Feeds:
Posts
Comments

Watching the new deluxe boxed set of HBO’s excellent World War II series “Band of Brothers” and “The Pacific,” I kept thinking what a great gift this would be for the fighting men of the “greatest generation.”

And then I realized that there aren’t that many of them left.

My own father, a Navy veteran in the Pacific Theater, just turned 90. I’m guessing the youngest combat veterans of the war are at least 85.

Which means that the lasting value of these two series lies not with the men who are their subjects, but with the rest of us, who will learn some moving things about love of country, sacrifice and doing the right thing.

Yeah, that’s kind of a sappy way of putting it, and it may seem incongruous coming from someone who once considered himself a pacifist.

But these monumental TV programs are like nothing we’ve ever seen before, an examination of both combat and the American character spread out on a vast canvas.

Continue Reading »

“ANONYMOUS”  My rating: B (Opening wide on Oct. 28)

130 minutes | MPAA rating: PG-13

Here’s a sentence I never expected to read, much less write:

Director Roland Emmerich has made a movie of ideas.

Yes, the man who gave the world high-concept, nutritionally light hits like “Stargate,” “Independence Day,” “Twister,” “Godzilla,” “The Patriot,” “The Day After Tomorrow” and “2012” has put on his thinking cap and delivered a Gordian knot of convoluted history from Elizabethan England.

And if his “Anonymous” is a largely chilly and cerebral affair, it’s positively overflowing with brain-tickling notions.

Nominally this is the story of Edward DeVere, Earl of Oxford, a member of the court of Elizabeth I who in some quarters has been credited with being the true author of Shakespeare’s plays and poems.

Continue Reading »

Marie Féret as "Mozart's Sister"

“MOZART’S SISTER” My rating:  C (Opening Nov. 4 at the Tivoli)

120 minutes | No MPAA rating

The very title — “Mozart’s Sister” — suggests the film’s approach.

This is the story of a woman — Maria Anna “Nannerl” Mozart — whose public identity will be irrevocably chained to that of her famous sibling. No matter what her own accomplishments, she will always be viewed through the distorting lens of little brother Wolfgang, perhaps the greatest musical genius of all time.

René Féret’s film is a lushly produced look at 18th-century life that undoubtedly will prove a bit of cultural catnip for Mozart lovers ever on the prowl for new insights into an immensely talented family.

But despite its feminist take on the material, “Mozart’s Sister” is a surprisingly nonengaging affair: slow-moving, almost painfully formal and generating little or no emotional juice.

Continue Reading »

Michael Shannon...madness in the Midwest

“TAKE SHELTER”  My rating: B+  (Opening Nov. 4 at the Glenwood at Red Bridge)

120 minutes | MPAA rating: R

There’s a certain kind of movie that almost drives you nuts but which, if you stay with it, leaves you transformed through a process you really can’t quite figure out.

The great Australian director Peter Weir had two such idiosyncratic masterpieces early in his career: “The Last Wave” and “Picnic at Hanging Rock,” films that defy rational analysis but have haunted me for more than 30 years.

Writer/director Jeff Nichols (the underrated “Shotgun Stories”) may have created a similar effort in “Take Shelter,” a big winner at this year’s Cannes and Sundance film festivals.

This might be a movie about a man going mad…or perhaps it’s about a man who simply senses things — bad things — that the rest of us cannot.

Continue Reading »

“MARGIN CALL” My rating: B+ (Opens wide on Oct. 28)

105 minutes | MPAA rating: R

First-time features don’t get a whole lot more assured than “Margin Call,” an incisive, biting look at the Wall Street mindset and machinations that led to our current economic doldrums.

A bunch of suits standing around talking may not sound all that interesting, but J.C. Chandoor’s writing/directing debut (after several years in advertising and music videos) succeeds both as a personal drama of individuals and as an allegory about what plagues American capitalism in this still-young century.

And he has an ensemble cast to kill for.

Unfolding over 24 hours in a major New York banking/investment firm, this boardroom thriller unfolds like a finely-tuned stage play, with sharp characterizations and killer dialogue. (You may be reminded of Mamet in his prime.)

But if it feels claustrophobic, it’s claustrophobic in just the right way, suggesting a much bigger world where the decisions made overnight in this tower of glass will have devastating repercussions.

Continue Reading »

“LOVE CRIME” My rating: C+ (Opening Oct. 28 at the Tivoli)

104 minutes | no MPAA rating

They’re speaking French in “Love Crime,” but in just about every other respect this a decidedly non-Gallic movie, a formulaic “thriller” that has Hollywood’s thick fingerprints smudged all over it.

At least this effort — the final film from the late director Alain Corneau (“All the Mornings of the World”) — can boast of bilingual thesp Kristin Scot Thomas in wicked witch mode. That, at least, is something to see.

Scott Thomas plays Christine, a vice president at a French multinational company. She’s suave, well-heeled, charming (when it’s called for) and utterly ruthless.

Always at her elbow is the prim, proper Isabelle (Ludivine Sagnier), who seems not to have much personality of her own. Utterly capable and equally nonglamorous, Isabelle appears to live vicariously through her older boss, happily diving into whatever chore needs doing and observing –with just a hint of yearning — as Christine beds their associate Philippe (Patrick Mille).

Continue Reading »

“THE RUM DIARY” My rating: C- (Opening wide on Oct. 28)

120 minutes | MPAA rating: R

“The Rum Diary” is such a drab affair it  bears mentioning only as an example of how great movies stars can squander their popularity.

“Rum” marks the second time actor Johnny Depp has played famed gonzo journalist Hunter M. Thompson (actually here he plays a Thompson-like character). One can only assume that Depp finds inspiration or at the very least an acting challenge in portraying the chemically-addled, terminally sardonic writer/wastrel.

His first outing as Thompson was 1998’s “Fear and Loathing in Las Vegas,” a surreal pigout that was fairly faithful to the book but still unremarkable.

“Rum”  is based on Thompson’s autobiographical novel about his early career as a newspaperman in the Caribbean.

The trailers make it look like a laugh-heavy dip into debauchery beneath the palms — all drink, drugs and beautiful women.

In truth, this is a sour, joyless tale of idealism run aground. And that would be acceptable if the film were better made.

Continue Reading »

Michael Parks, a gay-bashing preacher in "Red State"

Iconic indy filmmaker Kevin Smith gets serious — well, sort of — with “Red State,” his self-distributed melding of political/religious satire, action film and slasher/horror gruesomeness.

Think Fred Phelps meets the Waco standoff by way of a “Hostel” flick.

The movie is several things at once, some elements more successful than others. But for all of its borderline naive satire and paranoia it cannot be easily dismissed, if only because Smith is working here with some very talented actors who elevate the material into something quite watchable.

Continue Reading »

Gerarde Depardieu and Gisele Casadesus

“MY AFTERNOONS WITH MARGUERITTE” My rating: B- (Opening Oct. 21 at the Rio and Glenwood at Red Bridge)

82 minutes | No MPAA rating

“My Afternoons with Margueritte” is the sort of enterprise calculated to warm cockles, tug heartstrings and evoke dry retching among cynics.

In this Gallic equivalent of a Hallmark Hall of Fame production, a none-too-bright oaf has a sort of chaste romance with a 96-year-old woman who encourages him to open up his narrowly proscribed world through books.

It’s a shameless manipulative setup that director Jean Becker and cowriter Jean-Loup Dabadie have cooked up, and by all rights it should land with a thud.

That it doesn’t is entirely due to the film’s two stars, Gerard Depardieu (huge in every sense of the word) and Gisele Casadesus (who, incredibly, began her screen career in 1934). This couple could sell space heaters to Amazonian aborigines.

Continue Reading »

Armeena Matthews...one of "The Interrupters"

“THE INTERRUPTORS” My rating: A- (Opens Oct. 21 at the Tivoli)

125 minutes | No MPAA rating

Heart wrenching and gut twisting, “The Interrupters” spends a year in Chicago’s meanest neighborhoods following three individuals committed to stopping the cycle of violence in the inner city.

The protagonists of Steve James’ exhaustive and deeply moving documentary — Ameena Matthews, Cobe Williams and Eddie Bocanegra– are employed by the not-for-profit organization CeaseFire as “violence interrupters.”

Their unenviable job is to leap into confrontational situations — invariably involving young people who have grown up with guns and violence — and defuse them before things turn ugly…and deadly.

James, the co-director of the legendary “Hoop Dreams,” has an astounding ability to be in the right place at the right time while adapting a fly-on-the-wall invisibility — he captures intense moments way beyond the imagination of a Hollywood screenwriter. The results will leave audiences dazed, in tears and torn between hope and despair.

Continue Reading »