When Vittorio De Sica helped craft the
cinematic movement known as neorealism, he was intent on finding lead
actors who lacked experience. If you didn't know that Demián Bichir was a star in Mexico, you might assume that director
Chris Weitz was following De
Super 8, written and directed by J. J. Abrams of Lost and Alias
fame, is a curious film that gets curiouser and curiouser as it goes
along. It's the first time I have ever seen a cinematic homage to a
filmmaker who is actually in the film's credits.
Meek's Cutoff has been labeled everything from a revisionist
western to a feminist allegory. It rejects
the conceit of a romanticized West, instead questioning the various roles and realities that accompanied the pioneers
on their journeys.
For years, rumors abounded that Terrence Malick was working on a screenplay version of
the book of Genesis. Though Genesis: The Movie has not yet come to fruition, The Tree of Life comes close to being such a film.
Incendies is a
disturbing layover at the crossroads of forgiveness and revenge. It's a
challenging film on several levels. Not only is there a hearty helping
of violence to be digested over the film's 130 minutes, but audiences
must also wrestle with a complex narrative structure.
Certified Copy, the first English-language film by the Iranian writer-director Abbas Kiarostami, is a road-trip meditation on the complexities of marriage. Like almost all the work by this 71-year-old icon of the international film festival circuit, it reveals itself slowly, keeping us hanging and distracted for the entire first act before the key issues are laid bare.
Director Darren Aronofsky performs a psychological pas de deux with composer Pyotr Ilich Tchaikovsky in Black Swan, a fractured, fascinating study of the high-pressure world of big-time New York ballet.
Based on the award-winning 2005 novel by Kazuo Ishiguro, who also penned The Remains of the Day, Never Let Me Go is that rare story that doesn't rely on a revelatory plot twist to make its thematic point and drive the message home.
The Kids Are All Right has been on a roll since its premiere at the 2010 Sundance Film Festival. It is directed (and co-written) by Lisa Cholodenko (High Art, Laurel Canyon),
a filmmaker who favors stories about characters who initiate change.
Sometimes this change is intentional, other times inadvertent, but by
the end the status quo is reshaped.
What is most startling about the iconic French director Alain Resnais is not that he is still making movies at the age of 88, but that his films still demonstrate such an unbridled love of cinema and its power.
It is evident from the lush opening credits, which recall the stylish script of postwar European cinema or the 1950s American melodramas of Douglas Sirk, that the Italian film I Am Love is going to have plenty of “sweep.” What we can’t surmise from the first half hour—which includes both a gorgeous montage of Milan in winter and the meticulous planning of an ext
When Pandora opens the box that contains all the world’s evils, they immediately fly away, destined to plague humankind for eternity. She is able to replace the top just in time to save only hope. But why was hope among the evils in the first place?
Filmmaker Nicole Holofcener is intrigued by problems. Not gigantic problems, such as asteroids hurtling toward Earth or the destruction of rain forests, but smallish personal problems: coping with a best buddy’s wedding, dealing with a pushy mother, realizing that you’re not as successful as your longtime friends.