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Molly Shannon, Susan Ziegler

“WILD NIGHTS WITH EMILY” My rating: B-

84 minutes | MPAA rating

“Wild Nights with Emily” is such an awesome idea that I wish I liked the film more than I do.

When Emily Dickinson died in 1886 in Amherst, Mass., she left behind nearly 2,000 unpublished poems which would lead future generations to regard her as America’s greatest poet.

For most of the ensuing 130 odd years Dickinson has had the reputation of a recluse, a woman incapable of interacting with others. But if that’s the case, if her personal life were so limited, if she never enjoyed human intimacy, how did she come by the ideas and emotions so brilliantly expressed in her writing?

Seizing on recent research into and discoveries about Dickinson, writer/director Madeleine Olnek has given us a film that presents Emily Dickinson not so much as a recluse as a dedicated artist who, by the by, had a lifelong sexual relationship with the woman who would become her sister-in-law. We’re talking some good old-fashioned lust.

Moreover, Olnek presents her yarn as a comedy in which Dickinson’s vastly superior intellect and talents go head-to-head with the doofuses who run the male-dominated literary world of the 1800s. These bozos are so gobsmacked by her poetry that  all they can do is complain that it doesn’t rhyme.

Olnek’s screenplay time jumps from Dickinson’s mature years and her affair with her sister-in-law Susan (Susan Ziegler) back to her adolescence when the two first fell in love (the girls are played as teens by Dana Melanie and Sasha Frolova).

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Dev Patel

“THE WEDDING GUEST” My rating: B-

97 minutes | MPAA rating: R

Since breaking onto the world cinema scene as a struggling Indian Everyman in “Slumdog Millionaire,” Deval Patel has been methodically expanding his repertoire, from broad comedy (the “Best Exotic Marigold Hotel” franchise) to straight drama (“Lion”).

With Michael Winterbottom’s “The Wedding Guest” he takes a detour into genre, portraying a ruthlessly efficient man of mystery.

As the film begins Patel’s Jay flies from London to Pakistan.  That’s he’s not your usual tourist quickly becomes apparent: Jay has multiple passports, goes shopping for a small arsenal of handguns and rents two cars.

An anxious pall hangs over the film’s opening sequences.  Is Jay a terrorist bent on mayhem?  A paid assassin on assignment?

Things get a bit clearer when he begins keeping tabs on Samira (Radhika Apte), the daughter of the local gentry preparing for an elaborate arranged marriage. Jay tells people he encounters that he’s one of the wedding guests, but In the dead of night he slips into the family compound and kidnaps the girl, gunning down an armed guard to make his escape.

Samira is at first terrified. Then Jay explains that the kidnapping was arranged by her London-based lover, who hired Jay to spirit her away from her tradition-bound family.

Now the two are on the run, moving across Pakistan and into India toward a rendezvous with Samira’s squeeze. (On one level “Wedding Guest” is practically a travelogue.)

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