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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.

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star-trek-movie“STAR TREK INTO DARKNESS” My rating: C+ (Opens wide on May 17)

132 minutes | MPAA rating: PG-13

Well made and amusingly acted, there’s really nothing you can say against “Star Trek Into Darkness,” except that in the end it really doesn’t matter.

As is usually the case with franchise movies, the pleasure comes in being reunited with old friends. As for actually learning anything, for taking away an emotion or a thought or an idea…well, that’s the purview of other, less busy movies.

J.J. Abrams’ “Star Trek” reboot three years ago was a hugely clever prequel that introduced us to those iconic characters as young people. Much of the fun came in seeing Kirk, Bones, Spock and the others as Starfleet cadets feeling their way toward maturity.

But to tell the truth, I cannot remember the plots of any of the many “Star Trek” movies I’ve seen over the decades. One had whales, I know, and another had the Borg. Spock died in one of them and came back in another.

But were there messages in any of them? If there were they quickly evaporated. These were momentary diversions — a few laughs, a whole lot of special effects. Nothing to stick to the ribs or the brain.

And so it  is with “Star Trek Into Darkness.”

Though no Trekker, I recognize that Abrams and his writers (Roberto Orci, Alex Kurtzman, Damon Lindelof) are having fun mucking about with the mythology of the series. Indeed, the entire movie may be viewed as a prequel to “The Wrath of Khan.”

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The-Great-Gatsby-Movie-HD“THE GREAT GATSBY”  My rating: B- (Opens wide on May 10)

143 minutes | MPAA rating: PG-13

Let’s admit at the outset that F. Scott Fitzgerald’s “The Great Gatsby” is above all else a literary masterpiece, which is to say that its power derives from the transformation of the written word into mental images and emotional  reactions.

 In short, the magic is all in our heads.

Let’s also admit that every effort to film “Gatsby” has, to a greater or lesser extent, failed. 

The good news is that Baz Luhrmann’s new version fails less than most. In fact, there are moments when his “Gatsby” flirts with actually being good.

This could be a minority view. A recent advance screening of the film ended with at least one audience member – probably  a fellow critic — loudly booing Luhrmann’s efforts . Kansas City audiences are notorious polite; in 40 years of reviewing this was a first.

There were moments in this film, particularly in the early going, where I was tempted to boo, too…or at least roll my eyes and brace myself for the worst.

But despite some missteps and overstatement, Luhrman’s “Gatsby” accomplishes  something no other film version has come close to. It makes the mysterious Jay Gatsby a recognizable human being — not just a symbol of American upward mobility and can-do determination,  but a flesh-and-blood figure of real yearning and pain and hope.

This happens for two reasons. First, after a breathless, bounce-off-the-walls opening hour, Luhrmann slows things down, lets his story breathe, and lets the feelings of Fitzgerald’s story to come through.

Second, this “Gatsy” works because Leonardo DiCaprio is so good in the title role.

The key is vulnerability. DiCaprio zeroes in on Gatsby’s childlike aspects. Here’s a character who has achieved incredible wealth and worldliness (apparently through criminal enterprise) but who remains a love-struck adolescent when it comes to the woman who got away.  DiCaprio’s Gatsby is simultaneously naïve and foolish and weirdly heroic.

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iron-man-3-downey“IRON MAN 3”  My rating: C (Opening wide on May 3)

130 minutes | MPAA rating: PG-13

It’s official.

I’m too old to be watching superhero movies. Or most of them, anyway.

The itchy feeling that nagged me throughout “The Avengers” came back with double intensity during a preview of “Iron Man 3.”  Basically it told me I didn’t care any more.

I didn’t care about the special effects, the lavish extravaganza of destruction, the fanboy-friendly in-jokes.

The things I do care about in movies are nowhere in evidence or so pushed to the periphery they have no weight or impact. Apparently there’s a rule that a comic book movie can’t have anything like genuine feeling, that this would be a violation of the pact with the audience.

It’s getting to be like masturbation. Something to get you through until the real thing comes along.

This is not to say that “Iron Man 3” — it was directed by action screenplay writer Shane Black — is terrible.  As an example of the genre it’s pretty solid stuff.  I’s precisely the kind of action-filled eye candy that makes American superhero movies popular around the globe.

It’s just that I don’t care.  I now feel about the whole business like I do about Three Stooges shorts.  The first one is fun. After that it’s…meeeeh.

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No Place 1“NO PLACE ON EARTH” My rating: B- (Opens May 3 at the Glenwood Arts)

83 minutes | MPAA rating: PG-13

 There’s a hell of a story at the heart of “No Place On Earth.”  But I do wish it had been better told.

The facts are pretty amazing.  During World War II several Ukrainian Jewish families took shelter from the Nazis in an immense gypsum cave system. After more than a year underground 38 men, women and children emerged to find that the Germans had retreated in the face of the Red Army.

While the men would periodically venture out in search of food and fuel, the women and children remained hidden, thus setting a world record for days spent underground. One girl – now an octogenarian – had forgotten what sunlight was like.

Janet Tobias’ documentary allows these now-elderly individuals to tell their own stories…and that’s both good and bad. 

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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. Continue Reading »

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. Continue Reading »

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.

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numbers“THE NUMBERS STATION” My rating: C+ (Opens April 27 at the Studio 30,  )
88 minutes | MPAA rating: R
 
It’s a minor affair, but Kasper Barfoed’s “The Numbers Station” reminds me of a John LeCarre espionage tale, the kind where characters with issues run up against a monolithic and unyielding system.The premise behind F. Scott Frazier’s screenplay finds CIA killer Emerson (John Cusack) stationed at a bunker deep in the Finnish countryside. After years as an effective killing machine, Emerson has balked on an assignment and has been sent to a low-stress, low-priority outpost to get his act together.You can probably guess that his new gig won’t be low stress for long.This facility is a numbers station, a shortwave broadcast center in a kind of missile silo. Numbers stations (they really exist) transmit seemingly random spoken words and numbers. Presumably these coded messages are aimed at spies in various countries and contain instructions, orders, warnings and other  top-secret information.Emerson’s job is to provide security for Katherine (Malin Akerman), a civilian employee of the CIA who reads the nonsensical  codes over the air. Continue Reading »
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. Continue Reading »