June 24, 2009

Phoebe in Wonderland

Reviewer: Jeffrey Anderson
Rating (out of 5): **

Despite some brilliant performances from its three female leads, Daniel Barnz's Phoebe in Wonderland is an off-putting, misguided disease-of-the-week picture that tries to disguise itself as something else before finally coming clean. Elle Fanning plays the Phoebe of the title. She's the child of two brilliant parents, both writers. Her father (Bill Pullman) is putting the finishing touches on a book that will be published by a scholarly press. Her mother (Felicity Huffman) has been working on a study of "Alice in Wonderland," but never finds the time to write. Phoebe also has a sister (Bailee Madison) who complains that Phoebe gets all the attention--and she's right, because this sister never really makes much of a mark on the film.

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June 18, 2009

Cherry Blossoms

Reviewer: Alan Hogue
Rating (out of 5): ****

Straightforward, unpretentious, and insightful, Doris Dörrie's Cherry Blossoms is the sort of movie I've longed to see after what often seemed an interminable parade of drek. Anyone recently subjected to the trailer for the new "Transformers" marketing opportunity (some still prefer to call them movies) and its relentless onslaught of whizzes and bangs, not to mention its lurid hotwheels color palette, surely knows what I'm talking about. But even some "serious" filmmakers seem out to get the audience, to measure their worth in how much they can make us squirm with existential dread, or get stuck in moral impasses, or cry our eyes out, or question the very basis of our civilization. Whatever the excuses, too many films feel designed to shake us up and slap us around. Meanwhile, a film like Cherry Blossoms can make you feel human again.

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June 8, 2009

Gran Torino

Reviewer: Andrew Wright
Rating (out of 5): ***

Even the brashest of screenwriters might have trouble selling a studio on the character arc of Clint Eastwood as a fictional character. To wit: Guy becomes famous as tight-lipped bullet dispenser; moves on to self-aware, awesomely sideburned buddy of orangutans; settles, finally, on being a Grand Old Master of American Cinema. Out-and-out masterpieces like Unforgiven and Letters From Iwo Jima aside, what makes Eastwood's output as a filmmaker so fascinating is the way that his different eras tend to come unstuck and swagger into each others' respective turf: even in his most restrained films, there comes the occasional jarring reminder -- Hilary Swank's Lil' Abner relatives in Million Dollar Baby, Tim Robbins barking at the moon in the otherwise magisterial Mystic River -- that, yes, this is also the man behind such barn-broad dillies as Pink Cadillac and The Rookie.

Gran Torino, purportedly Eastwood's final time in front of the camera (and his second film of 2008, following the rather turgid Changeling) is the damndest thing: an elegiac treatise on race, aging, and manhood that keeps rearing up and going full-tilt cartoonishly loco. Featuring no small number of creaky plot contrivances and enough racial invectives to make Redd Foxx blanch, it's the most purely entertaining film that Eastwood has been involved with since In the Line of Fire. That it also manages to be ultimately rather moving may stand as the best testament yet to The Man's considerable skill set.

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March 16, 2009

Battle in Seattle


Reviewer: James van Maanen
Rating (out of 5): ***½

Stuart Townsend wrote and directed Battle In Seattle and the film (the actor's first outing in those capacities), makes no bones about his utter dislike and disrespect of the WTO (World Trade Organization) and its "achievements." He lays all this out at the beginning and then launches into his docudrama set during several tumultuous days in 1999 when protestors, joined by labor organizations, managed to prevent the WTO from holding any kind of successful conference in the city of Seattle. At the time, this event -- an important part of the history of the Progressive Movement in the USA -- made big international news and gave a much-needed adrenaline jolt to progressive organizations worldwide.

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March 6, 2009

Beautiful Ohio, and Choke: A terrific "unknown" and a "known" that doesn't quite deliver

rachel
Reviewer:
James van Maanen
Rating (out of 5):

Beautiful Ohio: ***½
Choke: **½

Actor Chad Lowe's first full length film as a director (from a screenplay by Ethan Canin, adapting one of his own short stories) is almost shockingly good: a quiet, acutely-observed family drama that is so specific and true that it builds into a grand picture of a time (the 1970s), place (suburban Ohio) and people  (an unusual family trying, against all odds, to be "functional.")  That it never saw a theatrical release remains the shame of its distributor.

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February 5, 2009

Vicky Cristina Barcelona: Pain in Spain

vickicb

Reviewer: Jeffrey M. Anderson
Rating (out of 5): ****

Right around the time of his break with Mia Farrow, Woody Allen began a journey down a new path. It was a journey that earned many new detractors. He had been a filmmaker that kept people happy and comfortable by doing the same thing again and again. Losing that stable, working relationship with Farrow and entering into a new one with Farrow's adopted daughter Soon-Yi Previn caused an uproar. Fans could no longer see him in the same way, and his public persona -- which had been so inextricably entwined with the onscreen one -- soon became tarnished.

Starting with Husbands and Wives (his last film with Farrow), Allen began experimenting with hand-held cameras. He tried out new cinematographers, mainly from Europe and Asia, whose work he had admired in art house films. In Deconstructing Harry (1997), he began using copious foul language. From that point on his films had an angry, sour tone. Sometimes it felt as if something were repressed; his usual neurotically funny dialogue began to sound stiff and abrasive. Finally, in 2005 he left his beloved New York for the England of Match Point, and he left behind his skinny, intellectual heroines for the voluptuous, sensual Scarlett Johansson. Critics came to his side for that one, but they soon abandoned him again as his subsequent English films failed to please them once more. He was accused too many times of returning to the themes of his 1989 masterpiece Crimes and Misdemeanors.

Now, for the first time, Allen both looks ahead and settles down with his new film Vicky Cristina Barcelona. I have usually found more to admire in Allen's late-period films than many of my colleagues, so my words may not mean much here, but I believe this film is Allen's newest masterpiece, and his greatest film in at least a decade.

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February 2, 2009

The Lucky Ones

luckyones Reviewer: James van Maanen
Rating (out of 5): ****

Can a movie that begins in today's Iraq and then tracks the furlough of two American soldiers, along with another who's actually finished his tours of duty, possibly be apolitical? Can it refuse to address whether Iraq was right or wrong -- except via the eyes of some of the home-front folk, and even then so glancingly that their opinions seem paltry? Or is that the point? "What do you think we're doing over there? What were you doing over there?" asks the nasty, confronting character played by John Heard, to the tired, quiet one played so resonantly by Tim Robbins. "Trying to stay alive," comes the reply.

Director/co-writer (with Dirk Wittenborn) Neil Burger (The Illusionist) has created something special with The Lucky Ones: a road/buddy movie in which one of those buddies is a gal; a film about self-discovery that makes the journey achingly real even as the destination remains ongoing; a story that quietly indicts us Americans who gave up not a thing while our countrymen died and killed fighting an "enemy" who had never attacked us. (We're giving things up now, of course: an unhappy continuation of the saga of our past eight-years.) All of the above is implicit in this movie, by the way. I have no idea on which side of the red/blue spectrum Burger resides, nor does it matter. Explicitly, he and Wittenborn (Fierce People) have given us a consistently interesting story inhabited by three wonderful characters -- funny sad, real and rich -- each of whom grows richer as the movie proceeds.

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January 27, 2009

Save Me

saveme

Reviewer: James van Maanen
Rating (out of 5): ****

Most movies that have tackled the question of Christian "sexuality" or "ex-gays" (men who have supposedly fought and succeeded in surmounting their homosexuality via their strong belief in Jesus) -- whether a narrative film like the comedy Saved! or documentaries such as Fall From Grace and For the Bible Tells Me So -- have found the Christian part of the equation wanting. As good as these films were in some ways, the religious folk pictured were too often hypocritical, small-minded, uncaring -- or sometimes plain stupid. What makes Save Me such a find -- and a fine example of the religion-struggling-with-sexuality bind -- is that, here, both sides are filled with caring, decent people trying to do the right thing.

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January 13, 2009

Two Straight-to-Videos Worth a Look: Good Life and Netherbeast Inc.

good

Reviewer: James van Maanen

The Good Life
Rating (out of 5): ***

Netherbeast Incorporated
Rating (out of 5): **-½

All movies are a gamble but straight-to-videos (STVs) seem even more so. There are few places to look for reviews and the often paltry (and sometimes dead wrong) descriptions available will either give too much plot away or leave you thinking, "Huh…?" Two STVs that made their debut last week might jostle your movie viewing a bit -- if you're inclined toward an update/rethinking of the vampire legend, handled in a comic/corporate vein, or are in the mood for a quiet, sad and often strangely beautiful slice-of-life in a downtrodden Nebraska small-town.

The latter is what you'll find in writer/director Stephen Berra's oddly gripping The Good Life, which tells the tale of a young man who works in a gas station by day and moonlights in a movie theatre, while coming to terms with first love, family and the town bully. As played by the sweet-faced Mark Webber (The Hottest State), who's nearing 30 but looks more like 17, the character (who also has a surprising physical impairment not immediately obvious) commands the movie, winning our sympathy and maintaining it throughout.

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January 6, 2009

Towelhead

towelhead

Reviewer: Erin Donovan
Rating (out of 5): ***

Alan Ball has an axe to grind, possibly several axes to grind. After many years toiling as a sitcom writer for shows like Cybil and Grace Under Fire, he won an Academy award for writing the suburban exegesis American Beauty, created the HBO series Six Feet Under, an at times cruelly bleak dramedy about a family-run funeral home, and has now developed True Blood, a Southern Gothic melodrama television series wherein vampires and humans reside in strained coexistence. So it makes a certain kind of sense that Towelhead, his feature film debut as a director, would contain elements of racism, child rape, pornography, interracial dating, teen sex and militarism -- all under the umbrella of comedy.

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December 15, 2008

Open Window

window

Reviewer: James van Maanen
Rating (out of 5): **½

A good example of a film with a "hot" topic (rape) that handles its subject with intelligence, tact and almost no prurience, Open Window also -- unfortunately -- exemplifies failure due to lack of "art."  After watching the interview with writer/director Mia Goldman on the DVD extras, my companion noted correctly that everything Goldman says (the movie is based to an extent on her own rape experience) seemed truthful and correct -- and yet her film still did not work.  It is worth seeing, however, and I do not mean this backhandedly, as much for its faults as for its attempt.

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November 11, 2008

Flashbacks of a Fool

flash

Reviewer: James van Maanen
Rating (out of 5): **½

For film fans looking for more of Daniel Craig, unclothed especially, the opening scene of Flashbacks of a Fool (dreadfully pretentious title!) should keep you happy, as the menage-a-trois shown is full of fire-lighted flesh and frisky lovemaking. But then it’s the morning after and the angst sets in. Writer/director Baillie Walsh's film is actually one large flashback that covers the character played by Craig in late adolescence, as he discovers sex, love and dancing, all of which leads him to become the has-been star we see at the film’s beginning. How his stardom happened, what it entailed and who this character is – these go completely unremarked upon, which makes the movie seem like a novel that’s been hacked to half-length and then given a TV-level treatment.

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Death Defying Acts

deathdefy

Reviewer: James van Maanen
Rating (out of 5): **½

Australian director Gillian Armstrong has had an interesting career in which she's tackled various genres (musical: Starstruck; wartime: Charlotte Gray; prison break/love story: Mrs Soffel; family dramas: High Tide, The Last Days of Chez Nous; classic adaptation: Little Women); all, except the latter classic, handled in her own interestingly off-kilter manner. Yet Armstrong has not made as immense an impression since her first big film – My Brilliant Career, which helped launch the international careers (one brilliant, the other very good) of Judy Davis and Sam Neill.

Here comes this talented director again, this time with a rather lavishly budgeted story that tracks the nearing of the end of Harry Houdini's career and the further burnishing of his legend. Death Defying Acts offers Guy Pearce and Catherine Zeta-Jones in the lead roles and Saoirse Ronan (Atonement) and Timothy Spall lending their usual fine support, so you can’t fault the film for lack of star presence. It is generally quite beautiful to look at and written (by Tony Grisoni and Brian Ward) and directed with enough flair to keep you going.

What is finally missing -- and becomes apparent early on -- is a strong enough central concept. Instead it gives us a mash-up of the usual hooey about spiritualism and prescience (is it real or is it not?), Freudian mother fixation and a so-so love story. Still, as time-wasters go, this one has its moments, many of which are visual treats. Pearce is interesting, as always (though one continues to wish that he will eventually again find that magical combo: a good role in a good movie), while Zeta-Jones is surprisingly warm and real in a mostly underwritten role.

October 28, 2008

Birds of America

birds

Reviewer: James van Maanen
Rating (out of 5): **

Craig Lucas is one of my favorite writers for theatre and film. From his mid-1980s off-Broadway success Blue Window-- still one of the most poetic and original ensembles pieces ever created for the stage -- to Prelude to a Kiss and The Dying Gaul (both the film and stage versions), and the much-maligned but prescient and challenging God's Heart, Lucas has given us a fertile and intense body of work. (His screenplay for The Secret Lives of Dentists helped enable director Alan Rudolph to make one of his best films in a long while.) So it is with some pain that I have to report being gravely disappointed in Lucas' new film Birds of America, which, like The Dying Gaul, he both wrote and directed.

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October 27, 2008

Missing (Criterion): Lost and profound

missing

Reviewer: Jeffrey M. Anderson
Rating (out of 5): ***

The Greek-born director Constantin Costa-Gavras usually signs his films with only "Costa-Gavras," as if he were creating a brand name for political thrillers. The thriller part invites audiences to have fun at the movies, while the political part makes them think they're seeing something more than "just" a thriller. Costa-Gavras first broke out in 1969 with Z, which earned him a Best Director nomination and won two other Oscars, and in 1981, he was invited to make his first American film, Missing (now out in a Criterion DVD), with Jack Lemmon and Sissy Spacek.

Missing takes place in an unnamed country, presumably Chile, in the early 1970s, when a military coup toppled the reigning government (presumably Allende's). A happy, liberal American couple, Charlie Horman (John Shea) and his wife Beth (Spacek) live there, keeping a pet duck, drawing cartoons and occasionally translating articles for left-wing newspapers. They find life increasingly difficult under the new military rule -- with its strict curfews -- and begin to wonder if Charlie's habit of keeping notes on everything is very safe. Soon, Charlie has disappeared and his right-wing, Christian Scientist father Ed (Lemmon) flies down to help investigate. Ed can't understand his son's way of life and believes that Charlie must have created his own trouble; he can't believe that people would be arrested for no good reason. But of course, the major arc of Missing is Ed's awakening and realization that black-and-white thinking just doesn't apply to the real world.

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September 24, 2008

Snow Angels

snow

Reviewer: Jeffrey M. Anderson
Ratings (out of 5): ****

There are those who see writer/director David Gordon Green's career improving, with Undertow (2004) as his best work, and others see it in decline, with his debut George Washington (2000) remaining his finest to date. His fourth feature Snow Angels should at least have both camps in agreement; it's not his best, but it's an accomplished, wrenching, satisfying drama of the highest order. (It's every bit as good as -- but 180 degrees from -- his subsequent film, Pineapple Express, released just a few months later.)

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September 23, 2008

Loss, Grief & Guilt via Germany, Italy & Turkey: Saturn in Opposition & The Edge of Heaven

saturn

Reviewer: James van Maanen
Ratings (out of 5):
Saturn: ***½
Heaven: ****

Stylistically, two new films with similar themes by international moviemakers with strong ties to Turkey could hardly be more different, yet both deal strongly and thoughtfully with the subject of loss, grief and guilt.

Ferzan Ozpetek, born in Turkey in 1959, came to Rome to study film and has now become one of Italy's most recognized moviemakers. Fatih Akin's parents emigrated from Turkey to Germany in the 1960s; he was born in Hamburg in 1973. The land of Turkey, the Ottoman Empire, its culture and religion come up again and again in both filmmakers' work -- more in Ozpetek's early films like Steam and Harem than is his latest Saturn in Opposition (but how often he uses the wonderful Turkish actress Serra Yilmaz!). Akin seems to be drawn to Turkey more strongly with each successive film: In July, Crossing the Bridge: The Sound of Istanbul, and now The Edge Of Heaven.

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September 22, 2008

Noise

noise

Reviewer: James van Maanen
Ratings (out of 5): ***½

NOISE: Scourge of Urban Life

While Noise will confirm many of the prejudices country folk feel about the big city, the movie should have those of us who actually live in the latter frothing at the mouth within minutes. Why? Because writer/director Henry Bean's (The Believer) new film delivers up a picture of one of the more crazy-making though least recognized (it is not, after all, mugging, murder, robbery or rape) urban problems: noise pollution. Due to his clever premise, an almost believable follow-through and a first-rate sound department, Noise makes the most of the titular annoyances and ends up seducing you into cheering for a vigilante like never before. (It helps that our "hero" is fighting noise, rather than a bunch of Death Wish-inspired rapists/murderers.)

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August 13, 2008

The Secret: Rather a mess, but endearing nonetheless.

secret

Reviewer: James van Maanen
Rating (out of 5): ***

Here's an odd little movie -- one that, though its DVD release fairly reeks of straight-to-video failure, is often surprisingly well-done. Yet, given the way it circumvents expectations at every turn, The Secret is almost certain to end up doomed, despite a fine cast that includes David Duchovny, Lili Taylor, Olivia Thirlby and Brendan Sexton III.

First off, it's a film about the spiritual, the supernatural, death and (a kind of) resurrection yet is not scary or particularly suspenseful. And there is little in the way of violence or blood. It offers scenes of teenage sex and drug abuse without almost any of the usual nudity and sleaze factor. And it takes what seems awfully close to the premise of Freaky Friday (minus one corporeal body) and turns it into a very adult fable dealing with, among other tricky topics, the possibility of parent/child sex (this movie gives new meaning to the term "fraught"). At heart, though, it is another in a long line of generation-gap stories, and among the better ones, at that: odd, occasionally funny, and finally moving.

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July 25, 2008

Never Forever

forever

Reviewer: Dylan De Thomas
Rating (out of 5): **½

An uneven melodrama filled with lurches and starts, Never Forever is highlighted by a strong performance by Vera Farmiga, who is still waiting for her breakout role after shining in The Departed a couple of years back. Though impressive - and a must-see for fans of Farmiga's doe eyes and pliant, oft-downturned mouth - this is not the movie that will launch her into the greater public's consciousness.

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July 8, 2008

Honeydripper

chaos

Reviewer: James van Maanen
Rating (out of 5): ***½

Politically progressive, consistently independent writer/director John Sayles takes his sweet time with Honeydripper, which has a rather slight story and still runs over the two-hour mark. Fortunately, the operative word here is "sweet" -- as in gentle, satisfying and dulcet, rather than sugary or saccharine. This sweetness comes in so many forms--from the wonderfully genuine performances in the redolent tale Sayles tells, to the music that weaves it way--insinuating, sexy, and finally charmingly explosive--throughout the film. It's especially apparent in some of Sayles' writing. Watch for the exquisite scene in which a character muses about how the first slave to learn piano-playing might have managed this: It's thoughtful, specific, wonderfully imagined and executed.

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July 7, 2008

The Witnesses

witnesses

Reviewer: James van Maanen
Rating (out of 5): ****

While fans of the work of the French writer/director André Téchiné will queue up for his newest film, The Witnesses, this first-rate study of a time (the early 1980s), place (Paris) and people (a disparate group connected by everything from friendship and love to employment and sex) also makes a fine entry-point for anyone new to this moviemaker. I've never seen a Téchiné film I did not like, but I admit that some (Wild Reeds, My Favorite Season, Thieves) are more immediately accessible and enjoyable than others (Loin, J'embrasse pas, Changing Times).

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June 29, 2008

Ballad of Narayama: Classic Japanese Cinema that Shocks

ballad

Reviewer: James van Maanen
Rating (out of 5): ****½

Shohei Imamura is not generally held in the same high esteem as other great Japanese filmmakers such as Ozu, Mizoguchi and Kurosawa. Even after viewing all of his later films--his segment of 11-09-01, Warm Water Under a Red Bridge, Dr. Akagi, The Eel and Black Rain, I would have agreed with that assessment. Now that I have also seen two of his earlier works--Vengeance Is Mine and the recently-released-to-disc Ballad of Narayama (from 1983), I'm inclined to hold him in similar, if not greater, regard. Narayama, I believe, is a classic film and should not be missed by anyone with a love for cinema or Japan.

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June 3, 2008

Raisin in the Sun / The Great Debaters

raisin


Reviewer: James van Maanen

A Raisin In The Sun: Rating (out of 5): **½

The Great Debaters: Rating (out of 5): ****

The recently filmed (for cable-TV) version of the famous Lorraine Hansberry play A Raisin In The Sun and last year's "Oscar Bait," Denzel Washington-helmed The Great Debaters were released to video on the same day. After watching both within hours of each other, a comparison seems in order. The former was generally greeted well by critics (and the public: the Broadway version was a rare "hot ticket" for a non-musical play, due no doubt to the casting of a certain Mr. Diddy). The latter, however, was given a shrug of indifference by the public and by quite a few critics. This is not the first time, nor will it be the last, that movie-goers missed out on something wonderful.

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May 19, 2008

Youth Without Youth

youth

Reviewer: James van Maanen
Rating (out of 5): **

Has Francis Ford Coppola ever been much of a screenwriter? Don't his real strengths, such as they are, lie in his conceptions, and sometimes in his visuals? (Conceptions more admired, perhaps, for their attempts than for their actual successes.) In any case, with most of his more prominent movies, he's had a lot of good help and/or source material--from Puzo's Godfather and Grisham's The Rainmaker to S.E. Hinton's Rumble Fish and The Outsiders, and John Milius on Apocalypse Now. Though I didn't much care for The Conversation when it was first released (a rare time that Coppola doesn't share screenplay credit), I know it's considered one of his best and plan to re-see it soon. I admit to not being an enormous fan of the filmmaker, but that is no reason to heap contempt on his latest work to arrive in the video bin: Youth Without Youth (which is based on an outside source, too -- the book by Romanian author Mircea Eliade -- but scripted by Coppola). No, indeed -- not when there are so many other good reasons for denigrating it.

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May 1, 2008

Bella

bella

Reviewer: Maria Komodore
Rating (out of 5): **

The subject of unwanted, or unplanned, pregnancy was quite a hot one for US and foreign films alike last year. But with the exception of Romanian Cristian Mungiu's abortion drama 4 Months, 3 Weeks, and 2 Days (2007), all of the others, even if apolitical, have essentially been "pro-life."

In the U.S., in addition to Jason Reitman's indie hit Juno (2007), there was the late Adrienne Shelly's Waitress (2007), and of course Judd Apatow's supposedly comedic Knocked Up (2007). No matter how different in inception and presentation these films might be, they all have one thing in common: abortion is out of the question. The female leads decide to, respectively, keep their babies even if that means giving them up for adoption after they're born, bringing them up all by themselves, or settling down with an immature slacker.

Although made in 2006 and by a Mexican filmmaker, Alejandro Gomez Monteverde, the independent film Bella deals with the same subject matter and in a similar kind of way to the other films. Soon after she finds out that she's pregnant, Nina (Tammy Blanchard), a waitress in an upscale Mexican restaurant in New York, loses her job--a humiliating scene where her boss Manny (Manny Perez) fires her in front of her colleagues and friends. Jose (Eduardo Verástegui), the restaurant's cook and Manny's brother, is so affected by the incident that he deserts his kitchen in the midst of lunch-hour craziness, and starts following her around the city doing everything possible to persuade her to keep the baby. Turns out, before becoming a cook, Jose was a successful soccer player whose career got destroyed when he accidentally killed a little girl in a foolish car accident.

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March 10, 2008

Congorama

congorama

Reviewer: Monica Peck
Rating (out of 5): ****

This filial drama from writer/director Philippe Falardeau reveals the bizarre story of Belgian engineer Michel Roy who learns at age forty-one that he was adopted and actually born in a barn in rural Quebec. Played by Oliviér Gourmet (L'Enfant, Les Fils), Roy embarks on a journey to uncover his lost familial roots. Humor and poignancy intermix as Roy begins to learn the truth about his birth through a series of unlikely serendipities. Out of respect for your enjoyment of Falardeau's brilliantly woven divulgences, I dare not reveal anything more of the plot. Suffice it to say, this cinematic puzzle deserves more than one viewing, if only to admire the deft way Falardeau uncovers its many-layered secrets. It is no wonder that Congorama won a Genie for Best Screenplay from the Academy of Canadian Cinema and Television in 2008. As a doctor remarks in the movie, "It is all so unlikely, it can't be anything but true."

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February 12, 2008

The Bubble: Hard to shake off

bubble

Reviewer: James van Maanen
Rating (out of 5): ***

No, it’s not a documentary exposing the underside of America's real estate market. Director and (with Gal Uchovsky) co-writer Eytan Fox's The Bubble is about the denizens of a mostly gay enclave in Tel Aviv, Israel. This cordoned-off area (not literally, perhaps, but figuratively--by being liberal, secular and "other" in a country not particularly noted for these attributes) is the "bubble" of the title, and its citizens--young, good-looking, smart and self-aware--are not oblivious to the fact that they are living in a kind of homogeneous "closed society." The thing about bubbles is: They tend to burst, and rather easily, too.

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January 29, 2008

Rocket Science

rocket

Reviewer: Dylan de Thomas
Rating (out of 5): ***

The fiction-film debut of Spellbound director Jeffery Blitz, Rocket Science is, like its non-fiction predecessor, a finely wrought and authentic portrait of the world of unusual and gifted kids. Instead of plumbing the depths of the world of spelling bees this time around, Blitz tells a story about - among other things - high school debate teams.

The film follows one Hal Hefner, a high school outcast marked by a profound stutter, played to squirming perfection by Reece Thompson, as he tries to overcome his speech disorder by joining the competitive debate team at his New Jersey suburb's high school.

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King of California

king

Reviewer: Craig Phillips
Rating (out of 5): ***

Writer-director Michael Cahill's King of California is a "little film" with a solid script that came and went from theaters in the blink of an eye - not a big surprise, given the oddball plot. While no classic, it certainly deserves an audience on home video.

Michael Douglas plays Charlie, a wayward father and former jazz musician whose estranged, and much more together, teenage daughter Miranda (a most-appealing Evan Rachel Wood) picks him up upon his release from a mental hospital. She's been working at McDonald's instead of finishing high school because someone's got to bring home the McBacon. Her mother, his ex, a former hand model, ran off too. Charlie may have issues, but at least he cares. It doesn't take all that long for Douglas to present his character as a major league eccentric, but to his credit he doesn't overdo it (except for a few wild-eyed moments), and he quickly garners our sympathy for his obvious love of his daughter. The plot - centering on Charlie's obsessive belief that Spanish treasure is buried underneath the local Costco - requires some suspension of disbelief to be sure, and yet Cahill's on to something, too.

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January 17, 2008

Golden Door: The immigrant experience writ large, and fine

door

Reviewer: James van Maanen
Rating (out of 5): **** ½

A big, fat "thank you" to Martin Scorsese for his championing of Golden Door, which is up there among (if not THE) best-ever renditions of the immigrant experience. It makes "Titanic"--for all its multi-million-dollar budget and billion-dollar gross--seem something paltry in comparison. Scorsese gives a short intro to the film on the current DVD, and his name was associated front-and-center with the theatrical release in May of 2007. Reviews were generally respectful, but the movie soon disappeared into the usual foreign film obscurity which bedevils our current times, particularly where Italian movies are concerned. (Earlier in the year, Golden Door had been Italy's submission for Best Foreign Language Film but, shockingly, did not make the final five nominees.) Now that I've finally seen it, I must place it near or at the top of the list of last year's best films.

From its first frame, the film jars then compels you because its visuals are so strong, bizarre and immediate. Yet writer/director Emanuele Crialese, prefers to show, not tell. There is little exposition as we follow three generations of a poor Sicilian family making their difficult way toward America, with their tag-along companion, a somewhat mysterious British woman, played by the elegant and odd Charlotte Gainsbourg. Both the large events and small moments throughout the film are so specific and completely imagined that--real or not--they come across as truthful. Based on Crialese's earlier film, Respiro, I would not have pegged him to create anything this amazing, and because so much of the reason the movie works is due to its visual beauty and imagination, I suspect that its cinematographer Agnès Godard (Beau Travail, Backstage, The Intruder) bears at least some of the responsibility.

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December 21, 2007

The Rocket: The Legend of Maurice Richard

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Reviewer: Walt Opie
Rating (out of 5): ***½

Somewhat surprisingly, the sport of ice hockey has inspired very few decent films over the years. You might be able to count them on two fingers: 1977's Slap Shot starring Paul Newman, and Disney's Miracle about the 1980 U.S. men's hockey team winning the gold. So it's nice to be able to add to this list The Rocket, a thoughtful biopic about the life of legendary Montreal Canadiens scoring machine Maurice "The Rocket" Richard (who retired from the NHL in 1960 and died in 2000).

Directed by Charles Binamé (Seraphin: Heart of Stone), it stars popular Canadian actor Roy Dupuis, who had already portrayed Richard for two previous projects (including a two-part French-Canadian miniseries). Dupuis reportedly did his own skating in the film, and the hockey scenes—which depict the NHL in the 1940s and 1950s before players wore helmets—have an admirable gritty quality of verisimilitude. Binamé has said of his inspiration for the hockey scenes, "I really wanted to capture hockey the way (Martin) Scorsese had captured boxing with Raging Bull."

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November 30, 2007

The Road to Guantanamo

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Reviewer: Henry Leineweber
Rating (out of 5): ****

The Road to Guantanamo is not what I expected. In a market flush with post-9-11 documentaries, I was expecting more of the same: interviews with experts, former government officials, a brief history lesson, some stock footage, a few classic rock songs, and maybe a stunt or two thrown in to spice things up.

Instead, The Road to Guantanamo presents us with the firsthand accounts of three former detainees from Tipton, England. Asif, Shafiq and Ruhel, along with their cousin, are arrested in war-torn Afghanistan after haphazardly deciding to become fighters. Using reenacted scenes and interviews with the three young men, filmmakers Mat Whitecross and Michael Winterbottom present the viewer with a savage and suspenseful tale of mistaken identity. The film is still timely, too - the three men are tortured (in brutal re-enactments) by American and British intelligence trying to get a false confession out of them.

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November 20, 2007

Under the Volcano (Criterion): Finney erupts

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Reviewer: Walt Opie
Rating (out of 5): ***

The Criterion Collection recently released a double-disc special edition set of the 1984 John Huston film Under the Volcano, starring Albert Finney as an alcoholic ex-British consul named Geoffrey Firmin. Firmin loses his official post in Mexico and is drowning himself in alcohol as he laments the loss of his straying wife Yvonne (Jacqueline Bisset), who suddenly reappears before him at a Mexican cafe to witness what will be his last day--on the Day of the Dead, no less. Finney was nominated for an Academy Award for his portrayal of writer Malcolm Lowry's tragic figure (the film is based on Lowry's novel of the same title), and legendary director Huston (The Maltese Falcon, Treasure of the Sierra Madre) remarked of Finney here, "I think it's the finest performance I've ever witnessed, let alone directed."

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November 15, 2007

Allegro: Music to soothe the Scandinavian breast

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Reviewer: James van Maanen
Rating (out of 5): ***½

Spaces and places, their relationship to each other and to people who are in love: This rather odd subject matter seems to interest Danish writer/director Christoffer Boe to an extraordinary extent. Based on his 2003 Reconstruction and now Allegro (made in 2005 but released to DVD this past October), I'd say Boe is quite an unusual young filmmaker. His use of symbolism, too heavy for some, works just fine for me because he often twists his clichés, allowing them to surprise us by including more than what we initially expect. He also uses sci-fi/fantasy tropes less obviously than many current moviemakers.

Allegro tracks a world-class concert pianist who loves, loses, and must break through into a parallel world to find… well, all sorts of things. Boe keeps his movies short, which is wise; I don't think they could stand up to much increased length. He also appears to shoot (in Super-16 and DV, blown up to 35mm) rather quickly, which adds to the sense of immediacy and urgency (the cinematography is by Manuel Alberto Claro). Here, Boe combines some simple animation with his mostly live-action story to set things up and propel them along. This works, too.

In the lead role, Boe has cast one of Denmark's best and most oft-seen actors Ulrich Thomsen (The Celebration, Brothers, Mostly Martha), with attractive model Helena Christensen as his love interest. But the movie belongs to Thomsen--who brings a fine combination of gravity and confusion to the proceedings--and to Boe's bizarre but consistently interesting take on life and love. Some lovely classical selections, plus original music by Thomas Knak, help keep the film airborne.

November 14, 2007

Violet Perfume: Feminist breakthrough from Mexico

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Reviewer: James van Maanen
Rating (out of 5): ****

At this year's Film Society of Lincoln Center Latinbeat Festival, a special sidebar was devoted to screenings of, as the FSLC put it, "Four Breakthroughs from Mexico's New Cinema": Amores Perros, Japón, Duck Season, and Violet Perfume: No One Is Listening. The first two, and to some extent the third, are well-known to most movie buffs, but the latter, outside of festivals, has hardly made a ripple in the USA. Now that Violet Perfume is here on DVD, audiences have the chance to see and understand why the film is indeed a breakthrough of sorts. It's also a mega-downer, which may account for its not finding theatrical release.

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October 18, 2007

Evening: A tapestry of past and present

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Reviewer: James van Maanen
Rating (out of 5): ***

I must admit to some shock at the mostly devastating criticism received by Evening (a 26% score on Rotten Tomatoes!), and I can't help feel that expectation has more than a little to do with this. Here is a "dream" cast by any literate moviegoer's standards: Meryl Streep, Glenn Close, Vanessa Redgrave, Claire Danes, Eileen Atkins, Toni Collette, Natasha Richardson (Redgrave's daughter), Mamie Gummer (Streep's daughter), with Patrick Wilson and Hugh Dancy holding up the male side. Add, as the director, Lajos Koltai, one of the world's great cinematographers whose first directorial job resulted in the memorable, devastating, yet strangely beautiful Holocaust tale Fateless. Finalize with a screenplay by Susan Minot (from her well-regarded novel) and Michael Cunningham (the popular novels "A Home at the End of the World" and "The Hours"). How could expectations not be sky-high? And while there is reason for disappointment in the end result, there is also much to savor in this elegiac film.

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October 15, 2007

Stephanie Daley: Neither lurid nor a polemic

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Reviewer: Erin Donovan
Rating (out of 5): ****

In a recent New York Times op-ed piece, Judith Warner wrote, after attending a recent screening of the friendship/revenge/road film Thelma and Louise (a screening hosted by Sen. Susan Collins R-MN and Rep. Jane Harman D-CA... huh?) that the 1991 film's portrayal of the sexual politick already seemed incredibly dated. She noted that the interim changes haven't actually been useful evolutions, but merely the development of many, many shades of gray.

With Stephanie Daley, writer/director Hilary Brougher achieves a mighty feat of making a film about religious education, child abandonment, miscarriage, infidelity and teenage sexuality that's neither lurid nor a polemic. And even with one character fighting for her life there are no Oscar-baiting monologues of hysteria (in fact, the most powerful scene in the film is completely silent). Like Brougher's debut film, Sticky Fingers of Time, Stephanie Daley uses a fragmented narrative to show how the interactions of two people stuck in a morass of denial inspires the other to lift themselves out of their stasis.

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October 5, 2007

Dance to the Music of Time sings

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Reviewer: James van Maanen
Rating (out of 5): ****½

First shown in 1997 but never seen on American television nor available on video until now, A Dance To The Music Of Time offers what seem to me the most effortlessly entertaining characters, conversations and story that may ever have appeared in a miniseries. Lavish praise, but these four discs--totaling around 7 hours of time--scale the heights in terms of providing a literate, ironic view of upper-class England over several decades. That this is due to the series of novels by Anthony Powell, from which Hugh Whitemore adapted his simply amazing script, is beyond question. But putting it all together as elegantly, speedily and bracingly as Whitmore manages is a major accomplishment. Over the decades this journeyman writer has given us many fine pieces, winning BAFTA, WGA and Emmy awards in the process. Remember 84 Charing Cross Road, Return of the Soldier, Utz, Pack of Lies, Breaking the Code (he wrote the play), The Gathering Storm, My House in Umbria--to name but a few? This prolific gentleman is pretty much the "adapter" nonpareil for our time.

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September 21, 2007

Mouth to Mouth: Shows a lot of spark

Mouth to Mouth

Reviewer: Craig Phillips
Rating (out of 5): ***

Canadian filmmaker Alison Murray's feature debut (she's done terrific work in shorts) Mouth to Mouth, an imperfect but striking effort, is of a wholly different universe and energy. Based on Murray's own experiences as a teenage runaway, the film depicts the troubled relationship between a mother and the teenage daughter she had too young. The girl, Sherry (played with ferocity by Ellen Page, who jarringly reminded me here of an ex-girlfriend, but never mind), runs away to strike out on her own in Europe and hooks up with an charismatic group of partying activists who call themselves SPARK (Street People Armed With Radical Knowledge). They work to get people off of hard drugs, making them part of a family, travel in a sort of "Burning Van" eventually to their own compound at a vineyard, where, well, when you put the words "compound" and "family" together, you can see where this is going, and not some place good.

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September 19, 2007

Snow Cake: Magic from Canada

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Reviewer: James Van Maanen
Rating (out of 5): ****½

In terms of providing the world with benign movies--kind, compassionate and benevolent--I would call Canada the champ. From Don McKellar's Last Night (the most benign of all the films about the end of the world) to one of the great television series (Slings & Arrows) from Wilby Wonderful to Falling Angels and so many more, our neighbor to the north insists on showing us that normal life comes with enough major problems that we humans don't really need to make things worse. Forget the serial killers and the ultra-violence: Simply dealing with each other and what life throws us is enough of a challenge. Snow Cake, the near-magical movie from Marc Evans (who, back in 2002 gave us--on a budget of about $1.98--one of the most disturbing films I've ever seen, My Little Eye) and writer Angela Pell, is the latest in a long string of humble Canuck wizardry.

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August 20, 2007

Broken English: An assured debut

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Reviewer: Erin Donovan
Rating (out of 5): ****

Parker Posey's Nora in Broken English exists further down the continuum of roles she played in the nineties in films like Daytrippers, Clockwatchers, Party Girl and Kicking and Screaming: neurotic, sarcastic, and sort of unambitious. But in your thirties these things are no longer cute (or "quirky", as Posey is so often called) but sort of annoying and self-defeating. In the new Broken English, she's single among married friends, working at a barely above entry-level (but "cool") job in a stable of trust fund-insulated successful artists. She's in crisis and the people in her life think crappy blind dates will lead to fairy tale solutions. But by now she's become so accustomed to isolation and condescension that she no longer trusts her own instincts and has become her own worst enemy. She meets a similarly burnt but far less cynical French dreamboat (Melvil Poupaud of Time to Leave) and they have a weekend romance before he leaves for Paris.

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August 15, 2007

The Big Bad Swim: Lapping it up

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Reviewer: James Van Maanen
Rating (out of 5): ****

What constitutes a "sleeper"? I'd always thought a movie required at least a short theatrical release in major cities to qualify for this overused label. After viewing The Big Bad Swim, however, I'd have to say that any film this good--and this unheralded--is a shoo-in for sleeper status. A dramedy about a group of Connecticut adults (of all ages and professions) taking a swim class, this first full-length film from director Ishai Setton and writer Daniel Schechter simply sneaks up and knocks you--sweetly, quietly--off your feet. Granted, Setton and Schechter have not broken any new ground with their movie, yet neither a visual moment nor a line of dialogue rings false, is pushed to excess or wasted. Many longtime filmmakers, even some who’ve won major awards, don’t get this close to perfection when they try to create a batch of interesting, real human beings.

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