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Archive for the ‘Art house fare’ Category

Ernst Umhauer and Fabrice Luchini

Ernst Umhauer and Fabrice Luchini

“IN THE HOUSE” My rating: B (Opening May 17 at the Tivoli and Glenwood Arts)

105 minutes | MPAA rating: R

It’s not a thriller, exactly, but the French release “In the House” has a way of toying with its audience that reminds of Hitchcock at his most perverse.

And when it’s all over you’re not exactly sure what you’ve seen. Which is exactly the point.

On the outside, anyway, the latest film from writer/director Francois Ozon (“Under the Sand,” “8 Women,” “Swimming Pool,” “Potiche”) doesn’t seem particularly threatening.

It begins in a French high school where middle-aged language arts teacher Germain (Fabrice Luchini) finds himself once again confronted by a crop of bonehead students who would rather doze than contemplate Flaubert.

Assigned to write essays on how they spent their weekend, the young dullards respond with four-sentence “compositions.” But there is one ray of hope in this dreary bunch, a young man named Claude (Ernst Umhauer) who turns in a provocative paper about going to the home of fellow student to tutor him in math.

On the surface, this seems  unremarkable and innocent.

Yet Germain senses something disturbing and compelling in Claude’s penetration of a pristine suburban home that he has often dreamed of entering.  Claude may be there for a legitimate reason — to tutor his mathematically-challenged classmate Rapha (Bastien Ughetto) —  but he’s also an interloper, a kid from the wrong side of the tracks who takes advantage of the situation to spy on the lives of his economic betters, to violate their privacy.

(more…)

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Ben Affleck, Olga Kuylenko...falling in love in France

Ben Affleck, Olga Kurylenko…falling in love in France

“TO THE WONDER” My rating: C (Opens May 3 at the Tivoli)

112 minutes | MPAA rating: R

There’s a temptation to write off “To the Wonder” as a dead-on satiric parody of a Terrence Malick film.

Except that it is a Terrence Malick film.

And since I don’t think Malick is making fun of himself, we are left to struggle with just what  this admittedly talented but hugely exasperating filmmaker is up to.

Hell, maybe he’s just perverse.

“To the Wonder” embraces all the elements that irritated people with his previous film, “The Tree of Life” (which I count as one of the great movies of the last decade) and jettisons all the good stuff.

The film may be the ultimate statement in Malick’s war on narrative. It’s visually poetic, yeah — like an artsy fartsy TV commercial where you can never figure out what they’re selling — but also emotionally empty. I couldn’t shake the feeling that the movie is throwing a hearty “fuck you” into our faces.

I’m going to assume Malick is not just giving us the finger here, that he has attempted to make a real piece of art, and that he has failed.

Happens to everyone. Now how about a plot next time?

Here’s what we can say with certainty. “To the Wonder” is about an American man (Ben Affleck) who on a trip to France falls in love with a young woman (Olga Kurylenko) and brings her and her young daughter back to live with him in the U.S.

Except that he resides in a treeless, flat, irony-free tract-home subdivision outside Bartlesville, OK. It’s a neighborhood hemmed in on one side by high-tension power lines and on the other by an Interstate. There’s an oil well in the back yard.

Hmmmm…let’s see.  Paris…or Oklahoma?  Gosh, it’s such a tough call.

It’s enough to make you think this woman hasn’t got a brain in her head. (more…)

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Saskia

Saskia Rosendahl, Kai Malina in “Lore”

Lore-3

“LORE”  My rating: B (Opening May 3 at the Tivoli )109 minutes | No MPAA rating

You’re born into a world of privilege and comfort. You grow up thinking you’re superior, that you’re entitled to all the good that comes your way.

And then it ends. Abruptly and forever.

That’s the situation facing five German children in “Lore,” Cate Shortland’s quietly devastating tale of siblings struggling to survive in the last days of World War II.

From the time of their births Lore (Saskia Rosendahl), Liesl (Nele Trebs), Gunther (Andre Frid) and Jurgen (Mika Seidel) have lived a blessed existence as the children of a high-ranking Nazi official. 

Now their father (Hans-Jochen Wagner) has returned to kiss them goodbye. The war is lost. The Americans, Russians and British are advancing and Papa’s work in the concentration camps makes him a marked man. (more…)

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Paul Brannigan

Paul Brannigan

“THE ANGEL’S SHARE”  My rating: B+ (Opens April 26 at the Tivoli)

101 minutes | No MPAA rating            

The players rarely seem to be acting in Ken Loach films, usually because so many of them have never before been in a movie. But even when he casts old pros, the performances Loach gets are natural, unforced, and of an astonishingly high order.

Loach, now in his 70s and the dean of Britain’s left-leaning ashcan filmmakers, does it again in “The Angel’s Share,” a gentle comedy — with some very dramatic moments –about a bunch of kids from the Scottish underclass who become connoisseurs of fine whisky and then come up with a plan to steal some priceless century-old single malt.

We meet Robbie (Paul Brannigan, who in real life is a social worker) in a courtroom where he’s on trial for beating a fellow hooligan within an inch of his life. For reasons that not even he quite understands, Robbie gets 300 hours of community service instead of jail time. This is important since his girlfriend Leonie (Siobhan Reilly) is about to have his baby. Robbie makes a vow to stick to the straight and narrow and build a real life for his child.

But that’s not easy. During his days of carousing and coke-snorting Robbie has made many enemies who are still seeking revenge. Among them are Leonie’s uncles, who beat him senseless when he shows up at the hospital to see his new son. Moreover, his criminal record makes getting even a menial job impossible.

(more…)

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sksksk N A  and Matthew McConaughey

Tye Sheridan, Jacob Lofland and Matthew McConaughey

“MUD” My rating: A- (Opens April 26 at the Leawood, Barrywoods 24, Studio 30, Cinemark Palace)

130 minutes | MPAA rating: PG-13

Damn that Matthew McConaughey.

Just when you’re comfortable writing him off as a lazy, pretty-boy romcom hack, he decides to start really acting.

Over the last couple of years he’s blown off his easy-going leading-man ways and tackled edgy, multifaceted characters in films like “Bernie,” “Killer Joe,” “The Paperboy” and “Magic Mike.” Even if you don’t like the movies, you’ve gotta love what McConaughey is accomplishing here.

That great run continues with “Mud,” the third feature from Arkansas filmmaker Jeff Nichols.

Nichols writes and directs superlative dramas about working-class folk. His first two efforts — “Shotgun Stories” (about a modern day feud between the brothers of two families) and “Take Shelter” (with Michael Shannon as a disaster-obsessed man who builds an elaborate tornado shelter in his yard) – achieved a sort of gritty poetry.

“Mud” is just as powerful. Maybe moreso.

Unfolding along the waterways of the Arkansas Delta, “Mud” centers on 14-year-old Ellis (Tye Sheridan) and his best bud, Neckbone (Jacob Lofland).

Both kids survive on what their families can scratch out of the river. Ellis helps his father catch and sell crawdads, fish, and turtles. Neck, an orphan, lives in a seedy mobile home court with a slacker uncle (Michael Shannon) who harvests fresh-water oysters with a crude homemade diving helmet. (more…)

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Shane Carruth, ddddd

Shane Carruth, Amy Seimetz in “Upstream Color”

“UPSTREAM COLOR” My rating: B (Opening April 26 at the Alamo Draft House)

96 minutes | No MPAA rating

Those who like their narratives neat, concise and uncluttered had best avoid Shane Carruth’s “Upstream Color.”  It’s a film for those who found Terrence Malick’s “Tree of Life” too conventional.

Still, it makes more sense than Carruth’s previous (and first) feature effort, the 2004 time travel oddity ” Primer.”

“Making sense” is a relative thing when dealing with Carruth. Narratively “Upstream Color” defies cateogrization or easy explanation. You could call it science fiction. Or maybe not.

 You could say the movie makes no sense.

And yet it makes sense emotionally.

Here’s what I can say with certainty about the fragmentary story: A young woman named Kris (Amy Seimetz) is abducted and subjected to some sort of mind-control therapy. In a zombie-like state she returns to her home with a flat-voiced handler  (Thiago Martins) who has her memorize Thoreau’s “On Walden Pond.” Kris is told that her mother has been kidnapped and she must come up with a ransom.

When she finally emerges from her stupor she imagines (or is it really happening?) that maggot-like worms are wriggling just under her skin. She is disoriented, lost.

Kris loses her job because of her unexplained absense, and is distressed to find that her bank account has been emptied. She is shown footage of herself making the withdrawl, but remembers none of it.

She harbors a vague sense of having been violated. Her OB/GYN tells her that her sexual organs have been damaged, rearranged, and that she will  never have children.

(more…)

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Ryan Gosling

Ryan Gosling

“THE PLACE BEYOND THE PINES”  My rating: B (Opens April 12 at the Tivoli and Glenwood Arts)

140 minutes | MPAA rating: R

Derek Cianfrance’s “The Place Beyond the Pines” is actually two movies sharing several characters.

One of the movies, the first one, is borderline brilliant.  The second not so much.

The brilliance of Part I is largely due to Ryan Gosling, who re-amazes  every time he tackles a new role.

Here he is  Luke, a bleached-blond motorcycle daredevil with a seedy (is there any other kind?) traveling carnival.

 He’s in Schenectady, NY, doing his act, which consists of him riding his bike at top speed inside a big steel mesh ball. This is an apt

Eva Mendes

Eva Mendes

metaphor for his life – moments of terrifying excitement as centrifugal force allows him to ride upside down on the ball’s interior…but his path is a tight circle that never really takes him anywhere.

Luke discovers that Romina (Eva Mendes), the local woman with whom he spent a night the previous summer, has given birth to his son.  He surreptitiously follows her and her new guy (Mahershala Ali) to a church where the three-month-old baby is baptized.

Standing alone at the rear of the sanctuary, the heavily tattooed Luke finds himself incredibly moved by the ceremony and the knowledge that he is now a parent. Gosling expresses all this without saying a word…but you can see every thought and feeling on his features. It’s astoundingly moving.

(more…)

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Elle Fanning, Alice Englert

Elle Fanning, Alice Englert

“GINGER & ROSA”  My rating: B- (Opening April 5 at the Glenwood at Red Bridge)

90 minutes | MPAA rating: PG-13

When confronted by someone of fierce political and social commitment – particularly if their bent is way to the left – I always wonder  if  they’re really that dedicated to the cause or whether the cause fills some desperate void in their life.

You don’t have to wonder for too long in Sally Potter’s “Ginger & Rosa,” a film about an impressionable and innocent London teen who converts her anger and anxiety over personal betrayals into a righteous anti-nuke crusade.

The girls of the title are among the first of Britain’s post-war baby boomers. It’s 1962 and Ginger (Elle Fanning) and Rosa (Alice Englert, daughter of director Jane Campion) are coming of age beneath the threat of nuclear annihilation.

On one level they’re just regular kids who listen to rock ‘n’ roll, giggle conspiratorially, dream about boys and shrink their new blue jeans by wearing them into the bathtub.

On another level, though, the two young friends are nascent radical activists, terrified of dying in a radioactive mushroom cloud and determined to do something about it.

(more…)

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Saskia Rosendahl, Kai

Saskia Rosendahl, Kai Malina

“LORE”  My rating: B (Opening May 3 at )109 minutes | No MPAA rating

You’re born into a world of privilege and comfort. You grow up thinking you’re superior, that you’re entitled to all the good that comes your way.

And then it ends. Abruptly and forever.

That’s the situation facing five German children in “Lore,” Cate Shortland’s quietly devastating tale of siblings struggling to survive in the last days of World War II.

From the time of their births Lore (Saskia Rosendahl), Liesl (Nele Trebs), Gunther (Andre Frid) and Jurgen (Mika Seidel) have lived a blessed existence as the children of a high-ranking Nazi official. 

Now their father (Hans-Jochen Wagner) has returned to kiss them goodbye. The war is lost. The Americans, Russians and British are advancing and Papa’s work in the concentration camps makes him a marked man. (more…)

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Sam Riley as Sal Paradise/Jack Keroac; Garret Hedlund as Dean Moriarty/Jack Cassady

Sam Riley as Sal Paradise/Jack Keroac; Garrett Hedlund as Dean Moriarty/Neal Cassady

“ON THE ROAD”  My rating: B (Opens March 29 at the Glenwood Arts)

124 minutes | MPAA rating: R

 “That’s not writing. It’s typing.

Such was Truman Capote’s withering critique of Jack Keroac’s “On the Road.”

Having long assumed that Keroac’s stream-of-consciousness beat odyssey was unfilmable, I was pleasantly surprised by Brazilian  director Walter Salles’ intelligent, sensitive and evocative new screen adaptation.

Not that it’s going to please everyone. Like the novel, the film lacks anything like a conventional plot, being a series of episodes experienced over several years and a half-dozen cross-country treks by its protagonist, wannabe writer Sal Paradise.

But Salles, who has given us the Oscar-nominated “Central Station” and “The Motorcycle Diaries” (about the early travels of the young Che Guevera), finds a narrative and visual style that mimics the book’s pleasant ramblings and heartfelt rants. It’s not perfect, but it’s about as good a screen version of this controversial American classic as we’re likely to see.

In large part that’s due to Garrett Hedlund’s superb (I’m tempted to use the word “monumental”) portrayal of Dean Moriarty, the womanizing, overindulging, incredibly charismatic figure based on Keroac’s real-life friend Neal Cassady.

(more…)

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