In Memoriam 1942 – 2013 “Roger Ebert loved movies.”

RogerEbert.com

Thumb mv5bnda4ymmwmgity2mzos00odjilthmzdetyza5ngu4zjq5yjhixkeyxkfqcgdeqxvynjk5nda3otk . v1 sy1000 cr0 0 674 1000 al

Geostorm

God knows how many millions of dollars and hours of manpower went into making and remaking Geostorm but it turns out to have been all…

Thumb same kind of different as me

Same Kind of Different as Me

It can be hard to disagree with the heart and events of this true tale, except for when the movie reveals itself to be mighty…

Other Reviews
Review Archives
Thumb xbepftvyieurxopaxyzgtgtkwgw

Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

Other Reviews
Great Movie Archives
Other Articles
Chaz's Journal Archives
Other Articles
Blog Archives

Sundance #8: 'Forty Shades of Blue'

May Contain Spoilers

PARK CITY, Utah--I saw 27 films at Sundance this year, but of course I missed all the screenings of Ira Sachs' "Forty Shades of Blue," which won the Grand Jury Prize for best dramatic feature. I had a chance to catch up, though; the festival showed it again Saturday night after the awards were (finally) over, and I found myself impressed, but more by the performances than by the story or direction. Miranda July's "Me and You and Everyone We Know" remains, for me, the best film of the festival.

Crusty, grumbly Rip Torn stars in "Forty Shades of Blue," as Alan, a veteran music producer in Memphis who knows a lot of people and goes to a lot of parties, but may not have a lot of friends. Much-married, he currently lives with Laura (Dina Korzun), a Russian he met on a business trip. She's the mother of his 3-year-old, a thin, blonde woman who is very solemn. As the movie opens, he takes her to a tribute in his honor, gets drunk, goes upstairs with a woman he knows, and leaves her to find her own way home.

Advertisement

Alan's adult son Michael (Darren Burrows) comes to visit. He's never liked or admired his father, and is angered by the way Alan treats Laura. But Laura explains "I live better than anyone I know. I do not deserve all of this luxury." She keeps her mouth shut, but her eyes speak volumes.

Torn's performance makes Alan not into an evil man so much as one without basic human feelings. His explanation for dumping her after the banquet? "I'm not proud of it." His consolation when she weeps? "Aw, honey…"

The film is well enough done, but conventional, with an ending shot borrowed directly from Fellini's "La Dolce Vita." Having been on a jury or two, I would have been fascinated to eavesdrop on this one as it talked itself out of the Miranda July film.

Popular Blog Posts

The Fall of Toxic Masculinity and the Rise of Feminine Consciousness

A special edition of Thumbnails detailing the recent sexual harassment cases in the entertainment and tech industries...

"Blade Runner" vs. "Blade Runner 2049"

A Great Movie is hidden somewhere within "Blade Runner" and "Blade Runner 2049."

Oscars Could Be Facing Dearth of Diversity Yet Again

A column on the lack of diversity in this year's potential Oscar nominees.

Tears of a Machine: The Humanity of Luv in "Blade Runner 2049"

No character in “Blade Runner 2049” is more relatably human than Luv.

Reveal Comments
comments powered by Disqus