Beasts of the Southern Wild, the
savage visual poem from debut director Benh Zeitlin (which he co-wrote
with playwright Lucy Alibar), takes us on an adventure from its opening
frame, yet what makes it so special and downright impossible to imagine
in any other form, is Hushpuppy’s voice.
Take This Waltz focuses on Margot (Michelle Williams), a freelance writer
married to a cookbook author (Seth Rogen) but who develops feelings for
a neighbor (Luke Kirby), an artist and rickshaw driver. Waltz feels like an avant-garde
performance devoted to women on the verge. What happens to women who long for
more than life has given them but then encounter an
opportunity to grab hold of something more?
The next stop, To Rome With Love,
finds Woody Allen cruising through the Eternal City in a madcap fantasy of
misdirection, misinterpretation and almost-missed opportunities for a
collection of characters whose lives and misadventures don’t intersect.
Let’s get something straight about The Amazing Spider-Man, the franchise reboot from director Marc Webb of (500) Days of Summer
fame. Comics, especially the new millennial generation editions, have
no problems with reimagining and reconfiguring the continuity of these
Seth MacFarlane's new movie Ted, a live action
hybrid, finds him channeling just one character, an animated teddy bear
brought to life by the wish of a young boy named John Bennett (Mark
Wahlberg stands in as the adult body double) who longs for a best
friend, a buddy to hang onto during the thunderous storms of life or
toke up and watch Flash Gordon with during all of those
Lola Versus starts with such
promise: Lola (Greta Gerwig), on the beach, engaging in morning yoga
while through voiceover informing us about life and the changes on the
horizon. In particular, she alerts us to the fact that she (like most of
us) is not good with change.
With issues surrounding fracking, natural
gas and oil dominating headlines recently, Josh Fox’s 2010
Oscar-nominated, Emmy-winning documentary Gasland seems all too
relevant. The film is two years old, but the stories presented in the
film are now — more than ever — resonant with the people of Ohio.
I’m sure that at some point during last
year’s Toronto International Film Festival, some outlet in the world
referred to Tanya Wexler’s Hysteria, which humorously probes into
the birth of the vibrator, as “a feel-good” story, so I will
shamelessly insert my own play on this idea. I must, because the premise
simply demands this kooky kind of lowball take.
In a remote Lebanese village (hard to
believe that such out-of-the-way places actually exist), Christians and
Muslims live together, side by side, working and entertaining themselves
as a community that is as close as family. Boys being boys joke and
cross lines that are familiar to both sides, the men drink and eye women
— although there is a sense of respect and honor truly from another
Pulp — there it is again — the good cheap
stuff is back and, not surprisingly, it has found its way onto the big
screen. Jo Nesbø, the Norwegian bestseller trawling these murky shores,
provides the basis for a solid anchoring with Headhunters.
I have a question for Greta Gerwig, the
odd naturalistic beauty who has bounded out of the Mumblecore underworld
into the bright and glaring lights of mainstream attention, while still
skipping back and forth across the great divide.
Based on Deborah Moggach’s novel These Foolish Things, The Best Exotic Marigold Hotel imagines
a final adventure for a group of English men and women — one last
hurrah where they can get away from the familiar day-to-day they’ve come
to know all too well, or their busy families caught up in living in the
digital now, which in some cases is hopelessly unknowable to their
a film event comes along that is so special, we owe it to our readers
to present the review in a form fitting the auspicious nature of the
release. That is certainly the case with Rave Theater’s regional
screenings of Yellow Submarine, a classic that will unspool,
likely for the last time, in theaters.
does Bob Marley — the man and his music — still resonant more
than 30 years after his death? That’s a question director Kevin
MacDonald tries to unpack in this straightforwardly rendered, often
fascinating documentary about the Reggae legend.
creates a place that seems hermetically sealed off from the rest of
the world — cinematographer Doug Emmett notably bathes the
proceedings in unnaturally bright light — a place that posits the
major problem in contemporary social life as “the tendency to
always seek someone cooler than yourself” without a whiff of irony.