept house on Martha's Vineyard, McGregor meets the PM's wife (Olivia Williams) and his assistant/mistress (Kim Cattrall), as an international controversy swirls. A splendidly acted and crafted immersive story. Four stars
"Red Riding Trilogy" (Unrated, for adults, 302 minutes). An immersive experience based on the infamous Yorkshire Ripper killings and the subsequent revelations about deep corruption in the Yorkshire Police Departments. Brilliantly cast, filmed in segments each offering a distinctive look and feel, beginning with a serial killer and then tangling the investigation with deep-seated local corruption. Not so much about what happens objectively as about its surrounding miasma of greed and evil. Four stars
"The Art of the Steal" (Unrated, 101 minutes). The most valuable collection of modern and impression art in the rod, valued at $250 billion, was intended by its rich collector, Dr. Albert C. Barnes, to reside forever in the Barnes Foundation in suburban Philadelphia. He hired the best lawyers to draw up an iron-clad will to assure that would happen after his death. He specified it not go to the Philadelphia Museum of Art, which he felt had scorned him and his collection. This absorbing documentary tells the story of how and why his art is in that museum today, the film calls it the "art theft of the century." Three and a half stars
"Shutter Island" (R, 135 minutes). Leonardo Di Caprio and Mark Ruffalo are U.S. Marshals called to a forbidding island in Boston bay, the home of an old Civil War fort now used as a prison for the criminally insane. A child murderer has escaped her cell. Martin Scorsese relentlessly blends music, visuals, special effects and all of film noir tradition into an elegant horror film as fragmented as a nightmare. If you're blind-sided by the ending, ask yourself: How should it have ended? How could it have? Three and a half stars
"Fish Tank" (Unrated, adults, 123 minutes). The harrowing portrait of a 15-year-old girl on a reckless path toward self-destruction. Her mother, only about 30, is a drunken slut and she seems on the same path. Covers a few days of fraught experiences with sex and anger. Superbly acted by newcomer Katie Jarvis. Winner of the Jury Prize at Cannes 2009. Directed by Andrea Arnold. Four stars.
Actress Jill Clayburgh, whose portrayal of women in the 1970s helped define and and reshape the role of leading lady, died last week of chronic lymphocytic leukemia at her home in Lakeville, Connecticut; she was 66. She's best known for her Academy Award nominated roles in "An Unmarried Woman" (Winner: Best Actress Cannes 1978) and "Starting Over." Roger has remembered her on his site: Jill Clayburgh: In Memory.
"Once I had a secret love..." -- Doris Day, "Secret Love" (1953)
"Everywhere people stare Each and every day I can see them laugh at me And I hear them say Hey, you've got to hide your love away" -- John Lennon, "You've Got to Hide Your Love Away" (1965)
"Girls like me Have to hide our hearts away..." -- Kelly Porter, a fictionalized character based on Lesley Gore in "Grace of My Heart" (1996), singing the song "My Secret Love," co-written by Gore, Larry Klein and David Baerwald
From "Romeo and Juliet" to "Avatar," few romantic myths are as compelling as the Secret Love -- the love that dare not speak its name because society, or families, or the lovers themselves just aren't ready to face it yet. A lot of perfectly ordinary relationships go through this phase, too, for all sorts of reasons. I know a pair of high school seniors who've been seeing each other surreptitiously because his socially conservative South Asian Subcontinental parents don't want him dating while he's in school. But it's really no big deal for either of them.
So, I don't quite get why the French "Come As You Are" McDonald's commercial about the dad, the gay teenager and the secret boyfriend is such a matter of consternation for Bill O'Reilly. Other than, of course, that he is Bill O'Reilly, so it's kind of his job to say things that make him appear ridiculous. The ad employs a perfectly familiar formula -- only this "secret love" story isn't the traditional tale of tortured melodrama; it's a sweet little comedy, an unobtrusive private exchange played out in a bustling public place.
This, for the benefit of future rock historians, is the transscript of a screenplay I wrote in the summer of 1977. It was tailored for the historic punk rock band the Sex Pistols, and was to be directed by Russ Meyer and produced by the impresario Malcolm McLaren. It still carried its original title, "Anarchy in the U.K.," although shortly after I phoned up with a suggested title change, which was accepted: "Who Killed Bambi?" I wrote about this adventure in my blog entry McLaren & Meyer & Rotten & Vicious & me. Discussions with Meyer, McLaren and Rene Daalder led to this draft. All I intend to do here is reprint it. Comments are open, but I can't discuss what I wrote, why I wrote it, or what I should or shouldn't have written. Frankly, I have no idea.
But I just had to look, Having read the book... -- John Lennon
Really, I just wanted to point out that a glowing blue naked guy is the hero of one of the most anticipated mainstream movies in years. Did you know that? Seriously, though, I do have a dilemma: "Watchmen" opens March 6. I read the compiled comic book series by Alan Moore and Dave Gibbons back in the early 1990s, I think -- just around the time Terry Gilliam was attached to make the movie version. Here's the poser: Having read the book so long ago I've forgotten it, should I read it again before seeing the movie?
"Watchmen" is something many fans know practically by heart. I know one who attended an early screening of the movie and said it was one of the best adaptations he'd ever seen. An already notorious Nerd World post by "Simpsons" executive producer Matt Selman ("My Own Private Watchmen") broke the review embargo by proclaiming that he didn't consider himself "press" and wasn't actually reviewing the movie, but couldn't control the 14-year-old still living inside him: "Someone took the most special personal thing of my adolescence and put it on a movie screen."
Dirt! The Movie" for practical and personally rewarding solutions
It wasn't very far into "The Dark Knight" that the feeling first took hold of me: All this movie needs is a script and a director and it could be really, really great!
By the end I'd had a good time, and I already know I'd like to see it again. Maybe, I've been thinking, it's kind of like a good album that's been haphazardly sequenced, with a few lackluster (or even bad) songs and occasionally dumb lyrics, muddled arrangements, or klutzy production choices. But, you know, after a while you're willing to overlook the parts that don't work in order to enjoy the parts that do. At first exposure, those rough spots stick out and even hurt. Later on, you just accept them, get used to them, or even choose to ignore them.
Two and a half weeks into its theatrical release, is it still a sacrilege to believe, for any reason, that "The Dark Knight" is less than the greatest whatever ever? I sure hope not, because I wanted it to be great as much as anybody else. So, I front-loaded this post with my tempered impressions of "The Dark Knight" only to contrast them with the consensus opinion, which is, you might say, considerably more enthusiastic.
Ty Burr of The Boston Globe, one of our best newspaper critics in my opinion, wrote a provocative, nuanced piece about the response to "The Dark Knight" ("The 'best movie of all time'? Who wants to know?") in which he described being at a memorial service when "word got out among the teenagers and college kids that there was a movie critic present. One by one, they came up to me and asked the same question, with almost the same wording: Is "The Dark Knight" the best movie of all time?"
(Part 1 of these ruminations about "greatness" in art can be found here.)
Q. I've just read your review for "Sunshine" (2007), and I'm confused. You say that according to Isaac Asimov, the human body can survive in the cold vacuum of space for longer than I might think. I was under the impression that, in space, a naked human would initially freeze to death, and then summarily explode.
Q. After reading your review of "Harry Potter and the Order of the Phoenix," I note that you are the only critic I know of who feels that the increasing darkness of the series is a barrier, as opposed to a credit, to the series. I wonder, do you feel that a lot of critics' enthusiasm for "darkness" and "realism" in today's fantasy filmmaking is misplaced? Do you yearn for more innocence and joy in films where it is clearly an asset and not a liability?
I'm taking my first week off this year! Plan to read and sleep and work in the garden and watch movies, but not write. Back October 10. Please keep up the comments discussions, though -- I'll still be publishing those. Now I must rest...
Meanwhile, here are some of my recent reviews for the Chicago Sun-Times and RogerEbert.com:
The Science of SleepThe US vs. John LennonHalf NelsonThis Film is Not Yet RatedThe IllusionistConversations With Other Women