David O. Russell out-Scorseses Martin Scorsese himself with "American Hustle," a rollicking '70s crime romp that’s ridiculously entertaining in all the best possible ways.
* 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 remembrance of screenwriting guru Syd Field.
The class gap caused by lack of Internet access; Andy Kaufman may be alive; Weinstein Co. wins MPAA appeal; "Carlito's Way" appreciation; Dunham and Kaling's brass tacks.
Critic Carrie Rickey traces the evolution of women on film and behind the camera over the course of her career writing about film.
At their big D23 Expo event, Disney unleashed some stars and a lot of tantalizing info about live action films.
Marie writes: When I first learned of "Royal de Luxe" I let out a squeal of pure delight and immediately began building giant puppets inside my head, trying to imagine how it would look to see a whale or dragon moving down the street..."Based in Nantes, France, the street theatre company Royal de Luxe performs around the world, primarily using gigantic, elaborate marionettes to tell stories that take place over several days and wind through entire cities. Puppeteers maneuver the huge marionettes - some as tall as 12 meters (40 ft) - through streets, parks, and waterways, performing their story along the way." - the Atlantic
(Click images to enlarge.)
It's with pleasure and excitement that I welcome Tom Shales, a good friend, as a blogger on this site. Tom, the nation's best-known television critic, won the Pulitzer Prize while writing for The Washington Post from 1972 to 2010. His blog will focus on TV and whatever else he feels moved to write about. -- RE
Apparently a new bylaw at "Saturday Night Live," which began its 38th season this weekend, is "The worse the host, the more sketches in which he'll appear." So it was with big let-down Seth MacFarlane, multimillionaire comedy tycoon who hosted the season premiere. Once he arrived on the show's tiny (and, yes, "iconic") stage, he was punishingly omnipresent for the whole 90 minutes.
We can be grateful he didn't grab a cow bell and crash the musical act.
With the exception of MacFarlane - a man who has gone farther with less than perhaps even Tyler Perry -- the series seemed to be in tip-top ship-shape shape, especially considering that it begins a new year minus two of its greatest cast assets: Andy Samberg, off to make more movies, and the incomparably versatile Kristen Wiig, the funniest woman in television since Tina Fey. Or maybe since Gilda Radner. Or maybe since Carol Burnett. Or maybe since, dare we say it, Lucille Ball?
"Johnny Carson: The King of Late Night" (120 minutes) premieres on PBS' "American Masters" at 9:00pm Monday, May 14th (check local listings). The film will also be released on DVD and Blu-ray on July 17th.
As I reflect on my life, I grow increasingly grateful for having witnessed the greatest half-century in the history of the United States. Consider just a few of the crucial events that have shaped us during the past 50 years: The civil rights movements for African-Americans, women and the disabled; the assassinations of JFK, MLK and RFK; the war in Vietnam and its domestic fallout; landing on the moon and exploring the outer reaches of the universe; the global trauma of AIDS and seemingly perpetual threats of war and terrorism; and, perhaps most important, the emergence and meteoric rise of the digital age, exemplified by the Internet and social media with the power to literally change history through an exponential expansion of human connectedness.
If you've witnessed these decades through the multicolored lenses of popular culture, the rewards have been astonishing. Consider the careers we've seen in that time: Dylan, The Beatles, The Rolling Stones, Neil Young, Springsteen, Madonna, The Clash, U2, Nirvana... Don Rickles, Richard Pryor, George Carlin, Eddie Murphy, Tina Fey... Clint Eastwood, Martin Scorsese, Dustin Hoffman, Meryl Streep, Steven Spielberg, Werner Herzog... We could all make our own long lists and we'd all arrive at the same conclusion: The past half-century has been nothing short of phenomenal.
And one way or another, it all comes down to "The Tonight Show with Johnny Carson."
"Our slogan's 'Country First.' Lieberman and Pawlenty are 'Country First' choices. Sarah Palin will be perceived as a self-serving political maneuver. You may not only lose this election, John, you just might lose your reputation right along with it." -- prescient warning by McCain advisor Mark Salter (Jamey Sheridan) in "Game Change"
First, there's this: Austin Pendleton as Joe Lieberman. I just want to mention that casting masterstroke up-front because, even though he only gets about two minutes of screen time (and most of it is in the background) it's one of those little touches that shows the people who made "Game Change" have an eye for the telling detail. I had so much fun watching this movie. The funny thing is, it isn't exactly satire, maybe because that's already inherent in the real-life material. It's a comedy (I think), but the humor is fairly mild, certainly not as funny as Sarah Palin's public appearances actually were. I guess we're just used to her now.
Still, I thoroughly enjoyed "Game Change," which goes out of its way to demonstrate understanding and sympathy for Palin, and absolves John McCain of all responsibility for his unconscionable campaign in 2008. (Spoiler alert: It was his advisers who screwed up!) Honestly, McCain and Palin should drop down on their knees and thank everybody involved in this picture for their kindness and discretion: director Jay Roach ("Austin Powers," "Recount") and writer Danny Strong ("Recount"), who adapted the book by Mark Halperin and John Heilemann, and a top-notch cast, headed by Woody Harrelson as McCain advisor Steve Schmidt (who is really the main character), Julianne Moore as Palin and Ed Harris as McCain. It's just a shame Harris doesn't have a bigger part to play in the proceedings.
"Game Change" is patterned on redemptive Frank Capra and Preston Sturges archetypes (a dash of "Mrs. Palin Goes to Washington" and maybe quite a lot of "Hail, the Conquering Heroine" -- minus the hero's moral torment over misrepresenting himself), even if the screwball energy is missing. Although, things get fairly dark (as they often do in Capra and Sturges) when Palin shuts down and goes catatonic, overwhelmed by the advisers who are trying to make her into someone and something she is not (neither a conventional politician, nor a credible candidate for Vice President of the United States), she finally snaps out of it, drawing strength from her love of family and state and country, and "goes rogue" in the third act, rediscovering her unique voice and her true spirit. That's a generous assessment of her character, but it's left up to you to decide whether the Real Sarah Palin is someone who oughtta be in politics.Above: The Real Thing
"The Undefeated" is a documentary about Sarah Palin made by and for the faithful, who may experience it in the way believers sit through a rather boring church service. At nearly two hours, it's a campaign advertisement in search of a campaign.
But that's not surprising. What astonished me is that the primary targets in the film are conservative Republicans. Yes, there are the usual vague references to liberals and elitists (although I heard the word "Democrat" only twice). But the film's favorite bad guys seem to be in the GOP establishment. This seems odd, considering that the target audience is presumably Republicans.
Marie writes: Ever since he was a boy, photographer John Hallmén has been fascinated by insects. And he's become well-known for photographing the creatures he finds in the Nackareservatet nature reserve not far from his home in Stockholm, Sweden. Hallmén uses various methods to capture his subjects and the results are remarkable. Bugs can be creepy, to be sure, but they can also be astonishingly beautiful...
Blue Damsel Fly [click to enlarge photos]
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.
Ever since David Thomson's "A Biographical Dictionary of Film" was published in 1975, browsers have said that they love to hate Thomson's contrarian arguments -- against John Ford or Frank Capra, Coppola or Kubrick, for example.¹ Fans and critics can cite favorite passages of resonant beauty, mystifyingly vague and dismissive summary judgements, and entire entries in which the man appears to have gone off his rocker. And that's the fun of it.
To be fair, Thomson broke faith with (or has been suffering a crisis of faith in) American movies at least far back as "Overexposures: The Crisis in American Filmmaking" (1981), and he's been writing about his crisis ever since. To put it in a sentence that could serve as the ending of one of his entries: I am willing to believe that he loves (or once loved) movies even if he doesn't like them very much. (Wait -- how does he conclude the Katharine Hepburn piece? "She loved movies, while disapproving of them.")
When I encountered the first edition of this book, the year I entered college, I immediately fell in love with it because it was not a standard reference. It was personal, cranky, eloquent, pretentious, pithy, petty, ambitious... It was, as I think Thomson himself suggested in the foreword to the first or second edition (this is the fifth), more accurately titled "An Autobiographical Dictionary of Film." Many times over the years I have implored my employers or partners to license digital rights to Thomson's book so that it could augment and be integrated with other movie databases and references (at Cinemania, FilmPix, Reel.com, RogerEbert.com)... but we've never done it. What, they would ask, is the "value-add"? (Really. Some people used to talk that way.) As a reference, its coverage is too spotty (Ephraim Katz's Film Encyclopedia is much more comprehensive but also has loads of incomplete filmographies), as criticism it's wildly idiosyncratic (nothing wrong with that) and as biography it's whimsically selective and uneven, leaving as many holes as it fills.
Q. After seeing "The Girl with the Dragon Tattoo," on the car ride home, we couldn't help but discuss how different an American version of the film would be. Besides the obvious sexual situations and probably the villains' background, we came upon an obvious difference. An American film would have to explain to the audience the titular tattoo. It was great to see a movie leave so many plot threads unanswered. (Mark Coale, Editor/Publisher, www.odessasteps.com)
Live-tweeted from Los Angeles:
The slumdog didn’t stop at winning a million, but zoomed straight on up to Oscar gold Sunday night: “Slumdog Millionaire,” perhaps the most literal rags-to-riches story ever told, swept the night, winning the Academy Award as the best picture of 2008, and seven more Oscars.
I can't see Sarah Palin as vice president, but I have no trouble imagining her as an Emmy winner. I'm not being satirical. She and John McCain kicked butt on Saturday Night Live. They were terrific. How good were they? They were better than Tina Fey and Darrell Hammond.
We've gotta cash in on this quick, so here's my pitch:
Tina Fey plays Sarah Palin as Tina Fey as Sarah Palin in a semi-remake of "Dave."
Animal Control nabs Palin off the street, mistaking her for a stray pit bull whose previous owner tested makeup on animals. Palin is asked to host "SNL" the week before the election, but nobody notices she's missing because the McCain campaign is so successful at keeping her away from the press that they forget where they put her. Security is airtight. Because Fey does a better Palin than Palin does, she is forced to do the show as Palin as Fey as Palin.
And, if she does, how many viewers will be able to tell the difference? Is this gonna be the talent portion?
Bill Zwecker reports in the Chicago Sun-Times:
It's looking more and more likely that Alaska Gov. Sarah Palin will appear on ''Saturday Night Live'' -- to have some fun with Tina Fey.
As the comedian's impressions of the GOP vice presidential candidate draw laughs from Republicans and Democrats alike, a top honcho from the John McCain campaign tells me there's a debate going on about how to respond.
I can't get enough of Tina Fey's Sarah Palin. I feel about her the way I felt about Dr. Evil in the first "Austin Powers" movie. My eyes light up whenever she's on camera. And then, of course, there are those little starbursts she sends through the screen that go ricocheting around the living rooms of America, as first reported by Rich Lowry of the National Review.
Something strange is happening, though: Fey's Palin is not only sharper and funnier than Palin's Palin, she's also more vivid, more... real (maybe because she's on TV more). It's as if she's the main Palin and the other one is the paler surrogate Palin. In other words, for you baby boomers, Tina Fey's Palin is the Dick York and Sarah Palin's Palin is the Dick Sargent. Sure, they're both bewitching in their own ways, but Fey's is the real Darrin. If you know what I mean.
I was looking forward to the VP Debate opening sketch on "SNL" as much as the debate itself, and I was not disappointed by either. I'm guessing that former "SNL" head-writer Fey contributes to these because they're "30 Rock" precise -- more pointed than what usually passes for "SNL" political humor. (I didn't make it through the obviously obligatory finanical bailout sketch in the first half hour of the show, even though Fred Armisen's Barney Frank was a hoot).
One of the things film critics do for a living is to pay close attention to how people behave, and how that behavior is presented through visual media. This applies not only to actors playing characters, but to people who play themselves, in fictional or nonfictional settings, on and off the screen. It should come as no surprise to learn that some of our best movie critics have backgrounds in psychology.
When Bill Clinton said, "I did not have sex with that woman," it now seems impossible to believe that he fooled anyone at that particular moment. But if any movie critic misread Clinton's voice and body language, that critic should have been impeached. As opaque as the clumsy verbal gymnastics of George W. Bush and Sarah Palin may often be, behind the contortions it's hard to avoid seeing the painful truth, which is simply that they don't know what their own words mean, and even when they know what they've been told to say they don't know how to communicate it. As actors, they're thoroughly unconvincing: You can see the wheels turning inside their heads -- only the gears aren't even engaged. There's a lot of whirring and spinning, but nothing happens. That can be excruciating to watch, but it's also the stuff of modern comedy. Christopher Guest, Ricky Gervais, Steve Carell, Tina Fey, Jon Stewart, Samantha Bee, Stephen Colbert and the whole Judd Apatow crew come to mind.
Patrick Goldstein, writing in the Los Angeles Times, argues that film critics like Roger Ebert, sophisticated in their knowledge of media presentation and human behavior, make more insightful political pundits than the usual beltway-bubble spin-docs employed by television, radio, print and online outlets. In a piece called "From film critic to political pundit," Goldstein writes:
To me, film critics, like TV and theater critics, are especially well equipped to analyze today's politics, which is why Frank Rich made such a seamless transition from theater to media and political commentator. In fact, in some ways film critics are probably better equipped to assess the political theater of today's presidential campaigns, since our campaigns are -- as has surely been obvious for some time -- far more about theater and image creation than politics.
Can Tina Fey get an Emmy just for this? I know, it's almost too easy. But she's flawless. I knew she was a terrific writer and comedian (er, "comedienne"?), especially from "30 Rock," but I don't think I ever fully realized what a brilliant actor (er, "actress") she is.
And now, conservative columnist David Brooks of the New York Times on a word familiar to "SNL" viewers: "prudent"...