Butler's Cinema Scene

“GERHARD RICHTER PAINTING” My rating: B (Opens Sept. 28 at the Tivoli)

97 minutes | No MPAA rating

For those unfamiliar with painter Gerhard Richter, Corrina Belz’s new documentary might not mean much.

It’s basically a cinema verite effort (no narration, no interpretation) that follows Richter as he paints and plans gallery shows. But the film doesn’t illuminate his life much beyond what happens while the camera is running. Despite some vintage footage and old TV interviews , you can’t call it a biographical project. It captures just a thin slice of Richter’s 80 years.

If, however, you’re a hard-core art fan, you’ll recognize Richter as the world’s top-selling artist with total sales that now top those of Claude Monet, Alberto Giacometti and Mark Rothko.

As the film makes clear, Richter’s success isn’ just hype.  He’s a brilliant painter who, like Picasso, keeps changing his style.

So the chance to spend time in his Cologne studio, to hear his ideas on art, and to actually watch this normally reclusive genius actually create paintings is a big deal. Continue Reading »

Jake Gyllenhaal, Michael Pena

“END OF WATCH” My rating: B+ (Now playing)

109 minutes | MPAA rating: R 

“End of Watch” is like an entire season of TV’s excellent “Southland” distilled into one feature film.

Which is another way of saying it’s one of the better cop flicks you’ll ever see.

Writer/director David Ayer, who made a splash a 11 years ago with “Training Day” and has been struggling ever since to match that film’s blend of style, suspense and acting chops, here makes up for a wasted decade.

“End of Watch” is a buddy movie, but one so reeking of versimilitude, one that so perfectly captures the camaraderie of cocky young cops on patrol, that it transcends a couple of common-sense objections (no officers in LAPD history have ever seen as much action as the uniforms played here by Jake Gyllenhaal and Michael Pena) to emerge as a near-documentary look at life on the job.

Part of that is Ayer’s technique. Recognizing that nothing happens nowadays that isn’t captured by some sort of recording device (the police learned this the hard way with the Rodney King beatdown), Ayer presents his story largely as “found footage” captured by surveillance cameras, police dashboard cams and cell phones. And then there are the images recorded by cop Brian Taylor (Gyllenhaal), a techno geek of the first order who pins mini-cams on himself and his partner, Mike Zavala (Pena), wires his police cruiser for sight and sound, and often carries his own digital camera onto crime scenes.

Heck, even the bad guys like to record their crimes for posterity.

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Susan Sarandon, Richard Gere

“ARBITRAGE” My rating: B  (Now playing wide)

100 minutes | MPAA rating: R

In economics, arbitrage is the practice of taking advantage of a price difference between two or more markets, creating a combination of matching deals that capitalize upon the imbalance, the profit being the difference between the market prices.

Financial whiz Robert Miller, portrayed with great relish and considerable subtlety by Richard Gere in the new thriller “Arbitrage,” extends that concept to his daily life, which is compartmentalized into different markets…one for family, one for romance, and several for his business.

When we first encounter Miller he’s on a private plane returning from a meeting with a fellow financial heavy hitter who wants to buy Miller’s company. In Gere’s hands Miller seems the perfect CEO — calm, controlled, yet somehow passionate about the business. He handsome, he’s funny. He seems very, very smart.

This, you think, is a guy you could trust with your money.

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“SLEEPWALK WITH ME”  My rating : B

90 minutes | No MPAA rating

Standup comic Mike Birbiglia makes a way more than adequate feature directing debut with “Sleepwalk With Me,” a big screen adaptation of his one-man stage show that suggests a genuine cinematic talent in the making.

Like most good movies, Birbiglia’s semi-autobiographical effort works on several levels.

On one it addresses the dreams of aspiring standup comic Matt Pandamiglio (Birbiglia). Matt tends bar in a comedy club but lives for those few moments when he’s allowed to climb on stage and try out his own material.  Problem is, Matt is almost painfully shy and tongue tied and, at first, anyway, his halting, uncertain delivery generates more pain than pleasure.

“Sleepwalk With Me” follows Matt’s gradual climb to comedy competence and, eventually, excellence.

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I’ve never been a big fan of horror movies. Too many cliches, too many worn-out tropes.

And at this late stage it’s almost impossible to come up with an idea so new, so shocking that it grabs audiences the way, say, “The Exorcist” did nearly 40 years ago. It seems like we’ve seen it all.

When we reach this stage of saturation, what’s needed is a movie that delivers the familiar in an entirely different way.  Which is where “Cabin in the Woods” comes in.

Written by geek god Joss Whedon and his colleague Drew Goddard (a producer on TV’s “Lost” and “Alias” and a screenwriter of “Cloverfield”) and directed by Goddard (it’s his first feature credit in that capacity), “Cabin…” cleverly turns the usual horror flick cliches inside out, much in the same way that Sam Raimi’s “Evil Dead 2” did back in the day.

You’ve got a quintet of typical college students gearing up for a big weekend in the country.

The buff jock Curt (Chris Hemsworth of “Thor” fame) has a cousin who has recently purchased an old cabin deep in the woods. He recruits his squeeze Dana (Kristen Connolly), her virginal galpal Jules (Anna Hutchison), a hunky brain named Holden (Jesse Williams) and the wisecracking stoner Marty (a scene-stealing Fran Kranz) for two days of sylvan revels.

Their preparations and drive into the forest are observed by Sitterson (Richard Jenkins) and Hadley (Bradley Whitford), who are installed in a high-tech control center filled with TV monitors that allow them to eavesdrop on the partiers’ every move through literally thousands of hidden cameras and microphones.

Just what are Sitterson and Hadley up to? Our first guess is that they’re producing a reality TV show in which unsuspecting subjects are put into “horror” situations. In any case, these two button-pushers command a huge staff of helpers who bring their scenarios to life.

In this regard the film reminds of “Hunger Games” and “The Truman Show.”

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“FAREWELL, MY QUEEN” My rating: B+ (Now showing at the Glenwood Arts)

100 minutes | MPAA rating: R

The fate of France’s King Louis XVI and his wife, Marie Antoinette, never seems to lose its appeal for filmmakers.

But writer/director Benoit Jacquot finds a new twist with “Farewell, My Queen,” in which the French Revolution and the fate of royalty is viewed through the eyes of the hired help. It’s like “Upstairs Downstairs – Gallic Division.”

Sidonie (Lea Seydoux, who was an assassin in the last “Mission Impossible” film and the shop owner who ends up with Owen Wilson in Woody Allen’s “Midnight in Paris”) is the Queen’s reader. Each morning she greets Her Majesty with a few passages from a favorite book … precisely which book is determined by the head lady in waiting (Noemie Lvovsky), who attempts to match the day’s reading to the Queen’s current temperament.

Living in Versailles in 1789, it turns out, is less glamour than drudgery. Sidonie and her fellow workers spend most of their time in dank, undecorated rooms with meager furniture and dirty plastered walls. They take their meals in a cellar that’s positively dungeon-like.

But Sidonie came here to serve her queen. And the moments she spends with Marie Antoinette in the Queen’s sumptuously appointed suites are her reason for living.

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“CELESTE & JESSE FOREVER” My rating: C (Opens Aug. 31 at the Glenwood Red Bridge, Town Center 20 and Studio 30 )

91 minutes | MPAA rating: R

Despite some laughs and the presence of the ever-amusing Andy Samberg, “Celeste & Jesse Forever” is not a comedy.

Rather, it is a sincere attempt to analyze the breakup of a marriage. It raises some interesting points.

Unfortunately, it delivers them in a repetitive and not-very-engrossing way.

We meet the titular characters (Rashida Jones, who co-wrote the screenplay, and Samberg) driving to meet friends for dinner. They appear to be a perfect couple, keyed in to each other’s emotions, sharing little private games.

It’s only when they sit down with their pals that we realize that Celeste and Jesse have been separated for several months in anticipation of a divorce. But they still feel like a couple. In fact Jesse now lives in the garage/studio behind Celeste’s house.

This setup creeps out their friends as unnatural. But for C and J it’s the ideal, civilized, non-acrimonious breakup, one that doesn’t force their acquaintances to side with one or the other partner.

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