A young director (Greta Gerwig) of art and design at a university meets a part time teacher (Ethan Hawke) also at the school. Although he is married to a professor (Julianne Moore) at Columbia, they fall in love. What follows are complex issues of romance, extended family and manipulation. Directed by Rebecca Miller (Arthur's daughter), one can't overlook the elephant in the room ..... Woody Allen. Whether intentional or not, the film comes across as either a homage to Woody Allen or at the very least, hugely influenced by him. These are intellectual New Yorkers whose greatest problems aren't keeping a roof over their head or getting food on the table like the rest of us mortals. No, their primary problem is relationships and the messiness of love. Certainly, that's a valid subject for film making and not the exclusive domain of Allen but while the terrain and style isn't patented, when you do a movie like this ... you're going to be held to Allen at his best. On its own, it's serviceable with some appealing performances (notably Gerwig). I'm still not sure about Julianne Moore, she's might be brilliant but I haven't decided because that damn generic Eastern European accent gets in the way. With Bill Hader, Maya Rudolph, Wallace Shawn and Travis Fimmel.
A British Colonel (Helen Mirren) is in charge of a mission to track down and capture an Englishwoman and her Islamic husband who are known terrorists. When the couple are found in Kenya, capturing is no longer an option but a strike is. The problem is that the strike not only could cause an international incident, but there are moral, ethical and legal questions which must be addressed. Directed by Gavin Hood (the underrated RENDITION), this is a sensational political thriller. In fact, I don't think I've seen a political thriller so edge of your seat intense since Costa Gavras' Z. Remarkably, Hood doesn't attempt to sway us either way (one can imagine the mess Oliver Stone would have made with this). He presents the dilemma to us and leaves the rest to our conscience. The military aren't portrayed as conscienceless war mongers, Hood gives them their due even though we may not approve of their ultimate action. The issue of saving one innocent life when placed against the possibility of many more lives being taken if that one life isn't sacrificed isn't a burden any of us would want to bear. I hope I'm not making it sound like a preaching to the choir film when it's anything but. The excellent ensemble cast includes Alan Rickman (in his final film role), Aaron Paul, Barkhad Abdi (CAPTAIN PHILLIPS), Jeremy Northam, Iain Glen, Michael O'Keefe and Aisha Takow.
A former Olympic Bronze medalist (Melissa Rauch) is a bitter mess, coasting on her former glory in the small Ohio town she lives in. When an opportunity arises to train an upcoming gymnast (Haley Lu Richardson), she has a last chance to redeem herself. Directed by Bryan Buckley from an original screenplay by Rauch and her husband Winston. Basically a one trick pony, this raunchy comedy is more entertaining than it has any right to be. The humor is coarse and juvenile but so unapologetic in its crassness that I couldn't help but laugh. There's a sex scene between Rauch and Sebastian Stan that had me shaking my head in disbelief. It takes awhile to warm up to it because Rauch's sourpuss bitch and Gary Cole as her enabler father are an irritating pair but as the movie progresses it sneaks up on you or maybe I just gave up and gave in but the end result is the same. I enjoyed it. With Cecily Strong, Thomas Middleditch and Dale Raoul.
A female rabbit (Ginnifer Goodwin) has ambitions to be the first bunny in the Zootopia police department. She achieves her dream but as the larger animals on the police force don't take her seriously, she must prove herself. When a major case of 14 missing mammals presents itself, she has her chance to prove her mettle. From the Walt Disney studios, this isn't hand drawn animation but computer generated animation but it's still quite sweet and charming. Its obvious parallels to human racism and stereotyping is quite in your face but that's the whole point of the film, isn't it? Life lessons in the form of fables go as far back as Aesop and this colorful adventure continues the tradition. Both children and adults should find much to enjoy in this colorful example of state of the art animation. It doesn't really break any new ground either in animation or storytelling so its universal praise seems a bit much but one can't deny it's a treat. With the voices of Jason Bateman (a fox), Idris Elba (a buffalo), J.K. Simmons (a lion), Octavia Spencer (an otter), Bonnie Hunt (a rabbit), Shakira (a gazelle), Jenny Slate (a sheep) and Nate Torrence (a cheetah).
Set in Japan during the period 1931-1945. As Japan slowly but surely marches toward war, a married woman (Takako Matsu) and a younger man (Hidetaka Yoshioka) engage in an illicit affair that can't end well. But the story is told from the perspective of the household's naive young maid (Haru Kuroki). But it does't end there as their affair will have a far reaching effect on those who live after them. Based on the novel by Kyoko Nakajima and directed by Yoji Yamada (TWILIGHT SAMURAI), this is an incredibly lovely film. Slightly reminiscent of ATONEMENT (2007), it's a rich and detailed period piece framed by a contemporary narrative. The present day story has a more natural look to it while the period story is beautifully shot by Masashi Chikamori in vivid colors and amber glows in what appears to be on a sound stage, even its exteriors which gives it a slightly stylized "old movie" quality. Yamada emphasizes this by the discretion in portraying the affair which is played out off screen without any sex or love scenes. I'm frustrated that I can't do the film justice verbally because so much of the film's art is in the details rather than the narrative. But if you're interested in quality cinema, this should not be missed. The lovely score is by Joe Hisaishi (HOWL'S MOVING CASTLE). With Takataro Kataoka, Satoshi Tsumabuki and Chieko Baisho.
Three tales of horror and the supernatural from director Mario Bava: in THE TELEPHONE, a young woman (Michele Mercier) receives threatening phone calls. In THE WURDALACK, a family is threatened by vampires and in DROP OF WATER, a nurse's (Jacqueline Pierreux) greed brings a ghostly revenge. I watched the Italian version which is different than the American version is many ways. While I miss hearing Boris Karloff's voice in THE WURDALACK where he's dubbed into Italian, THE TELEPHONE is altered significantly in the U.S. version. The lesbian references have been eradicated and the motive behind the phone calls changed. In both versions, the Italian subtitles don't always match the English dubs. It's not one of Bava's best films as these are all about a half hour in length which doesn't give him much time to develop atmosphere or character but it's still an impressive horror anthology. My favorite of the three is THE TELEPHONE followed by DROP OF WATER and lastly, THE WURDALACK which is usually chosen as the best of the three. The Italian score is by Roberto Nicolosi and the U.S. by Les Baxter. With Mark Damon, Susy Andersen, Lidia Alfonsi and Massimo Righi.
Unaware that President Lincoln has been assassinated, a physician (Warner Baxter) treats the broken leg of a man (Francis McDonald) who turns out to be John Wilkes Booth. The doctor is later arrested and sentenced to life imprisonment for his role in the conspiracy of the Lincoln assassination despite his protestations of innocence. Directed by John Ford, this is a highly fictionalized account of the case of Dr. Samuel Mudd. The film portrays him as a totally innocent man when, in fact, Mudd (who was pro slavery) knew Booth well enough to have him as an overnight guest in his home. He made no attempt to contact authorities after treating Booth and learning of the assassination (if he did not already know). The movie is tainted with that inexplicable pro Confederacy edge that was so prevalent in the "golden" age of Hollywood. All that aside, its historical fabrications (Hollywood played fast and loose with history in the 30s and 40s) could have been overlooked if the movie had any artistic or entertainment value but it's a rather sluggish vehicle. Baxter does well enough but the rest of the cast overacts considerably with John Carradine at his worst. He plays his prison guard like he was playing Simon Legree in the third road company of UNCLE TOM'S CABIN! With Gloria Stuart (TITANIC), Harry Carey, Paul Fix and O.P. Heggie.
A stage mother (Imelda Staunton) with a steely drive and determination pushes her two daughters June (Scarlet Roche then Gemma Sutton) and Louise (Lara Wollington then Lara Pulver) toward the stardom she wants for them at any cost. One of the great musicals of the Broadway stage with music by Jule Styne and lyrics by Stephen Sondheim, first produced in 1959 with Ethel Merman. In addition to the 1962 film version with Rosalind Russell and a 1993 TV version with Bette Midler, it has seen several revivals on Broadway. This is literally a filmed play, an archival record of the 2015 London production which won 4 Olivier awards including best actress for Staunton, perhaps best known to American audiences for her Oscar nominated performance in VERA DRAKE. While Staunton may not have Merman's belter lungs, her singing voice is more than decent. But it's her ability to act her songs rather than just sing them that makes her performance so sensational. For the first time, I fully got Rose's Turn! Staunton's Mama Rose's frustration and rage spews forth and we can see the Freudian logic that set her on this path. I was also impressed by Lara Pulver's Louise/Gypsy, believable as both the awkward adolescent and the burlesque star. Directed by Lonny Price adapting Jonathan Kent's stage direction. With Peter Davison, Dan Burton and Anita Louise Comb, Louise Gold and Julie Legrand as the three over the hill strippers with the show stopping You Gotta Get A Gimmick.
