A fairly familiar critique of patriarchy from a humanist and feminist perspective, but one that’s put across with some very impressive filmmaking skills by a…
* 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.
Before this summer's "The BFG," Spielberg made another personal, enchanting and overlooked film: 1989's "Always."
An interview with Richard Dreyfuss in celebration of the 25th anniversary of "Rosencrantz & Guildenstern Are Dead."
An interview with the legendary star of the new I'll See You in My Dreams.
An interview with film critic Matt Fagerholm.
An appreciation of Elizabeth Pena.
Odie Henderson launches our coverage of Oscar Memories from some of our most notable contributors.
Ben Affleck's "The Town" (2010) is an impressive effort from a third time director whose acting choices almost derailed his Hollywood career. With the clear exception of "Changing Lanes" (2002), this film is better than everything he ever did before and the reason is simple: instead of choosing to be involved in another blockbuster wannnabe, Affleck wrote, directed and starred in this heartfelt project about a fascinating borough that he seems familiar with. It is also a work of numerous, obvious inspirations, raising the question of whether said fact makes it any less worthy.
I'm under the impression that people settle on an all-time favorite movie at a relatively early age. With time they become increasingly difficult to displace, no matter what cinematic greatness may follow. This is what best describes my experience with "Jaws" (1975). Eventually I may have acquired a greater admiration for "The Godfather" films but by then it was too late. My first viewing of "Jaws" felt perfect. I later learned it wasn't.
Marie writes: It was my birthday June 25th. Unlike Roger however, I'm a Crab not a Gemini. So to celebrate and with my brother's help (he has a car), I took my inner sea crustacean to Barnet Marine Park on the other side of Burnaby Mountain... and where our adventure begins....
Streaming free on Amazon Prime.
Rob Reiner's films represent a remarkably mixed bag. The best scripts he's chosen have made for rather good pictures ("Misery," "A Few Good Men," "When Harry Met Sally...") and the bad ones ended up being "North" and "The Bucket List". There have been a few filmmakers like Hitchcock who always managed to take their work's origin to the next level but I have my doubts even he could have made "Bucket's" digital journeys to the Taj Mahal/Himalayas interesting.
Of late, I've been thinking about how I got here. Here, in love with movie watching and movie making. Here, in a design school in India, and not an engineering college or a medical school like predetermined for most Indian students. Here, in correspondence with a huge role model of mine. Here, doing what I love.
As far as I know, "a mixed bag" is a negative expression, but I think that is an appropriately positive one in case of "Leaves of Grass" (2009) for its seemingly disjointed combination of crime story and philosophy. The movie throws such discrepant stuff into its plot that it could actually make a good shopping list: Latin, marijuana, Socrates, crossbows, poetry, bongs, Heidegger, family, catfish, Whitman, parallel lines, menorahs, swastikas, murder, and so on.
The Grand Poobah shared the following recently and which struck me as just the thing to put in here - for it amounts to someone inventing a moving still akin to those seen on the front page of Harry Potter's famous newspaper."You know how people sometimes say that jazz is the only truly American art form? Animated GIFs are like the jazz of the internet: they could only exist, and be created and appreciated, online. That said, PopTart Cat is not exactly on par with Thelonious Monk. But photographer Jamie Beck and motion graphics artist Kevin Burg may have finally found a way to elevate the animated GIF to a level approaching fine art, with their "cinemagraphs" -- elegant, subtly animated creations that are "something more than a photo but less than a video." - fastcodesignAnd sadly, they won't work in here; Movable Type doesn't like animated gifs. It's easily solved however, just visit Far Better Than 3-D: Animated GIFs That Savor A Passing Moment to see an assortment in play!
This is the last of my lists of the best films of 2010, and the hardest to name. Call it the Best Art Films. I can't precisely define an Art Film, but I knew I was seeing one when I saw these. I could also call them Adult Films, if that term hadn't been devalued by the porn industry. These are films based on the close observation of behavior. They are not mechanical constructions of infinitesimal thrills. They depend on intelligence and empathy to be appreciated.
They also require acting of a precision not necessary in many mass entertainments. They require directors with a clear idea of complex purposes. They require subtleties of lighting and sound that create a self-contained world. Most of all, they require sympathy. The directors care for their characters, and ask us to see them as individuals, not genre emblems. That requires us to see ourselves as individual viewers, not "audience members." That can be an intimate experience. I found it in these titles, which for one reason or another weren't on my earlier lists. Maybe next year I'll just come up with one alphabetical list of all the year's best films, and call it "The Best Films of 2011, A to Z."
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.
[This resurrected piece is my contribution to the Steven Spielberg Blogathon co-hosted by Adam Zanzie (Icebox Movies) and Ryan Kelly (Medfly Quarantine). Originally published in the (pre-home-video) December, 1982, issue of The Informer, a monthly publication of the Seattle Film Society, when I was just a wee lad, barely a quarter-century old.]
"E.T." is a universal film -- and I'm not just talking about the MCA company that released it. Steven Spielberg's latest celluloid fable is fast on its way to becoming the most popular movie ever made. Yet, unfortunately, critical attention has been focused primarily on the phenomenon of "E.T." rather than on the cinematic merits of the movie itself. So much has been said about "E.T." as an extraordinary entertainment, a masterfully orchestrated work of childlike wish-fulfillment, that people seem to have overlooked the fact that it's also -- dare I say it? -- a rich and resonant Work of Art. Perhaps Spielberg is too unassuming, too unabashedly populist in his style and (overt) subject matter to make critics sit up and take notice of what he's doing from shot to shot.
Nevertheless, "E.T." is connecting with millions of people worldwide -- and for good reason. Like "Close Encounters of the Third Kind," Spielberg's other masterpiece about intergalactic harmony and understanding (and perhaps the largest-scale abstract/experimental film released by a major Hollywood studio since Stanley Kubrick's "2001: A Space Odyssey."), "E.T." is above all about contact, about the very nature of communication, and the system of signs we human beings have created to bring ourselves closer to one another: spoken language, gestures, symbolic objects, physical contact -- and any combination of the above.
The ad slogan for "Close Encounters" (hereafter referred to as "CE3K") was "We Are Not Alone," and both that film and "E.T." are about alienated individuals who try to break out of their isolation, who struggle to bridge the void between themselves and others. Perhaps the best way to get to the heart of these movies is to take a look at some of the ways Spielberg's characters communicate with (or fail to reach) each other -- and how Spielberg uses cinematic technique to bring film, characters, and audiences, into contact.
From the Grand Poobah: Time passes twice now, first as real time, then as remembrance of things past, as I search my memory for my memoir. As my eyes lift up from my keyboard, they stare sightlessly straight ahead and old faces and places pass in review. So I take a photo of where I'm looking, in order to record what I see. When the picture was taken, Gene and I were in the Brown Derby at Disney World while taping an Oscar special; I'd like to say I have no idea of who came up with the idea for that composition, but I do, and it was yours faithfully, the Poobah.
(click to enlarge and read book spines; smile.)
It was my last film of the festival, on the morning of the day I was flying home, and it turns out to have been my favorite one. Tim Blake Nelson's "Leaves of Grass" is some kind of sweet, wacky masterpiece. It takes all sorts of risks, including a dual role with Edward Norton playing twin brothers, and it pulls them off. It is certainly the most intelligent, philosophical and poetic film I can imagine that involves five murders in the marijuana-dealing community of Oklahoma and includes John Prine singing "Illegal Smile."
Tim Blake Nelson
Sometimes you cannot believe your luck as a movie unfolds. There is a mind behind it, joyful invention, obvious ambition. As is often the case, I had studiously avoiding reading anything at all about "Leaves of Grass" before going to see the movie, although I rather doubted it would be about Walt Whitman. What I did know is that the actor Tom Blake Nelson has written and directed three films enormously admired: "Eye of God" (1997), "O" (2001) and "The Grey Zone" (2001), all three dealing in a concrete dramatic way with important questions: Religion, redemption, race, the Holocaust. And that the actor Edward Norton has never agreed to appear in a film he didn't believe he had reason to respect.
I saw Oliver Stone's "W." a week or two ago, and I almost forgot. Believe me, it felt even more worn out before the election. I kept thinking I'd seen it before in some other form. Not just as in every day for the last eight years, or as in some other slab of Stone. This one reminded me of Woody Allen's "Zelig" or Robert Zemeckis's "Forrest Gump" -- about a nobody who stumbles into history. Then I realized it was more like a reworking of Hal Ashby and Jerzy Kosinski's "Being There" -- the story of a vacancy.
That impression was magnified Tuesday night as I watched Barack step up to fill it. In that one solemn but hopeful election night speech in Grant Park he did more to steady, strengthen and solidify the union for tough times than I've seen any president do in my lifetime. It wasn't just a matter of commanding screen space or being ready for his close-up (although the camera loves him). But after so many years of looking at a skittish hamster-in-the-headlights, squinting or staring blankly into the lens, how dramatic it was to see somebody there at last -- a solid somebody with a firm sense of who he is, and what it means to lead and to strive and to inspire. No smugness, no self-congratulation, no condescension, no desperation. A grown-up. I felt an enormous sense of confidence and relief. And I didn't feel alone in feeling that.
Which brings me back to the hollowness of W. and "W."...
Q. Sadly, Studs has left this world. But he leaves behind a huge footprint and will always reside nearby, on the nearest bookshelf and through the frequencies of freethinkers. How unfortunate it is he was not here to witness election day. But his last laugh is on us. Studs leaves to perform the greatest of all Chicago traditions, casting his final vote from the grave.
LITTLE ROCK, Ark.---- Roy Scheider, a two-time Oscar nominee best known for his role as a police chief in the blockbuster movie ''Jaws,'' (1975) has died. He was 75.
View image The evil queen and her dwarves. How clever. This was the shot that almost prompted me to walk out. I can't believe they used it for a production still. Yes I can.
Sometimes I doubt Richard Kelly's commitment to Sparkle Motion. The first time was the "Director's Cut" of "Donnie Darko," which de-emphasized all that was mysterious and exciting about the original film by insisting on a literal explication of the time-warp theories of Roberta Sparrow (aka "Grandma Death"). Huge mistake -- as bad as showing us the inside of the mothership in the "Special Edition" of "Close Encounters of the Third Kind." At least Spielberg knew that was an error, and removed it from his Director's Cut: He'd wanted to tweak things he'd had to rush in order to meet his deadline (after all, the fate of Columbia Pictures was riding on this picture), and to flesh out some character details. But Columbia let him go back and fine-tune his blockbuster on the condition that he show Richard Dreyfuss inside the ship -- something we really didn't want to see, because it ruined the uplifting momentum of the ending, and who wants to see Richard Dreyfuss crying over anti-climactic special effects anyway?
"Southland Tales" is the product of the same literalist sensibility that produced the second version of "Donnie Darko." Part of me questions whether it's even worth writing about, mainly because it offers so little of cinematic interest. It's fussy and inert, like Part 4 of a PowerPoint slide-show based on a set of elaborately drawn storyboards that explain in excruciating detail the minutiae of the mythology behind "Hudson Hawk." There's nothing close to a movie here.
There's an obvious channel-surfing aesthetic to mimic "information overload," but nothing's on, anyway. One shot could just as easily be followed by any other shot -- they aren't cut together with any verve or intelligence, so the effect is flat and linear. We flip by a beachside talk show ("The View" with porn actresses), and that's as sophisticated and penetrating as "Southland Tales" ever gets about sex, politics and media. (He said "penetrating"!) Is it hard to follow? Not really. The voiceover makes sure everything is explained (often more than once), but it could just as well not have been explained and it wouldn't matter, because nothing is illuminated in the explanation.
Like "Hudson Hawk," it's a bloated, white-elephantine vanity production (for the writer-director, not the star) -- a strained, deliberate, joyless, big-budget, star-studded Hollywood effort to manufacture a "cult movie" by pandering to what some studio execs probably consider to be "the comic-book youth demographic." It wishes it could be "Repo Man" (or "RoboCop" or "Starship Troopers") but it's not even "The Postman." Actually, "Southland Tales" -- co-financed by Universal, which is distributing the film internationally but dropped any domestic plans after the disastrous reception at Cannes -- isn't "big-budget" by today's Hollywood standards ($17 million). But the feeling of waste and desperation behind it -- "Let's throw money at the screen for big sets and unimaginative digital effects!" -- is not unlike that dead-lump-in-your-stomach feeling you get while watching your average Michael Bay movie. [Since writing this, I have learned that the time and (Sony) money spent re-tooling "Southland Tales" after Cannes has included cutting 20 minutes, adding to Justin Timberlake's too-literal voiceover, and beefing up the special effects. That's what I was afraid of. It shows.]
The seventh annual Outdoor Film Festival in Grant Park will open with James Dean as a rebel without a cause, and end with Ferris Bueller as a rebel with one. The series of seven free Tuesday evening screenings, which draw crowds upward of 14,000, unspools starting July 18 at Butler Field, Monroe and South Lake Shore. The schedule of this year's festival, which is presented by the Mayor's Office of Special Events, Commonwealth Edison, the Chicago Park District and the Chicago Film Office, was released today.
Q. I recently saw "Almost Famous" for the third time. I was wondering what Penny Lane was carrying in the tackle box in the first half of the film. (Michael Ladowski, South Holland, IL)
Q. In your review of "The Cell" you described the outfits worn by Jennifer Lopez and others while voyaging into the minds of patients as "virtual reality gear." I think the opposite was the case. The outfits were probably worn by the characters to completely desensitize them from the external world so that the therapy could not be interrupted. That's probably also why they were suspended in mid-air. During the therapy sessions the characters did not move their bodies at all. If they were wearing virtual reality gear their bodies, conceivably, would have been mimicking their movements. (Jordan Potasky, Toronto)