Theatrical Archives - Page 23 of 65

The Hunger Games: Catching Fire (2013)

November 20, 20132013, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Theatrical, Thriller

*½/****
starring Jennifer Lawrence, Liam Hemsworth, Josh Hutcherson, Philip Seymour Hoffman
screenplay by Simon Beaufoy and Michael Arndt, based on the novel by Suzanne Collins
directed by Francis Lawrence

by Walter Chaw Portentous, eagerly anticipated, ending on an abrupt cliffhanger aboard a spaceship… Yes, I’m talking about The Matrix Reloaded–I mean, The Hunger Games: Catching Fire (hereafter Catching Fire), which, for all the conceptual visual improvements inherent in moving from The Hunger Games director Gary Ross to director Francis Lawrence for this instalment, still suffers from hilarible, unspeakable dialogue and a scenario seldom honoured by the execution. Those who haven’t read the books (myself included), fair warning that you’ll not be able to follow a moment of this one without revisiting the first film–again like The Matrix Reloaded. From what I could glean based on the fragments of The Hunger Games I haven’t blocked out is that this girl, Katniss (Jennifer Lawrence, earnestly dreadful), has won a televised deathmatch sponsored by a monolithic government to keep control of twelve impoverished, racially- and class-coded districts. I get it, it’s a metaphor and, um, a satire of some sort.

Dallas Buyers Club (2013)

November 19, 20132013, Authors: Walter Chaw, Drama, Theatrical

*/****
starring Matthew McConaughey, Jennifer Garner, Jared Leto, Denis O’Hare
screenplay by Craig Borten & Melisa Wallack
directed by Jean-Marc Vallée

by Walter Chaw Agreeable, well-meaning horseshit in the Lorenzo’s Oil vein (but horseshittier), Jean-Marc Vallée’s really bad Dallas Buyers Club is saved to some extent by a couple of fine, showy performances from a skeletal Matthew McConaughey and a skeletal Jared Leto in drag, but ultimately defeated by the standard straw-man activist biopic formula. Not to put too fine a point on it, it’s this fall’s Promised Land: another liberal movie that injures the credibility of the liberal platform by being so shrill and didactic as to play like melodrama of the worst kind–that is, the self-important kind. All of which is not to say that I didn’t sort of enjoy it in the moment (it’s fun to marvel at how close to death McConaughey looks, and how pretty Leto is), but to say that the act of writing about it means taking the time to think about it, and that Dallas Buyers Club doesn’t suffer much thinking-about.

Short Term 12 (2013)

November 14, 20132013, Authors: Angelo Muredda, Drama, Theatrical

**/****
starring Brie Larson, John Gallagher Jr., Kaitlyn Dever, Rami Malek
written and directed by Destin Cretton

by Angelo Muredda Of all the specious arguments thrown around during awards season, the most enervating may be the contention, popular among early champions of films that are near-universally acclaimed on the festival circuit, that the first negative reactions to said films are simply backlash. Backlash, the logic goes, is a latecomer’s insincere negative reaction to a title he or she did not have the opportunity to praise when it was still hip to do so–lateness presumably being the only reason a person might have problems with a critical darling. Let it be said, then, that while I could not shake my own feelings of belatedness while recently watching Destin Cretton’s routine Short Term 12, which came out of festivals as diverse as SXSW and Locarno relatively unscathed, my response owes less to my unseasonable viewing conditions than to the film’s own curious belatedness, its tendency to rehash old-fashioned 1950s moralism about family-planning and Dangerous Minds-derivative solemnity about underprivileged teens in a faux-authentic new package.

The Counselor (2013)

October 23, 20132013, Authors: Walter Chaw, Crime, Directors: Ridley Scott, Drama, Theatrical, Thriller

½*/****
starring Michael Fassbender, Penélope Cruz, Cameron Diaz, Javier Bardem
screenplay by Cormac McCarthy
directed by Ridley Scott

by Walter Chaw When I read The Crossing, I believed it to be the finest American novel in the Southern Gothic tradition since Faulkner rolled up Yoknapatawpha County under his arm and went home. Then I read Blood Meridian, and thought I was in the presence of maybe the most important American author since, who, Pynchon? But after that, Cormac McCarthy dried up. I didn’t care for Cities on the Plain, his wrapping up of the lauded “Border Trilogy” that began with All the Pretty Horses and sandwiched The Crossing in between, and I thought No Country For Old Men was weak and obvious, lacking fire, while The Road was well and completely flaccid. Going backwards didn’t help: Child of God was a fragment, Suttree had that bit with the pig but not much else, and the incest fairytale Outer Dark seemed a sketch. But then the Coens adapted No Country for Old Men as a summary critique of the key themes of McCarthy’s work, and I was entranced again, or at least willing to give his stuff a shot again. It’s the mark of a gifted critic, and the Coens are our most gifted literary critics, to reanimate something that’s been dead for a while. So we land here, following a too-faithful screen translation of The Road and the curious, forgettable, elderly HBO flick The Sunset Limited (first written by McCarthy as a play) with the inevitability of a film, The Counselor, based on an original screenplay by McCarthy, supervised by McCarthy to the point of McCarthy giving line readings to frickin’ Michael Fassbender, and promoted with McCarthy billed almost as prominently in the breathless trailer as director Ridley Scott and co-star Brad Pitt. And, yes, this film by a novelist twenty years past his prime, dabbling now in a new medium like old Michael Jordan playing baseball, stinks of an almost Greek hubris, an almost Icarean overreaching. The Counselor is uniquely awful.

A Touch of Sin (2013)

October 18, 20132013, Authors: Angelo Muredda, China, Drama, Revenge, Theatrical

***/****
starring Jiang Wu, Zhao Tao, Wang Baoqiang, Luo Lanshan
written and directed by Jia Zhangke

by Angelo Muredda The blood doesn’t flow so much as it spurts in A Touch of Sin, Jia Zhangke’s invigorated if uneven return to straight fiction following an extended sojourn in hybridized documentaries about modern Chinese cities. More than the formal homecoming, however, it’s the nature of the storytelling that surprises in his newest–the leap from the elegiac tone of films like 24 City into the more primal stuff of pulp. A wuxia anthology with revenge-thriller overtones, A Touch of Sin is an unusually direct genre exercise for a master filmmaker, in the sense that, unlike Steven Spielberg’s Munich and other comparably shame-faced prestige films that dip a single toe in the waters of genre, it doesn’t condescend to the populist trappings of the material. Jia isn’t slumming so much as tapping into the righteous indignation of a popular tradition of stories about wronged knights and ruined innocents, sincerely transposed here to the working-class fringe of a nation-state in the throes of late capitalism. If Jia’s violence comes fast and leaves a mess, then, it’s a testament to his willingness to get his hands dirty where others might have kept a safer distance.

Carrie (2013)

October 17, 20132013, Authors: Walter Chaw, Coming of Age, Drama, Horror, Stephen King, Teen, Theatrical

***½/****
starring Chloë Grace Moretz, Judy Greer, Portia Doubleday, Julianne Moore
screenplay by Lawrence D. Cohen and Roberto Aguirre-Sacasa
directed by Kimberly Peirce

by Walter Chaw If you were to boil down Brian De Palma’s work, at least his earlier work, into a few ideas, you’d land on the way he took Hitchcock’s subterranean perversions and made them perversion perversions, transforming pieces and suggestions into themes and declarations. Looking at De Palma’s Carrie today, what’s there is a clear attempt–often successful–to elevate B-movie tropes to the status high art, or high pulp: What Godard did to gangster films, De Palma did to Hitchcock, turning the already formal into formalism. When De Palma was at his best, his movies evoked in daylight what Hitchcock inspired in shadow. Of its many technical innovations, his Carrie, an adaptation of Stephen King’s not-very-good but vibe-y debut novel, was aided immeasurably by pitch-perfect casting: Sissy Spacek, P.J. Soles, John Travolta, Amy Irving, and Nancy Allen. Hip then, it’s hip still–and sexy as hell, as befitting a story that’s ultimately about a girl’s sexual awakening and, let’s face it, really bangin’ first orgasm. On prom night, no less. What could be more American?

Bastards (2013)

October 11, 2013****/****, 2013, Authors: Angelo Muredda, Directors: Claire Denis, Drama, France, Revenge, Theatrical, Thriller

Les salauds
****/****
starring Vincent Lindon, Chiara Mastroianni, Julie Bataille, Lola Creton
screenplay by Jean-Pol Fargeau and Claire Denis
directed by Claire Denis

by Angelo Muredda A Claire Denis film through and through, Bastards is nevertheless a brilliant departure for one of the most distinctive artists in world cinema–an indignant revenge thriller with, of all things, a straightforward plot. Of course, the plot is scrambled, doled out in the runic fragments that have become Denis’s stock-in-trade. We open, for instance, in the rain, as a throbbing Tindersticks track underscores a series of beautiful but inscrutable nocturnal images: glimpses of a man forlornly staring out his window, languorous tracking shots of a nude young woman in heels roaming through a deserted street, and finally a tableau of a dead man’s body splayed out beneath a fire escape, surrounded by paramedics in the background as a woman, probably his wife, is draped in a tinfoil blanket in the fore. Although films like L’Intrus have primed us to accept such shards as part of an impressionistic array of visual information, adding up to a textured view of nighttime Paris as a hopelessly lonely place, in Bastards the pieces fit together in a precise way we’re simply not allowed to know until we’ve arrived through the movie’s own idiosyncratic channel, and at its own deliberate pace. That makes it one of the most elegantly constructed of Denis’s eleven features–a grim noir story broken into its component parts, then reassembled into a haunted funhouse image of itself.

Escape from Tomorrow (2013)

October 9, 20132013, Authors: Walter Chaw, Drama, Fantasy, Horror, Theatrical

***½/****
starring Roy Abramsohn, Elena Schuber, Katelynn Rodriguez, Alison Lees-Taylor
written and directed by Randy Moore

by Walter Chaw Randy Moore’s ridiculously-ballsy Escape from Tomorrow proves itself to be a good deal more than a gimmick–said gimmick being that it posits the Magic Kingdom as the locus, the key modern metaphor, for bourgeois discontent, with much of the picture shot surreptitiously on the grounds of Disneyland and Disney World. It’s very much the model of a Luis Buñuel film, not just for its expert surrealism, but also for its sharply-reasoned social satire. It does the impossible in our modern conversation by feeling urgent and fresh, presenting something that’s genuinely shocking to our jaded sensibilities. If there’s anything left that is perverse, one is this violation of such a famously litigious sacred cow. It isn’t even that the idea of using Disney as the eye of a capitalist/vaguely fascistic hurricane is particularly novel: consider that David Mamet took it on in his collection of essays Some Freaks–not to mention the gallons of ink spilled on its essentially corrupt nature by wanks following the long immolation of Disney products Britney Spears and Miley Cyrus. No, what’s novel about Escape from Tomorrow is that it does what it does through images; it is essentially this generation’s Superstar, in which Todd Haynes told the life and death of Karen Carpenter using Barbie and Ken dolls. A picture that understands its subject and its relationship to popular culture well enough to make everyone pretty uncomfortable with their own complicity in it all, it’s an indictment of a collective upbringing. The recognition you experience is of your own indoctrinated childhood.

Watermark (2013)

September 27, 20132013, Authors: Angelo Muredda, Canada, Documentary, Theatrical

***/****
directed by Jennifer Baichwal & Edward Burtynsky

by Angelo Muredda Although it’s the first of her films to be co-directed (by Manufactured Landscapes subject and Canadian photographer Edward Burtynsky), Watermark is less a departure for Jennifer Baichwal than it is the apotheosis of her style. Since 1988’s Let it Come Down, Baichwal has been the most formally adventurous documentarian of the artistic process, not just profiling the work of makers as disparate as Paul Bowles and Shelby Lee Adams, but attempting to recreate their singular visions as well. In her previous film, Payback, that meant converting Margaret Atwood’s lecture series of the same name into an evocative position paper about debt in all its global permutations, from blood feuds to legal restitution. In Manufactured Landscapes, it consisted of finding a way to translate Burtynsky’s large-scale images of factories and pock-marked terrains into cinematic tableaux, with collaborator Nick de Pencier’s cinematography of Burtynsky’s stomping grounds effectively adding a sense of duration and movement to the print-bound stasis of the originals. Watermark might be the most radical variation on this approach, an abstract consideration of the interaction between water and human-made structures, carried out largely through wordless aerial photography of streams bisecting grotesque landscapes rather than the usual talking-head exposition.

Money for Nothing: Inside the Federal Reserve (2013) + The Trials of Muhammad Ali (2013)

September 26, 20132013, Authors: Walter Chaw, Documentary, Theatrical

MONEY FOR NOTHING: INSIDE THE FEDERAL RESERVE
**½/****
directed by Jim Bruce

THE TRIALS OF MUHAMMAD ALI
***/****
directed by Bill Siegel

by Walter Chaw It’s difficult to review Jim Bruce’s incendiary, scholarly Money for Nothing: Inside the Federal Reserve (hereafter Money), because even as I was understanding the role of the Federal Reserve Bank for the first time in my adult life (how its adjustments of interest actually drive the economy of not merely this nation, but every industrialized nation in our rapidly-shrinking world), I found myself comparing the film to one of those informational videos that play on endless loops in Natural History museums. It’s immensely educational…and dry as a soda cracker. What I find to be problematic about it is the same thing I found problematic about Al Gore’s PowerPoint presentation An Inconvenient Truth: it’s not really art, is it? Not to open that can of worms, but for me, as a personal demarcation, art inspires something like Kierkegaardian fear and loathing–existential trembling, yes: a mirror held to nature in all the myriad, alien, surprising, often terrifying forms that nature assumes. What Money does, and does admirably, is explain what the hell happened to the United States’ financial institutions right around 1998 or so and continuing on into now–explain what the bailout was and how/why it affects the average American. Most fascinatingly, it explains how far in estimation the once god-like Alan Greenspan has fallen in the eyes of those who worshipped him. But while these are noble achievements, they’re not enough.

Riddick (2013)

September 5, 20132013, Action, Authors: Walter Chaw, Sci-Fi, Theatrical, Thriller

**½/****
starring Vin Diesel, Jordi Mollà, Matt Nable, Katee Sackhoff
written and directed by David Twohy

by Walter Chaw Maybe it was the anticipation, maybe it’s because it’s too much like the first film, Pitch Black, but David Twohy’s Riddick is merely fine for what it is, lacking the kind of loopy, operatic invention of the franchise’s middle course and contenting itself with being a bug hunt in the James Cameron sense of the word instead of exploring more of this universe. Not that there’s necessarily anything wrong with that, but I wanted to love this movie with all my heart, having declared to everyone’s exhaustion that of all the prestige movies prepping down the pike, this was the one I was waiting for. Turns out, the best science-fiction film of the last quarter of this year is Jonathan Glazer’s unbelievably good Under the Skin–not Gravity and, alas, not Riddick, either. To be fair, of the three, Glazer’s is the only one to deal with science-fiction as existentialism rather than as background and circus. More’s the pity, because Chronicles of Riddick, with its elementals and fringe religions, its funky spiritualism and its sense of fairy-tale hyperbole, is one of the genuinely great cult films of the last decade. If not for an ending to Riddick that promises Twohy’s ready for another swing at the plate if another ball is lobbed at him, I wouldn’t be in a very good mood at all.

The Oxbow Cure (2013)

August 23, 20132013, Authors: Angelo Muredda, Canada, Drama, Horror, Sci-Fi, Theatrical

***½/****
starring Claudia Dey
screenplay by Yonah Lewis, Calvin Thomas, Lev Lewis
directed by Yonah Lewis & Calvin Thomas

by Angelo Muredda The latest in a wave of immersive, formally-sophisticated works from young Toronto filmmakers that includes Kazik Radwanski’s Tower and Igor Drljaca’s Krivina, Yonah Lewis and Calvin Thomas’s The Oxbow Cure expresses a bold new vision even as it fits itself snugly within established Canadian cultural traditions. As a film about a woman who heads off to an isolated cabin to treat a mystery illness, you could say it’s indebted to David Cronenberg’s ’70s output, and its unhysterical depiction of a body in the throes of a profound, if still mostly imperceptible, transformation make it a more worthy heir to the queasy body horror of Shivers and Rabid than the baroque flourishes of Antiviral. Cronenberg echoes aside, for students of Canadian literature, the minimalist plot might also recall Margaret Atwood’s seminal novel Surfacing, which similarly sends a young woman in crisis off into the woods on a sort of vision quest, exposing her to the elements of her home country and to the uncivilized mirror image of herself it offers up.

Prince Avalanche (2013)

August 22, 20132013, Authors: Angelo Muredda, Comedy, Drama, Theatrical

**½/****
starring Paul Rudd, Emile Hirsch
screenplay by David Gordon Green, based on the film Either Way by Hafsteinn Gunnar Sigurdsson
directed by David Gordon Green

by Angelo Muredda The standard line out of Sundance on Prince Avalanche, David Gordon Green’s tragicomic stop between the puerility of The Sitter and the Southern Gothic of his upcoming Joe, was that it was a return to form after some time spent in the wilderness. That’s true enough insofar as its dashed-off buddy travelogue, a loose adaptation of the Icelandic movie Either Way, is sweet where The Sitter is cynical, but one has to wonder at this point whether any of Green’s studio trifles can be considered outliers when their worldview is so consistent with the ostensible real deals. Even the least of his films shares a thematic interest with the others in redeeming wayward losers; by that token, Prince Avalanche isn’t a triumphant comeback so much as a familiar motif recapitulated in a more pleasant, minor key.

A Hijacking (2012)

August 16, 20132012, 2013, Authors: Angelo Muredda, Denmark, Drama, Theatrical, Thriller

Kapringen
***/****
starring Søren Malling, Pilou Asbæk, Dar Salim, Roland Møller
written and directed by Tobias Lindholm

by Angelo Muredda Finely-tuned but incurious about most of what falls outside its blinkered gaze, A Hijacking is about as good as this sort of stripped-down procedural filmmaking gets–Akira Kurosawa’s High and Low reconfigured for a telephonic showdown between Somali pirates and Danish shareholders. Only the second feature from Tobias Lindholm (who proves much more capable as a director than as the author of The Hunt‘s lazy allegorical punts about the concern-trolling parents of small-town Denmark), the film feels like the work of a yeoman who’s in no hurry to be recognized as a visual stylist unless the material should merit such flourishes. Annoying as that no-frills approach can be in countless austere imitations of the Dardennes and Michael Haneke, it’s more than welcome here in a film whose title might otherwise have ended with a gaudy exclamation mark.

In a World… (2013)

August 15, 20132013, Authors: Angelo Muredda, Comedy, Theatrical

***/****
starring Lake Bell, Demetri Martin, Fred Melamed, Rob Corddry
written and directed by Lake Bell

by Angelo Muredda If In a World… seems a bit busy, it’s because it has a lot on its plate. The feature debut from “Children’s Hospital” star, narrator, and sometimes-director Lake Bell, the film displays all the classic calling cards of an under-appreciated multi-hyphenate talent’s break for the mainstream: a plum starring role, punchy dialogue, and a high concept. That conceit, of a female voiceover artist moving up within the ranks of a tetchy, male-dominated industry, comes with its own baggage, instantly reminding us of the relative scarcity of high-profile American comedies shepherded by women. It’s a lot for a first feature to take on, and what most impresses about In a World…, which manages the neat trick of being both funny and thoughtful without tipping into melodrama, is its apparent effortlessness–the impression that Bell is casually navigating complicated territory.

Europa Report (2013)

August 13, 20132013, Authors: Walter Chaw, Horror, Pseudo-Documentary, Sci-Fi, Theatrical, Thriller

**/****
starring Christian Camargo, Anamaria Marinca, Michael Nyqvyst, Sharlto Copley
screenplay by Philip Gelatt
directed by Sebastián Cordero

by Walter Chaw Sebastián Cordero’s found-footage sci-fi flick Europa Report tells the tale of the first manned trip to the titular moon of Jupiter in search of some kind of lifeform lurking there beneath a thick layer of ice. Never mind that this is a premise Arthur C. Clarke’s 2010: Odyssey Two already explored to similar consequence, nor that Europa Report is essentially an intergalactic The Blair Witch Project: best to focus on an unfortunate framing story that dumbs down the proceedings, emotionally and intellectually, at the exact moment the picture appears to be gaining momentum. It’s all the more puzzling, given the existence of something so pandering and condescending, that the group apparently most enamoured with this movie is the scientific community, who I would have guessed would have taken more offense at being talked down to. Maybe they’re so beaten into submission by the idiotic things Damon Lindelof passes off as “science” that they’re willing to forgive Europa Report its more minor trespasses.

The Wolverine (2013)

August 8, 20132013, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Superhero, Theatrical, UK

***/****
starring Hugh Jackman, Will Yun Lee, Hiroyuki Sanada, Tao Okamoto
screenplay by Mark Bomback and Scott Frank
directed by James Mangold

by Walter Chaw James Mangold’s The Wolverine is lovely, unusual, novel enough that the moments it makes concessions to its genre and comic-book origins are the same moments that feel like a shame. It’s not that they don’t work, exactly–it’s that when a brooding character study offset by a few delightful action scenes introduces an adamantium samurai mecha and a Poison Ivy manqué to bring it all home, well…it’s that it works too well at being something the film is otherwise not. It’s two movies, really: a unique one about women in tension; and a more common one about a grief-stricken man taking on the responsibility of protecting a surrogate. Both are complex. It’s a pity that, by dint of license and expectation, The Wolverine had to be a literal superhero movie and not something more covert like The Caveman’s Valentine or The Brave One. At the end, the only place to put the blame is the impossibility of funding a picture like this without the license and expectation: no one would invest, it would seem, in an anonymous story about a man’s mute, impotent melancholy and the many females around him engaged in the maintenance of their separate, disintegrating orbits.

Percy Jackson: Sea of Monsters (2013)

August 6, 20132013, Adventure, Authors: Walter Chaw, Family, Fantasy, Theatrical, ZERO STARS

ZERO STARS/****
starring Logan Lerman, Brandon T. Jackson, Alexandra Daddario, Jake Abel
screenplay by Marc Guggenheim, based on the novel by Rick Riordan
directed by Thor Freudenthal

by Walter Chaw Say this about Thor Freudenthal and Marc Guggenheim’s Percy Jackson: Sea of Monsters (hereafter PJ2): you’re more than justified in questioning its existence, but at the end of the day it’s impossible to make something this bad by accident. No, it takes genuine inspiration to be this tone-deaf, to create something that requires intimate knowledge of the source novel or the first film in this benighted franchise yet will instantly piss off the teenies who love the Rick Riordan books and the far fewer souls who liked that first movie. For me, because I love my 9-year-old daughter with all my heart, I endured PJ2 and only thought about walking out a half-dozen times before resigning myself to the murky 3-D and even murkier execution. Yes, it’s awful, that much is to be expected, but that it’s significantly worse than a movie that was already terrible by nearly every objective standard is really some kind of accomplishment. At the end of the day, when a 9-year-old articulates that what’s wrong with the film is that they took out all the relationship stuff, cherry-picked crap from other novels to contrive a half-assed cliffhanger for a sequel that will likely never happen, and basically fumbled the promise of the title, well…at least PJ2 can claim the distinction of awakening the critical facility in a child who, before this, thought every movie was pretty good.

Elysium (2013)

August 5, 20132013, Action, Authors: Walter Chaw, Drama, Sci-Fi, Theatrical, Thriller

*½/****
starring Matt Damon, Jodie Foster, Sharlto Copley, Alice Braga
written and directed by Neill Blomkamp

by Walter Chaw Lost in the hue and cry for meaning in film is the truism that having a message does not necessarily denote meaning. Case in point, District 9 helmer Neill Blomkamp’s left-wing screed Elysium, which feels, unpleasantly, like having lunch with Sean Penn and all the filthy, proselytizing, self-martyring glory that implies. It’s also like that lunch Indy forces Willie Scott to eat in Temple of Doom: Mmmm, condescending! It’s unashamedly pushing an agenda, and while it does a better job of that than Star Trek Into Darkness, it’s arguably more frustrating because so much of it demonstrates a bracing nerd-topia of tech wonders and genre references. Indeed, Elysium is the closest we’ve come to seeing a big-screen adaptation of Ursula K. Leguin’s astonishing The Dispossessed. Which is to say, not very close at all, but there you have it. A pity, then, that armed with so able an action star as Matt Damon, the movie finds itself at the end more comfortable in a double-feature with Promised Land than with The Bourne Identity. Damon’s at his best as a hero in the act of discovering his own potential, see–and absolute bollocks as political philosopher and activist. Times like these, I think Team America: World Police was right about him all along.

Blue Jasmine (2013)

August 1, 20132013, Authors: Angelo Muredda, Comedy, Drama, Theatrical

***/****
starring Alec Baldwin, Cate Blanchett, Louis C.K., Bobby Cannavale
written and directed by Woody Allen

by Angelo Muredda Woody Allen’s forty-third directorial effort begins with a one-sided conversation on a plane that will seem familiar to anyone who’s seen any of the previous forty-two. Jasmine (Cate Blanchett, on a brief hiatus from her Galadriel duties) spouts anecdote after anecdote to a placidly-smiling elderly woman, cycling from the banal origin of her name to the story of how “Blue Moon”–“You know the song”–was playing when she met her husband. Our poor audience surrogate is held captive by this narcissist, with whom we’re fated to spend the rest of the picture, until she meets her husband at the baggage claim and instantly spills about the stranger who “couldn’t stop babbling about her life.” It’s a curious start, not so much for the arch reveal that the women are strangers, via a rack-focus shift at the airport from this interloper to our real protagonist, as for the faintest hint of auto-critique.