Drama Archives - Page 31 of 119 - FILM FREAK CENTRAL

300: Rise of an Empire (2014) – Blu-ray + DVD + Digital HD

July 20, 20142014, Action, Authors: Walter Chaw, Blu-ray Disc, Drama, DVD, Fantasy, War

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***/**** Image A+ Sound A+ Extras A
starring Sullivan Stapleton, Eva Green, Lena Headey, Rodrigo Santoro
screenplay by Zack Snyder & Kurt Johnstad
directed by Noam Murro

by Walter Chaw If Kenji Misumi made gladiator movies instead of the legendarily violent, indisputably awesome Lone Wolf and Cub series, they'd probably have played a lot like Noam Murro's ludicrous but committed 300: Rise of an Empire (hereafter 300 II). Pornographically (in the best way) violent and generous with Eva Green's ample, and horrifyingly-intense, charms, it tells a parallel story to Zack Snyder's gay porn-meets-military-recruitment video 300–a naval (and navel–ha!, priceless) intrigue involving Greek general Themistocles (Sullivan Stapleton) fending off Persian commander Artemisia (Green) in a sea of sometimes-literal blood. The film is completely unapologetic in its hard-R excess, counting among its atrocities child-rape and sexual slavery in the baddie's backstory with more squarely-clenched jaws than a Dick Tracy convention. It's a testosterone-sloppy cock-opera, of course, lending its countless skewerings the musky weight of sadomasochistic homoeroticism, but by sprinkling in Green's bonzer performance and, late in the game, Lena Headey's grief-stricken Queen Gorgo, 300 II suddenly becomes this rape-revenge/avenging-angel exploitation slasher. It's good, in other words. In a weak moment, I might admit it's even better than that.

Boyhood (2014)

July 17, 20142014, Authors: Angelo Muredda, Directors: Richard Linklater, Drama, Theatrical

***½/****
starring Patricia Arquette, Ellar Coltrane, Lorelei Linklater, Ethan Hawke
written and directed by Richard Linklater

by Angelo Muredda “I was somebody’s daughter, and then I was somebody’s fucking mother,” Patricia Arquette’s Olivia complains early on in Richard Linklater’s uncommonly rich, deceptively titled Boyhood. Though it’s been rightly celebrated for its guerrilla shoots and nomadic production history–depicting an adolescent’s maturation from six to eighteen by reassembling the cast once a year, more or less in secret, for a few days at a time–Boyhood might be most impressive as a reflection on the impossibility of fully capturing what happens in all those “and thens” that constitute a life. An impressionistic masterwork, Boyhood is arguably both Linklater’s most ambitious project and his most easygoing, revelling in the amorphousness of his conceit as well as the freedom it allows him to putter around in the unformed material of his characters’ still-unfolding lives.

Venus in Fur (2013)

July 17, 20142013, 2014, Authors: Walter Chaw, Drama, France, Theatrical

La Vénus à la fourrure
***½/****
starring Emmanuelle Seigner, Mathieu Amalric
screenplay by David Ives, based on his play
directed by Roman Polanski

by Walter Chaw If it’s stagebound, Roman Polanski’s Venus in Fur, an adaptation of David Ives’s play that is itself an adaptation in part of the Leopold von Sacher-Masoch novel, is at least not stagebound without a purpose. It reminds of Adaptation. in its awareness of itself as an object open to deconstruction (and Derrida is mentioned in the text to make it metacritical in that sense as well); the fact that it’s a play captured on film only underscores its conceit. Venus in Fur is also a career summary for the octogenarian director at a point where his contemporaries are declining steeply in their dotage. Spry and clever, surprisingly funny at times, and at all times indisputably alive, it finds Polanski’s themes of gender subversion in high dunder, opening with a quote from the Apocryphal Book of Judith where the titular heroine seduces enemy general Holofrenes and decapitates (read: emasculates/castrates) him as he reclines in post-coital bliss. Polanski casts an actor who could be his younger doppelgänger, Mathieu Amalric, and opposite him in this two-person drama Polanski’s own wife, Emmanuelle Seigner–transparent, vulnerable, courageous casting that reminds very much of Hitchcock in his late masterpiece period. Venus in Fur is Polanski’s Marnie: a grand survey of all of his sexual peccadilloes that works as apologia, confession, and explication, eventually conveying Polanski’s acceptance of himself as deeply flawed, but better for the wisdom.

Noah (2014) – Blu-ray + DVD + Digital HD

July 16, 20142014, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Darren Aronofsky, Drama, DVD

***/**** Image A+ Sound A+ Extras A-
starring Russell Crowe, Jennifer Connelly, Ray Winstone, Anthony Hopkins
screenplay by Darren Aronofsky & Ari Handel
directed by Darren Aronofsky

by Walter Chaw Unapologetic, curious, atavistic in its single-mindedness and simplicity, Darren Aronofsky’s Noah is more impactful in the rearview than in the moment. It’s got a hell of a wake. The film is beautiful to look at, it almost goes without saying–as grand and ambitious as its ideas, with one sequence depicting what appears to be the case for intelligent design. It’s truly audacious. In many ways the movie The Fountain wanted to be in terms of scale (and featuring another Clint Mansell score that sounds every bit like a continuation of themes), Noah is a deeply insane interpretation of one of the Bible’s briefest (essentially Genesis 5:32-10:1), most contentious, most instantly-relatable and hence most-beloved of all Old Testament stories. I can only speculate what the Christian response will be (somewhere between mine and Glenn Beck’s assignation of it as the “Babylonian Chainsaw Massacre” is my guess), but for an atheist who counts many strong Christians among his friends, this interpretation is full of the menace and wonder that scripture must hold for the devout. It’s a stirring creation mythology in that it makes no bones about the interference in the affairs of men by a vengeful God. Likewise, it makes no apologies for the atrocities it represents in its visions of suffering and sin. (I can only imagine what Aronofsky’s Sodom would look like.) Noah even finds time for a dialogue about religious fundamentalism and what happens when absolute faith becomes rationale for atrocity. It’s a story about the annihilation of 99.9% of human life on the planet that’s ultimately about the value of compassion, and it’s a critical read of divine texts that skew in that direction. After a series of films attempting to explain the ways of the divine to the mundane, here’s hoping for an Aronofsky adaptation at last of “Paradise Lost”: a most comfortable marriage of material and artist.

Dawn of the Planet of the Apes (2014)

July 9, 2014****/****, 2014, Action, Authors: Walter Chaw, Drama, Sci-Fi, Theatrical, Thriller

****/****
starring Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell
screenplay by Rick Jaffa & Amanda Silver and Mark Bomback
directed by Matt Reeves

by Walter Chaw Matt Reeves's remarkable Dawn of the Planet of the Apes (hereafter Dawn) isn't the best sequel since The Empire Strikes Back, but it is the best sequel since The Dark Knight. It's uncomplicated but beautifully executed–so pure and genuinely-felt that its conclusions about the unavoidable zero-sum game of tribalism land as not didactic but poetic. That certain sense of Tennyson bleeds into the overgrown post-apocalyptic landscape, all torpid acedia in its human ruins and in a tree-bound ape village that represents a sort of circular hopelessness. We recognize it as the beginning of a successor civilization that is unfortunately exactly like the beginnings of the civilization on which it's being built. Dawn's best trick is in balancing our sympathies in this way. We cast our lot with heroic Caesar (Andy Serkis, in a motion-capture performance that is one of the great silent-movie turns, ever), who's pushing against a Cheney-manqué in Koba (Toby Kebbell). Caesar gratifies our instinct for the underdog: it's easier to identify with Adam than with Nero. And then Reeves shifts to a human refuge and populates it with people, specifically Malcolm (Jason Clarke) and Ellie (Keri Russell), working on a peaceful solution against the more bellicose and paranoid of their number (Kirk Acevedo and Gary Oldman). No fair guessing which philosophy wins out–it's the only one that ever seems to.

Winter’s Tale (2014) – Blu-ray + DVD + Digital HD

July 6, 20142014, Authors: Walter Chaw, Blu-ray Disc, Drama, DVD, Fantasy, Mystery, Romance, Will Smith

Winterstale1

*/**** Image B+ Sound A Extras D+
starring Colin Farrell, Jessica Brown Findlay, Jennifer Connelly, Russell Crowe
screenplay by Akiva Goldsman, based on the novel by Mark Helprin
directed by Akiva Goldsman

by Walter Chaw Cloud Atlas for the early buffet crowd, Akiva Goldsman’s unsurprisingly dreadful Winter’s Tale hits every single number in the legendary shipwreck lotto, vacillating wildly between unwatchable dreck and oddly-compelling unwatchable dreck. That it’s badly-written is no shocker, given that it’s Goldsman; the treat this time is that the awful script is matched by a horrific first-time director (Goldsman, too) whose dream it was to adapt an essentially unadaptable magic-realist novel by Mark Helprin that offers the again not-shocking glad-handing Carlos Castenada philosophy of healing light and Manifest Destiny. Just like Cloud Atlas, it’s killed most any desire I may have held to read the source material (which I’m sure is a pity), but unlike Cloud Atlas it resists employing yellowface to make its point. That’s an improvement. Not an improvement is casting Will Smith as a monologue-delivering Lucifer–yes, that Lucifer; Eva Marie Saint as a 110-year-old woman; and young Jessica Brown Findlay, a casualty of “Downton Abbey”, who boasts the sucking void of the vacuous and the genuinely uncharismatic. To be fair, she doesn’t get a lot to work with.

True Detective (2014) – Blu-ray + Digital HD

June 29, 20142014, Authors: Jefferson Robbins, Blu-ray Disc, Crime, Drama, Mystery, Television

Image A Sound A+ Extras B-
“The Long Bright Dark,” “Seeing Things,” “The Locked Room,” “Who Goes There,” The Secret Fate of All Life,” “Haunted Houses,” “After You’ve Gone,” “Form and Void”

by Jefferson Robbins SPOILER WARNING IN EFFECT. On the original 2003 recording of The Handsome Family‘s “Far from Any Road,” husband-and-wife duo Brett and Rennie Sparks intertwine their voices sinuously, trading the song’s lonesome-death verses on equal footing. Her part pared down for the mesmeric opening credits of HBO’s “True Detective”, Rennie’s whisper becomes a sudden intrusion, jarring both the lyrical and visual narrative. It’s a hint of what’s to come in the eight-episode series itself. When a woman character exerts an active pull upon the story of tormented Louisiana State Police detectives Marty Hart (Woody Harrelson) and Rust Cohle (Matthew McConaughey), it’s an interruption, a vitriolic hiccup. Prompted by Marty’s stalking and volcanic abuse, his much younger mistress Lisa (Alexandra Daddario) reveals his serial infidelity to his wife Maggie (Michelle Monaghan). To poison Marty for his adulteries, Maggie seduces a drunken Cohle. The two cops have no female peers, only suspects, victims, bereaved mothers, hookers, and strippers to be interrogated, rescued, or ignored.

Jersey Boys (2014)

June 19, 20142014, Authors: Angelo Muredda, Biopic, Clint Eastwood, Drama, Musical, Theatrical

*/****
starring John Lloyd Young, Erich Bergen, Michael Lomenda, Christopher Walken
screenplay by Marshall Brickman & Rick Elice
directed by Clint Eastwood

by Angelo Muredda Clint Eastwood has never been the most self-referential filmmaker, preferring shopworn competence to flashy displays of idiosyncrasy. But it’s hard to imagine he’s not at least slightly gaming his audience throughout Jersey Boys, an otherwise limp tour through the Four Seasons‘ early discography. What else are we to make of the gag where baby-faced songwriter Bob Gaudio (Chris Klein dead ringer Erich Bergen) catches an image of his director’s grizzled mug in “Rawhide” on a hotel TV? While that feels like a pretty straightforward joke on Eastwood’s uncanny endurance all the way from “Sherry” (1962) to Jersey Boys the Broadway musical (2005), it’s a bit harder to read an equally surreal moment like the dispute between producer and sometime lyricist Bob Crewe (Mike Doyle) and wise-guy guitarist Tommy DeVito (Vincent Piazza) over the band’s sound. “I’m hearing it in sky blue,” Crewe whines in the middle of a recording session, “and you’re giving me brown.” On the one hand, it’s not like Eastwood to take the piss out of his own work, but on the other, what better analogy for his adaptation process can there be than the conversion of a sky-blue all-American songbook to a shit-brown sung résumé, rendered all in blacks and greys save for the odd splash of salmon and the occasional scrap of tweed?

True Blood: The Complete Sixth Season (2013) – Blu-ray with Digital Copy

June 15, 20142013, 2014, Authors: Bill Chambers, Blu-ray Disc, Drama, Horror, Mystery, Romance, Television, Thriller, Vampire, Werewolf

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Image A- Sound A Extras B-
"Who Are You, Really?," "The Sun," "You're No Good," "At Last," "**** the Pain Away," "Don't You Feel Me," "In the Evening," "Dead Meat," "Life Matters," "Radioactive"

by Bill Chambers SPOILER WARNING IN EFFECT. The penultimate season of "True Blood" was fraught with behind-the-scenes turmoil. Creator-showrunner Alan Ball had departed the series and his replacement, Ball's old "Cybill" cohort Mark Hudis, was himself replaced partway through the season by long-time "True Blood" scribe Brian Buckner. (Ball has a history of tapping out after five seasons and being notoriously difficult to replace–"Six Feet Under" ended when it did because he couldn't convince anyone to take over.) Whether this directly contributed to an abrupt plot development that effectively cleaves the season in two, the truth is that "True Blood" weathers these personnel changes invisibly enough as to affirm it is either on autopilot by now or, to be less generous, was already something of a runaway train that had only ornamental use for a conductor. Whatever the case, the show's sixth year represents a marginal rebound–though at this point in my "True Blood" journey, I'm just a masochist ranking the instruments of torture.

Breaking the Waves (1996) [The Criterion Collection] – Dual-Format Edition

June 4, 2014****/****, 1990s, 2014, Authors: Bryant Frazer, Blu-ray Disc, Denmark, Directors: Lars von Trier, Drama, FFC Must-Own, Romance, The Criterion Collection

****/**** Image A Sound A Extras A-
starring Emily Watson, Stellan Skarsgård, Katrin Cartlidge, Udo Kier
screenplay by Lars von Trier and David Pirie & Peter Asmussen
directed by Lars von Trier

by Bryant Frazer Breaking the Waves can make you queasy from its opening moments, when director Lars von Trier’s name appears with the title superimposed over it, the title card swaying gently on screen as if it were photographed at sea. The effect is less subtle on home video than it is on a big screen, where you’re not as aware of the edges of the frame, but the message is the same: suddenly, you’re adrift, unmoored, alone.

Like Someone in Love (2012) [The Criterion Collection] – Dual-Format Edition

June 2, 20142012, 2014, Authors: Angelo Muredda, Authors: Bill Chambers, Blu-ray Disc, Drama, Japan, The Criterion Collection

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***½/**** Image A+ Sound A Extras B+
starring Rin Takanashi, Tadashi Okuno, Rio Kase, Denden
written and directed by Abbas Kiarostami

by Angelo Muredda Few filmmakers know how to put you on your guard from the first frame as effectively as Abbas Kiarostami. It's clear enough that Like Someone in Love opens in a bar in Tokyo, but it's harder to say at first what we're looking at and why. The closest voice we hear belongs to the off-camera Akiko (Rin Takanashi), a young woman who's a little too preoccupied with lying her way out of a hostile phone conversation to process the flat image of well-dressed young revellers in front of her. Whether she's our lead takes a couple of false tries to figure out. Our first candidate is a redhead around her age, sitting at a table off to the side until she suddenly relocates to an empty seat in the foreground, coaching Akiko through the rest of her call until she relinquishes her spot moments later to a fortysomething man who speaks to both women with first the familiarity of a parent, then the condescension of a high-end pimp directing his employees. Somewhere in-between these encounters, we briefly lose track of who's even doing the looking. Akiko waltzes into our field of vision on the way to the bathroom, the camera fixed at where her eyeline used to be after she's vacated her seat, as if holding her place until she gets back.

The Double (2014) + Cold in July (2014)

May 29, 20142014, Authors: Walter Chaw, Drama, Revenge, Theatrical, Thriller, UK

THE DOUBLE
**½/****
starring Jesse Eisenberg, Mia Wasikowska, Wallace Shawn, James Fox
screenplay by Richard Ayoade & Avi Korine, based on the novella by Fyodor Dostoevsky
directed by Richard Ayoade

COLD IN JULY
***/****
starring Michael C. Hall, Sam Shepard, Vinessa Shaw, Don Johnson
screenplay by Nick Damici & Jim Mickle, based on the novel by Joe R. Lansdale
directed by Jim Mickle

by Walter Chaw Writer-director Richard Ayoade's follow-up to his well-received feature debut Submarine, this loose interpretation of Dostoevsky's The Double plays rather like Kafka adapted by David Lynch, or Terry Gilliam at his most restrained. It's good. It doesn't plough new ground, necessarily, but its dedication to a theme and a very fine performance by Jesse Eisenberg as a man and his titular doppelgänger carry it over its rougher patches. Visually engaging with its washed-out, diseased, Cronenbergian/Lars von Trier colour palette and packed with innovative, maybe self-conscious camera flourishes and affectations, it all plays out a bit insular, a little too obvious given the entire history of the double in this kind of movie, but at least it's executed with a persistence of vision. What catches me up short about Ayoade's films, though, is that ineffable quality of audition reel. They're entirely identifiable by the breadth of their references: Submarine for its obvious connection to Harold and Maude (and why do I keep hearing "The Only Living Boy in New York" when it unspools?), now The Double with its portfolio of referents. If it happens to be assembled smartly, more's the frustration. I can't tell whether the movie is good because Ayoade's a gifted filmmaker or simply a great scrap-booker. I guess it doesn't really matter.

Death Wish (1973) – Blu-ray Disc + Stone Cold (1991) – DVD

May 27, 20141970s, 1990s, 2014, Action, Authors: Jefferson Robbins, Blu-ray Disc, Crime, Drama, DVD, Revenge, Thriller

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DEATH WISH
***½/**** Image A Sound A
starring Charles Bronson, Vincent Gardenia, William Redfield, Hope Lange
screenplay by Wendell Mayes, based on the novel by Brian Garfield
directed by Michael Winner

STONE COLD
**/**** Image C+ Sound B-
starring Brian Bosworth, Lance Henriksen, William Forsythe, Sam McMurray
screenplay by Walter Doniger
directed by Craig R. Baxley

by Jefferson Robbins The urban vigilante is one of cinema's most potent, enduring figures, and it's worth asking how he got there. Michael Winner's influential but derided Death Wish drafts an explicit genealogy for its cosmopolitan avenger, granting him claim to the mantle of the lone lawman of the Old West. Bereaved through violence, Manhattan architect Paul Kersey (Charles Bronson) takes an assignment revising a valuable development plan near Tucson. There he pauses to watch a cowboy shootout re-enacted for tourists, the bad guys toppling until the besieged sheriff is the sole, righteous survivor. It's a cheap, thrilling, thoroughly Hollywood portrayal of frontier justice, and it represents an ethos Paul's host Jainchill (Stuart Margolin) urges him to carry in his heart back to New York, where unlicensed firearm possession has been illegal since 1911. This tension isn't original to Wendell Mayes's relatively terse screenplay–it originates in Brian Garfield's 1972 source novel, published after the author spent a decade cranking out pulp western yarns. But Death Wish uses this element to make its own statement, grafting the mediated concept of frontier self-justification onto an urban morality play. The western may be dead, and it may have been a lie to begin with (and it may be the cinema of the '70s that killed it), but Death Wish is among the genre's inheritors. Don't all children eventually hope to supersede their parents?

Amistad (1997) – Blu-ray Disc

May 20, 20141990s, 2014, Authors: Walter Chaw, Blu-ray Disc, Drama, Spielberg

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*½/**** Image A Sound B Extras D
starring Morgan Freeman, Nigel Hawthorne, Anthony Hopkins, Djimon Hounsou
screenplay by David Franzoni
directed by Steven Spielberg

by Walter Chaw Mid-career, Sergei Eisenstein wrote a book-length study of film form. He did it with humour and a Coleridge-ian wistfulness. He writes that, once he's finished with this book, he'll try some of the things he's talking about in it. Among them is an idea that, what if instead of using montage (which he calls "vulgar"), someone were to evoke the idea of "murder" just by showing ten sequences, not otherwise linked by linear exposition, that separately evoke murder? In more ways than this, but in this particular way, Steven Spielberg is the prodigal. He evoked "war" in twenty impossibly harrowing minutes to open Saving Private Ryan; he evoked "Holocaust" in a similar stretch in the middle of Schindler's List; he evokes "slavery" in an absolutely tremendous, wordless chunk about halfway through Amistad; and he sandwiches all of it in patronizing, ham-handed treacle, massively, criminally over-scored by chief enabler/collaborator John Williams.

God’s Pocket (2014)

May 13, 20142014, Authors: Walter Chaw, Drama, Theatrical

**/****
starring Philip Seymour Hoffman, Richard Jenkins, Christina Hendricks, John Turturro
screenplay by John Slattery & Alex Metcalf, based on the novel by Pete Dexter
directed by John Slattery

by Walter Chaw A few things become clear as John Slattery's God's Pocket unspools unsteadily in the titular, fictional Philadelphia slum: that it's perhaps as difficult to adapt Pete Dexter as it is Ray Bradbury, for many surprisingly similar reasons (like him, Dexter's power is in the rhythm and economy of his prose and the poetry of his characters' interior lives); that Philip Seymour Hoffman is irreplaceable and doomed to be remembered for too rarely finding roles worthy of him; and that young Caleb Landry Jones is consistently an astonishment and someone to follow. Indeed, the cast is mostly above reproach; the problems are all in the scripting and directorial decisions by first-timer Slattery that betray a certain indecisiveness in pruning repetitive sequences. It's not a matter of too much patience, but of too little interpretation. As is, it lands somewhere between the voices of Armistead Maupin and Michael Chabon, neither of whom are nearly as dangerous as Dexter, causing one to wonder if God's Pocket wants to be widely loved rather than admired at arm's length. It shouldn't be cuddly or adorable (and it isn't)–but it tries. What's left is another exceptional Hoffman turn wrapped in layers of undifferentiated bland. Maybe it seems that way so often because Hoffman was so difficult to match.

Her (2013) – Blu-ray + DVD + Digital HD

May 12, 2014****/****, 2013, 2014, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, DVD, FFC Must-Own, Romance, Scarlett Johansson, Sci-Fi

Her1

****/**** Image A Sound A Extras B
starring Joaquin Phoenix, Amy Adams, Rooney Mara, Scarlett Johansson
written and directed by Spike Jonze

by Walter Chaw Two moments early on in Spike Jonze’s Her. The first when our hero, Theodore (Joaquin Phoenix), initiates his new operating system, Samantha (voiced by Scarlett Johansson), and is asked to characterize his relationship with his mother; the second when, in flashback, Theodore and his ex, Catherine (Rooney Mara), pretend to choke each other. They’re waypoints Jonze establishes for his piece: in one direction, there’s Blade Runner and its questions of proximate humanity; in the other, there’s Eternal Sunshine of the Spotless Mind and its mad love. Jonze establishes, too, that this will be a work of science-fiction owing its parentage to the best sources, that its premise will be fantastic but grounded in characters and their place in the world. Of all the compliments I can think to pay this film, the best is that Her is at least the equal of its waypoints. More, when its solution recalls the metaphysical coda to the great The Incredible Shrinking Man, it’s the equal of that as well.

The Terminal (2004) – Blu-ray Disc

May 6, 20142000s, 2014, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, Romance, Spielberg

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**/**** Image A Sound A Extras B
starring Tom Hanks, Catherine Zeta-Jones, Stanley Tucci, Chi McBride
screenplay by Sacha Gervasi and Jeff Nathanson
directed by Steven Spielberg

by Walter Chaw Early in the latest Steven Spielberg-Tom Hanks collaboration The Terminal, Russian splinter exile Viktor Navorski (Hanks) runs up a staircase, throwing his suitcase onto the "up" escalator as he goes so that his baggage, in essence, is left to finish its journey on its own. It's a lovely, complicated visual metaphor for abandonment or freedom, for Spielberg the scenarist's twin obsessions with the idea of little boys lost and of little boys escaping and for Spielberg the director's inability to take responsibility for his subtext so that he might finally make that mature film he's so desperately wanted to since The Color Purple. But The Terminal is film-festival offensive, encouraging its audience to coo over the adorable antics of its madcap cast of society's blue-collar "invisibles" (playing in this respect like the slick, imminently forgettable version of Stephen Frears's working class morality play Dirty Pretty Things) in a way that isn't sympathetic so much as paternalistic. Foreigners and minorities are resourceful children, operating eternally at the mercy of the dominant majority, and Neverland is the big cities of the United States, where grown-ups have families and problems.

Persona (1966) [The Criterion Collection] – Dual-Format Edition

April 29, 2014****/****, 1960s, 2014, Authors: Bryant Frazer, Blu-ray Disc, Directors: Ingmar Bergman, Documentary, Drama, Esoterica, FFC Must-Own, Sweden, The Criterion Collection

Persona1

PERSONA
****/**** Image A Sound A Extras A
starring Bibi Andersson, Liv Ullman
written and directed by Ingmar Bergman

LIV & INGMAR
**½/****
directed by Dheeraj Akolkar

by Bryant Frazer In early 1965, under the influence of the French New Wave, half dead from pneumonia and subsequent antibiotic poisoning, and depressed by more than just the view from his Stockholm hospital bed, Ingmar Bergman cobbled together some ideas for a small movie about two women. Addled by the administrative headaches of his position as the head of Sweden’s Royal Dramatic Theatre–and probably discouraged by the frosty reception that greeted his recent comedy and first colour film, All These Women–he felt a small movie was the only kind he would be able to make. And so he started putting together, in his head, a modest drama. He imagined two women comparing hands. One of them, he decided, would be talking, and the other would be silent. It went from there.

Hateship Loveship (2014)

April 17, 20142014, Authors: Walter Chaw, Drama, Theatrical

*½/****
starring Kristen Wiig, Guy Pearce, Hailee Steinfeld, Nick Nolte
screenplay by Mark Poirier, based on the short story by Alice Munro
directed by Liza Johnson

by Walter Chaw A knuckle-biting bounty of casting riches, Liza Johnson's twee, somewhat over-directed, generally overdone Hateship Loveship features dozens of lovely actorly moments that add up to not a whole lot, although the movie tries. Boy, does it try. In its put-on listlessness, it wants to belong to the Matthew Porterfield/Nathan Silver school of contemplative indie flicks, but it's not quiet enough nor patient enough in withholding its epiphanies and emotional rises and falls. It tends to narrate; it wants to tie up loose ends; and it's not comfortable with entropy as much as it wants to be, what with its central character odd, awkward caregiver Johanna (Kristin Wiig) and its central setting a broken-down hotel, uninhabited but burdened with poor junkie Ken's (Guy Pearce) dreams of restoration. It's a big, clumsy metaphor for Ken trying to rebuild his life after killing his wife, McCauley's (Nick Nolte) daughter and Sabitha's (Hailee Steinfeld–thank God she's getting work) mom, in a tragic speedboat accident. It all kind of sounds like a Wes Anderson sub-story. Anyway, Sabitha and her queen bitch bestie Edith (Sami Gayle) pen fake love letters from Ken to erstwhile nanny Johanna, leading to not the painful story we want, but a different painful story involving why you shouldn't sway your camera back and forth when shooting dialogue exchanges and how poignant zooms don't substitute for genuine feeling.

Ernest & Celestine (2012) + Jodorowsky’s Dune (2014)

April 10, 20142012, 2014, Adventure, Animation, Authors: Walter Chaw, Belgium, Comedy, Crime, Documentary, Drama, Family, France, Luxembourg, Theatrical

Ernest et Célestine
**½/****
screenplay by Daniel Pennac, based on books by Gabrielle Vincent
directed by Stéphane Aubier, Vincent Patar, Benjamin Renner

JODOROWSKY’S DUNE
**½/****
directed by Frank Pavich

by Walter Chaw Broad, earnest, unassuming animation from France, Ernest & Celestine is the tale of a little girl mouse, Celestine (voice of Pauline Brunner), and gruff bear Ernest (Lambert Wilson), who overcome their cultural prejudices to become fast friends. Celestine is outcast because she’d like to be an artist instead of a dentist; Ernest is outcast because he’s a busker struggling to eke out a subsistence living. Over a series of misadventures, the two end up doing the Badlands in Ernest’s ramshackle hideaway, awaiting their fate and trying to enjoy their borrowed time. It’s all leading to a grim ending, but it’s not that kind of movie.