Transcendence
"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.
Shlomo Bar Aba
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Footnote (2012)
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Eliezer
Roger Ebert
* 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.
A glory only for his father
Fathers are usually proud of their sons' achievements, but that is not the case with the orthodox scholar patriarch of the Israeli film "Footnote." His son's success adds another layer of envy and resentment to a lifelong grudge, and he hates when that happens. He has regarded his son and other prominent scholars as a bunch of superficial philistines who merely happen to be more popular than him, but he cannot help but envy their academic positions, and he desperately hopes for recognition as he stubbornly and solitarily sticks to his own uncompromising research methods deep in the library.
Of popes and poissons and Kim Ki-duk
It's Friday the 13th in Cannes, and that has got to mean something good. An overcast sky threatening rain means that there couldn't be a more perfect day to stay inside and watch movies.
The morning began with the 8:30 am press screening of Nanni Moretti's "We Have a Pope." Hmm...a comedy/drama about the Vatican by a self-professed Italian atheist? Moretti is known primarily for his wry, intellectual, and largely autobiographical approach to comedy in films including "My Diary" and "April, " but also for serious drama in films including his 2001 Palme d'Or winner "The Son's Room." Subjects he has often lampooned include leftist politics, psychoanalysis, water-polo, and the cinema itself.
In "We Have a Pope," the funeral of a dead pope has just taken place and the College of Cardinals is convening to elect the new pontiff from among their number. Moretti goes to great lengths to represent this ritual gathering with great accuracy, but injecting an escalating number of comic moments as the film traverses from the ceremonial pomp of its opening scenes to take on a lighter tone.
As if the voting for a pope were an elementary school spelling test, the prelates cross out names on their ballots, look to heaven for guidance, and even cheat, some slyly spying on what a neighbor seated to the left or right is writing. After a few rounds of voting, the winner is revealed to be a candidate who was not even in the running, a stunned Cardinal Melville (surely Moretti's tip of the hat to iconic French director Jean-Pierre Melville), played by veteran French star Michel Piccoli.
