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OSCAR-NOMINATED ANIMATED SHORTS  Overall rating: B 

86 minutes | No MPAA rating

BORROWED TIME”  (USA, 7 minutes B

And Old West lawman revisits the site of a traumatic incident from his youth and recalls his part in the death of a colleague.

Andrew Coats and Lou Hamou-Lhadj’s all-but-wordless film has a few moments of spectacular action (a high-speed stagecoach wreck) but mostly it is a quiet, evocative meditation on grief, told through spectacular three-dimensional computer animation.

PEARL” (USA, 6 minutes B+


Remember the opening sequence of Pixar’s “Up” depicting the romance and marriage of the main character?  Patrick Osborne’s “Pearl” does something like that to depict the title character’s coming of age.

Pearl is a little girl traveling the country with her hippie/troubadour father, living out of a car. We see snatches from her childhood. Her father gives up his guitar dreams and settles down. There are father-daughter fights. Eventually a teenaged Pearl breaks away and launches her own rock band. In a sense her father’s dream has come full circle.

Again, with almost no spoken dialogue, “Pearl” is a sweet and sad yarn of generational aspiration told in a wildly original visual style.


PIPER” (USA, 6 minutes B

This Disney/Pixar effort — it played in theaters last summer with  “Finding Dory — is a wordless (naturally) story of a young sandpiper learning to fend for itself along a seashore.

In many regards it it classic Disney, a tale of an impossibly fuzzy young animal learning survival techniques through often comedic trial and error. The film’s depiction of out hero’s environment — sand, waves, sky — is astonishing realistic.

“Piper” often teeters on the edge of terminal cuteness, but the brilliant animation keeps it on track.


BLIND VAYSHA”(Canada, 8 minutes 3 stars

Theodore Ushev’s “Blind Vaysha” is a Slavic folk tale about a girl with an unusual condition. Her left eye shows her the past while her right eye displays the future.

Because she cannot see the here and now, Vaysha is for practical purposes blind. She finds herself wondering which is better…living in the comfort of the past or the dangers of the future.

Here’s what makes “Vaysha” special:  The entire film has been rendered in what appear to be animated woodblock prints. The effect is haunting.

PEAR CIDER AND CIGARETTES” (Canada and UK, 35 minutes 3 stars

Robert Valley’s animated first-person memoir about the life and death of an old friend is filled with so much specific detail that it must have been based on a real-life relationship.

The deadpan narrator describes his high school buddy Techno, a superb athlete and risk-taking daredevil who descends into debilitating alcoholism.

Cures, relapses, a stint in a Japanese hospital for a liver transplant…Techno’s downward spiral is depicted through artwork that looks like it was pulled from an innovative graphic novel.  Much of the film is in black and white, but splashes of color highlight important moments.

“Pear Brandy…” is about the links that hold old friends together even when common sense tells us it’s time to break away.

The film is 35 minutes long, but packs so much information it feels like a feature. (Note: “Pear Brandy and Cigarettes” contains adult language and situations and is not recommended for children.)

The animation program has been rounded out with three non-competing short films. They are:

“The Head Vanishes” (9 minutes), about a woman with dementia who is determined to make her annual train trip to the seaside.

Asteria” (5 minutes), follows two astronauts who make an unexpected discovery on a barren planet.

Happy End” (6 minutes) is described as “a black comedy about death…with a happy ending.”

is about the links that hold old friends together even when common sense tells us it’s time to break away.

The film is 35 minutes long, but packs so much information it feels like a feature. (Note: “Pear Brandy and Cigarettes” contains adult language and situations and is not recommended for children.)

The animation program has been rounded out with three non-competing short films. They are:

“The Head Vanishes” (9 minutes), about a woman with dementia who is determined to make her annual train trip to the seaside.

Asteria” (5 minutes), follows two astronauts who make an unexpected discovery on a barren planet.

Happy End” (6 minutes) is described as “a black comedy about death…with a happy ending.”

| Robert W. Butler

 

OSCAR-NOMINATED LIVE ACTION SHORTS  Overall rating: B+  

130 minutes | No MPAA rating

"Sing"

“Sing”

SING”  (Hungary, 25 minutes) B+

You’re never too young to fight for what you believe is right.

That’s the upshot of Kristof Deak’s “Sing,” a touching tale of a mini revolution in a Hungarian elementary school.

Zsofi (Dorka Gasparfalvi) is the new girl at a school famous for its award-winning children’s choir.  Since it is school policy that any student can participate, she signs on.

But after the first rehearsal Zsofi is approached by the choirmaster, Miss Erika (Zsofia Szamosi), who advises her, ever so sweetly but firmly, that in the future she should only mouth the words.

Zsofi is crushed, so her new best friend, Lisa (Dorka Hais), one of the choir’s soloists, comes up with a sneaky plan to sabotage Miss Erika’s system and give everyone a chance to sing.

Terrific acting by the three principal players and an insightful screenplay add up to one deeply satisfying experience.

"Silent Nights"

“Silent Nights”

SILENT NIGHTS”  (Denmark, 30 minutes) B+

Set in frigid Copenhagen at Christmastime, Aske Bang’s “Silent Nights” is a heartbreaker about a brief love affair between a young woman volunteer at a soup kitchen and a homeless African immigrant.

Both of these flawed individuals has his and her own problems. Kwame (Prince Yaw Appiah) left Ghana to make money for his impoverished family. He finds that for all the liberality of Danish society, racism and prejudice are facts of life. Survival may mean stealing.

Inger (Malene Beltoft Olsen) is a quiet, unremarkable woman with an open heart and an alcoholic, racist mother.

Their relationship is simultaneously tragic and inspiring. Life changes, love comes and goes.  Take it while you can.


TIMECODE”  (Spain, 15 minutes) B+

Filmmaker Juanjo Gimenez Pena sure knows how to breath life into a dead-end, life-sucking job.

Luna (Lali Ayguade) is a uniformed security guard working the 12-hour day shift in a Madrid parking garage.  Hers is a boring gig. No wonder she never shows any emotion.

But then on video surveillance recordings she finds footage of her nighttime counterpart, Diego (Nicolas Ricchini), using the garage as his own private dance studio.

Leaving notes for each other indicating specific cameras and times, Luna and Diego initiate a romance that consists only of solo dances, recorded when nobody else is around, and meant only for each other.

It’s a delightful idea, done almost wordlessly, and the results are intoxicating.

 

“ENEMIES WITHIN” (France, 28 minutes 3 1/2 stars

The calm surface of Selim Aazzazi’s film cannot hide an almost volcanic anger and angst.

The Petitioner (Hassam Ghancy), an Algerian teacher who has lived all his life in France, has come to a drab government office to apply for citizenship. The film consists almost entirely of his tense conversation with the Interrogator (Najib Oudghiri), a young man who will study his case and make a recommendation.

What at first seems like standard procedure soon turns dark as the utterly unemotional Interrogator asks ever more intrusive questions about the Petitioner: his religion, his family history, and any links to terrorism. He demands  the names of the Petitioner’s friends from a mosque, threatening to reject the application and start deportation proceedings if they aren’t forthcoming.

“Enemies Within” delves deep into the Petitioner’s crisis of conscience. Should he inform on friends he believes are innocent? At the same time Aazzazi’s film lays bare the brute coercive power of the state.

Talk about timely.


LA FEMME ET LA TGV” – (Switzerland, 30 minutes4 stars

Timo von Gunten’s late-in-life romance is a bittersweet triumph about a lonely woman, Elise (Jane Birkin, once one of the iconic faces of ‘60s “Swingin’ London”) who lives along a railway near a provincial Swiss town.

Elise runs a once-famous bakery that is now down to one customer. Her only friend is her parakeet. And her greatest joy is waving a Swiss flag at the TGV train that every morning zips past her house at nearly 200 miles per hour.

This gentle film chronicles a long-distance/high speed romance between Elise and the unseen driver of the TGV train, a fellow named Bruno who tosses notes and gifts (usually homemade cheese) onto Elise’s lawn as he passes.

At a time when her son wants to put her in a retirement home, her correspondence with Bruno gives Elise a new enthusiasm for life.

It’s infectious.

| Robert W. Butler

and as the two Julietas

Adriana Ugarte and Emma Suarez as the two Julietas

“JULIETA” My rating: B

99 minutes | MPAA rating: R

No contemporary director has examined mother/daughter relationships with the consistency or insight of Spain’s Pedro Almodovar.

At one time his latest effort, “Julieta,” would have been described as a “women’s picture.” But that superficial label fails to take into account the panache Almodovar brings to all of his projects (“Women on the Verge of a Nervous Breakdown,” “Volver”).

Romantic loss has been his frequent topic.  “Julieta” takes a different approach, being a saga about parental loss.

Drawn from three short stories by Canadian author Alice Munro, the screenplay opens with a chance encounter on a Madrid street between the 50-something Julieta (Emma Suarez) and Bea, the childhood best friend of her daughter Antia.

Bea reports that she recently ran into her old friend at Lake Como, where Antia was shopping with her children.

Julieta is stunned. A dozen years earlier the teenage Antia vanished into a cult. Bea’s report is the first real proof that her daughter is still alive and that Julieta is now a grandmother.

Overnight everything changes. Julieta scraps plans to relocate with her boyfriend to Portugal. She moves back into the same building where she once shared a flat with Antia, desperately hoping that her daughter will come looking for her there.

And she is compelled to write down important incidents from her past.

In these elaborate flashbacks we follow the steamy relationship of the young Julieta (now played by Adriana Ugarte) with Xoan (Daniel Grao), a hunky fisherman. Their union produces Antia.

TO READ THE REST OF THIS REVIEW VISIT THE KANSAS CITY STAR WEBSITE AT http://www.kansascity.com/entertainment/movies-news-reviews/article129896079.html

| Robert W. Butler

Leslie Man, Robert DeNiro

Leslie Man, Robert DeNiro

“THE COMEDIAN”  My rating: D

119 minutes | MPAA rating: R

While I can’t definitively say that “The Comedian” is the worst film of Robert DeNiro’s career, I can safely pronounce it one of the least enjoyable.

An alternately irritating and alienating effort that threatens to trash the reputation of everyone involved — and we’re talking lots of big names — “The Comedian” finds DeNiro playing Jackie Burke, a comic whose best days are long behind him.

Jackie’s claim to fame is a ‘70s TV sitcom called “Eddie’s Home.” Nearly a half-century later he’s still besieged by fans who call him Eddie instead of Jackie.  He’s got a thin skin — which is how he comes to punch out a heckler at a regional comedy club, followed by 30 days in the hoosegow.

Jackie is a pain in the ass to be around. An insult comic on the stage, he’s not much better in his personal life. He’s combative, angry and royally pissed at the miserable state of his career.

Now that might be palatable if we thought Jackie had some real talent. But this is one of those films where the comics in the movie tell jokes that would never get them a gig in the real world. And Jackie is the least among them.

Once out of stir, Jackie must fulfill 100 days of community service in a soup kitchen. There he meets  the ditzy Harmony (Leslie Mann), who is paying off her debt to society for assaulting her ex’s new girlfriend.

Their relationship…well, it’s not exactly love, but it’ll have to do.

Continue Reading »

Adam Driver.

Adam Driver, Golshifteh Farahani

“PATERSON”  My rating: A-

118 minutes | MPAA rating: R

Nothing much happens in “Paterson.”  Just life.

Turns out that’s more than enough.

The film — about a poetry-writing bus driver named Paterson who lives and works in Paterson NJ — feels like the movie Jim Jarmusch and his seriocomic minimalism have been working toward for decades.

Virtually devoid of conventional melodrama, “Paterson” is about life’s little moments. The most exciting thing that happens is a bus breakdown that forces the driver and passengers to wait at the roadside for an hour.

And yet by concentrating on the little things, the seemingly unremarkable ins and outs of just living, the deadpan hilarity of existence, Jarmusch makes a profound statement about average people living average lives.

The only other film to which I can compare Jarmusch’s latest is Bruce Beresford’s sublime “Tender Mercies,” another film that ignores “events” to observe the gentle unfolding of life.

Paterson (Adam Driver, who gets more out of less than we have any right to expect) has a routine.

Every morning he fixes breakfast and walks to the bus terminal where he climbs into a driver’s seat. Every morning his supervisor sends him off after grousing a bit about the unfairness of life.

Paterson spends his day driving around listening to the conversations of his passengers. He also seems to be a magnet for twins…identical siblings of all ages regularly cross his path.

At home he listens patiently and lovingly to the stream-of-consciousness patter of his beautiful wife Laura (Golshifteh Farahani), whose chiildlike eagerness defies common sense.

Continue Reading »

Michael Keaton

Michael Keaton

“THE FOUNDER”  My rating: B- 

115  minutes | MPAA rating: PG-13

“The Founder” is like a Big Mac concealing a piece of broken glass.

John Lee Hancock’s film about the creation of the world’s most successful fast food chain starts out as a playful story of capitalist innovation and gung-ho drive.

But it leaves us thinking that nobody rises to the top of the corporate heap without screwing over a good many people along the way.

We first meet Ray Kroc (Michael Keaton) delivering his pitch directly into the camera.  Like most good salesmen he believes success is less dependent upon the peddled product (in this case industrial-strength milkshake makers) than on the personality and persuasion of the seller.

Except it isn’t working. Kroc spends his weary days traipsing across the Midwest of the mid-1950s, visiting Ma and Pa drive-in restaurants whose owners can’t see the point in a machine that makes six shakes at once.

But a side trip to San Bernardino, CA and the drive-in run by the McDonald brothers — Mac (John Carroll Lymch) and Dick (Nick Offerman) — is an eye opener.

Mac and Dick have created an operation capable of delivering an order of burger, fries and drink in just 30 seconds.

Everything is streamlined in a “symphony of efficiency.”

The McDonalds have instituted a kitchen assembly line that would make Henry Ford proud. There’s no dining room. No utensils or plates. Everything is wrapped in disposable paper. No girl on roller skates to deliver the food to your car (customers have to shlep up to the order window).

But the food is great and business is hopping.

Ray Kroc has seen the future.

 

Continue Reading »

Greta Gerwig, Annette Bening, Elle Fanning

Lucas Jade Zumann, Greta Gerwig, Annette Bening, Elle Fanning

“20th CENTURY WOMEN” My rating: B

118 minutes | MPAA rating: R

In his 2011 film “Beginners,” writer/director Mike Mills presented a fictionalized portrait of his father, who at age 75 announced that he had cancer and, by the way, was gay, too.

With “20th Century Women” he does a similar service for his mother, delivering a funny and emotionally substantive look at an unconventional household of feminists in the mid-20th century.

Much as Christopher Plummer won a supporting actor Oscar as the father in “Beginners,” Annette Bening is gaining awards buzz as the divorced matriarch in “20th Century Women.”

Set in the ’70s, the film centers on 55-year-old Dorothea (Bening) and her 15-year-old son, Jamie (Lucas Jade Zumann).

Dorothea is a curious case, a chain-smoking, mildly eccentric traditionalist in her personal life but a low-key crusader when it comes to social issues. (That conflict is reflected in the musical soundtrack, which pits the likable Talking Heads against the snarling punk of the Germs and Suicide.)

Dorothea lives in a big crumbling house undergoing perennial restoration. She’s got a hunky, laid-back boarder, William (Billy Crudup), who serves as carpenter, mason and auto mechanic.

There’s another renter, the henna-headed Abbie (Greta Gerwig), a blend of punk and hippie sensibilities who is undergoing a cancer scare.

And then there’s the young beauty Julie (Elle Fanning). Two years older than Jamie, she uses his bedroom as her refuge from an unhappy home life and a series of apparently joyless sexual couplings. At night she often enters through his second story window, scrambling up the construction scaffolding that surrounds the house.

Jamie is desperately in love with Julie (so are those of us watching the movie), but she keeps it platonic. She needs a friend and sounding board, not another young dude who wants to paw her. (“It was so much easier before you got so horny,” she sighs.) Continue Reading »

Isabelle Huppert

Isabelle Huppert

“ELLE”  My rating: B+ 

  130 minutes | MPAA rating: R

Isabelle Huppert has made a career of playing prickly, disturbed, often downright unpleasant figures.

For “Elle” this  reliable fixture of French cinema has taken everything she’s learned in nearly four decades of screen acting and created a character who is charismatic and compelling even as she engages in behavior that most of us would find morally questionable and psychologically twisted.

She more than deserves her Golden Globe win.

Paul Verhoeven’s film begins with the sounds of a violent assault. The fiftysomething Michele (Huppert) has been attacked in her Paris home by a masked intruder who beats and rapes her.

Michele doesn’t report the incident to the cops. Instead she cleans up the mess, trashes her dress, takes a bath, and gets herself tested for STDs.  New locks, a hatchet, and some pepper spray — she’s good to go.

David Birke’s screenplay (based on Philippe Djian’s novel) blends Hitchcockian suspense with one of the deepest character studies the movies have given us in ages.

Most women would be incapacitated by such an attack.  Not Michele. As we learn, she is tough, smart and ruthless.

With her partner  Anna (Anne Consigny) she runs a successful firm where programmers half their age crank out sex-and-violence-drenched video games. “When a player guts an orc,” she tells her staff, “we need to feel the blood on his hands.”

Michele views the world around her — and the lesser beings that inhabit it —with a sense of irony that stops just short of contempt. She can be funny, charming…and she’s certainly attractive.  But apparently she needs no one except her indifferent cat. Continue Reading »

Andrew Garfield

Andrew Garfield

“SILENCE” My rating: C+ 

161 minutes |MPAA rating: R

The trouble with passion projects is that sometimes the passion isn’t felt beyond the small group of die-hard creators involved.

So it is with “Silence,” a film Martin Scorsese has wanted to make for at least 25 years.

This epic (almost three hours) adaptation of Shusaku Endo’s 1966 novel takes on the issues of faith and mortality Scorsese raised with his first major film, 1974’s “Mean Streets,” issues he has returned to [and to which he has returned] often during his long and celebrated career.

This story of Jesuit priests risking their lives to bring Christianity to 17th century Japan is visually beautiful and impeccably mounted.

But it is less an emotional experience than an intellectual one — and by the time the film enters its third hour, more than a few viewers will be wishing for the simple pleasures of a samurai swordfight.

Portuguese priests Rodrigues (Andrew Garfield) and Garrpe (Adam Driver) cannot believe reports that their mentor Father Ferreira (Liam Neeson), who has spent years in Japan, has committed apostasy, rejecting the church’s teachings.

They convince their superiors that they must travel to Japan — where an anti-Christian purge is in full swing — to both learn the truth about Ferreira and to minister to Japanese converts, who for the better part of a decade have practiced their religion in secret.

Their mission is filled both with inspirational moments and abject terror. They spend most of their time hiding from troops under the command of the Inquisitor (Issey Ogata), an arthritic old fellow with a steel trap mine.

Suspected Christians are given the opportunity to renounce their faith by stepping on an image of Christ or the Virgin Mary. After this token display of rejection they are free to go on privately practicing their religion. Continue Reading »

Brian Cox, Emile Hirsch

Brian Cox, Emile Hirsch

“THE AUTOPSY OF JANE DOE” My rating: B- 

96 minutes | MPAA rating: R

In general, gruesome viscera and good acting make for strange bedfellows.  But they get along quite nicely in “The Autopsy of Jane Doe.”

The action of Andre Ovredal’s claustrophobic thriller takes place almost entirely in the cellar morgue of a rural Virginia funeral parlor.

The father-and-son team of Tommy (Brian Cox) and Austin (Emile Hirsch) Tilden spend a stormy (naturally) night dissecting the body of a beautiful young woman brought in by the local sheriff.

The cops have found three members of a local family murdered in their home. And down in the basement they discovered the nude, half-buried corpse of a girl (Olwen Kelley).  They have no clue as to who she is — she’s designated a “Jane Doe” — how she got there or what caused her death.

Answering that last question is the job of Tommy and Austin, who methodically and dispassionately go about the gory business of taking the young woman apart, piece by piece.

Almost immediately there are mysteries.  Though there are no signs of trauma on her body, her wrists and ankles have been shattered (the result of shackles?). Her tongue has been cut out. There are traces of peat under her nails. The morticians discover sexual trauma. (Perhaps she is a victim of sex traffickers?)

Once she’s cut open things get weirder. There are scars on her internal organs. And the inside of her body cavity is covered with tattoos of rune-like symbols.

Continue Reading »