Katie Jarvis, who makes her acting debut as a rabid teenager in writer-director Andrea Arnold’s Fish Tank, was discovered on an English railway station platform, yelling at her boyfriend. Whether Jarvis is a natural-born actress or is simply playing herself as Mia, a foul-mouthed, 15-year-old child of the Essex projects…
Cop Out establishes its movie lineage right away, with a slow-motion toe-to-head tilt up, set to The Beastie Boys’ “No Sleep Till Brooklyn,” of black-cop/white-cop buddies Jimmy and Paul swaggering stone-faced toward the camera. Director/editor Kevin Smith immortalizes his heroes as stock crime-flick badasses in their very first frame. So…
Martin Scorsese’s Shutter Island, a florid art shocker that Paramount welcomed into the world with the strained enthusiasm of a mutant baby’s parents, begins with U.S. Marshal Teddy Daniels (Leo DiCaprio) seasick, head in the toilet. The film is his prolonged purging, with Daniels coughing up chunks of his back…
The White Ribbon is Michael Haneke’s first German-language film since the original Funny Games (1997) and, addressing what used to be called “the German problem” while dodging the filmmaker’s own likability issues, it’s his best ever. A period piece set on the eve of World War I in an echt…
As personal assistant to the U.S. ambassador to France, James Reese (Jonathan Rhys Meyers) can keep himself in well-tailored suits and keep his terrific-looking kittenish girlfriend (Kasia Smutniak) in a nice Paris apartment. This is the basis for director Pierre Morel’s delicate study in trans-Atlantic manners, From Paris With Love,…
“Did you shoot my daughtah?” is the question posed, in flat-voweled Bostonian, in the trailer for Edge of Darkness. And Mel Gibson, much-bereaved and much-vengeful, from Hamlet to Ransom to Revolutionary America, sets out to settle another score. Gibson is Thomas Craven: veteran, homicide detective, lonesome widower. His daughter, a…
Recent American films about families, like last year’s Rachel Getting Married and Revolutionary Road, all too often pierce eardrums with unrelenting shrieks of dysfunction and misery. Amid the din, French filmmaker Claire Denis’ sublime 35 Shots of Rum stands out all the more for its soothing quiet, conveying the easy,…
Extraordinary Measures is a race-against-time thriller in which a desperate dad (Brendan Fraser) sacrifices everything to cure a rare disease that’s seconds away from killing his kids. Extraordinary Measures is also a heartwarming tale about a disgruntled doc (Harrison Ford) who throws in with a biotech startup fronted by…well, a…
A one-film cabinet of curiosities, The Lovely Bones turns the most successful CGI director of the ’00s loose on one of the decade’s prime literary phenomena: Cults collide as Peter “Lord of the Rings” Jackson tackles Alice Sebold’s best-selling New Age gothic, the story of a rape-murder-dismemberment and its aftermath,…
Directors Allen and Albert Hughes’ fourth film, The Book of Eli, centers on the Christianity that was at the margins of their previous films—hypocritically misused by Bokeem Woodbine’s bush-crazy Marine turned pulpit-pounder turned stick-up man in Dead Presidents, and the sanctimonious grandparents in Menace II Society. “I don’t think God…
Is this a commercial for the National Tourism Council of Ireland or for the conditioner Amy Adams uses in her hair? Either way, both look fabulous. Then there’s the movie, a soggy affair directed with no great enthusiasm by Anand Tucker. Leap Year draws its dubious premise from a supposed…
For years, Hollywood has wrestled with adapting C.D. Payne’s 1993 novel Youth in Revolt—which, actually, was three novels collected under one title. In 1996, Fox filmed a pilot starring Chris Masterson as Nick Twisp, the 14-year-old “I’m Single, Let’s Mingle” T-shirt-sporting, foreign-film-watching, Frank Sinatra-listening, Oakland-stuck virgin from Payne’s book. Jane…
Does Nancy Meyers hate women? The thought ran through my head not very long into It’s Complicated, Meyers’ biennial stocking-stuffer about the romantic trials and tribulations of obscenely privileged and narcissistic Southern Californians. Once more into the breach goes Meyers to show us what women really want, this time with…
Yesterday’s honky-tonk hero, Bad Blake, arrives at a Clovis, New Mexico, bowling alley. It’s another in a string of low-pay, low-turnout gigs with pickup bands half his age, grinding the greatest hits out of an old Fender Tremolux, including his breakout—with the chorus, “Funny how falling feels like flying…for a…
There’s no city-clogging traffic jam in Nine, the musicalized version of Federico Fellini’s movie-about-moviemaking urtext 8 1/2, but the result feels like the celluloid equivalent of a 12-car pileup. An assault on the senses from every conceivable direction—smash zooms, the ear-splitting eruption of something like music, the spectacle of a…
The money is on the screen in Avatar, James Cameron’s mega-3-D, mondo-CGI, more-than-a-quarter-billion-dollar baby, and like the Hope Diamond waved in front of your nose, the bling is almost blinding. For the first 45 minutes, I’m thinking: Metropolis!—and wondering how to amend ballots already cast in polls of the year’s…
Let’s be honest here: This is little more than meringue-whipped empty calories served alongside the real meat and potatoes at this most award-whoring time of the year at the cineplex. Which is fine. Better than fine, frankly, as Hugh Grant yet again proves he’s the most reliable deadpan smart-ass this…
Man, British heritage cinema can be dull and boring when assembly-lined for the export market. Laboring under lampshade millinery, hair that looks like cake, and more sumptuous banqueting than we should ever have to sit through, Emily Blunt is cute, sassy and wildly improbable as the titular Majesty-in-waiting, who, in…
Six decades after unleashing persistent NAACP bugaboo Song of the South (1946), and two after firmly suppressing it, that peculiar cultural institution known as the Walt Disney Co. has made a symbolic reparation by creating its first black princess—and plunking her down in the middle of Jim Crow-era Louisiana! A…
Aside from Morgan Freeman, who makes a fabulous Nelson Mandela, there’s this to savor about Invictus, a rosy tale of racial reconciliation neatly wrapped in a triumphalist sports movie: The film is blessedly free of Obama parallels. Also, we could use a happy global moment, and Eastwood picks one out…
The most significant American artist before Andy Warhol to take “the media” as his medium, Orson Welles lives on not only in posthumously restored director’s cuts of his re-released movies but as a character in other people’s novels, plays and movies—notably Richard Linklater’s deft, affectionate and unexpectedly enjoyable Me and…
There is something oddly familiar about Jason Reitman’s Up in the Air, in which George Clooney plays a commitment-phobic business traveler with no use for meaningful human interaction. Could have sworn we’ve been here before. When was it? Oh, yes, of course: Joel and Ethan Coen’s Intolerable Cruelty, released in…
