Tag Archives: review

REVIEW: Next-Level Bloodshed, Stunning Visuals Keep Centurion From Genre Oblivion

If you’re like me, and you find yourself retreating to a safe place in your mind whenever human beings are being graphically decapitated on screen, you’ll spend the majority of Centurion , horror maestro ( The Descent ) Neil Marshall’s Roman bloodbath, on psychological lockdown. The more philosophical and intellectually detached among you might wait out the frequent plasmatic explosions from an interested distance, speculating on the cultural circularities implicit in evisceration as entertainment, or teasing out the film’s bizarre but unmistakable urination motif. The rest — the majority, I suppose — will revel in every hyper-realistic goring, unconcerned with the irony of the bloodthirsty, second-century barbarism Marshall dwells on, giving the film its of-the-moment appeal.

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REVIEW: Next-Level Bloodshed, Stunning Visuals Keep Centurion From Genre Oblivion

REVIEW: Dinner Party is a Bust in Undercooked Change of Plans

Middling, middle-class entertainment aimed at the midpoint between comedy and drama, mass appeal and sophistication, Change of Plans is eager to please and easy to dismiss. Riffing on a familiar premise, director Daniele Thompson ( Avenue Montaigne , Jet Lag ), working from a script she wrote with her son Christopher Thompson, puts 10 Parisian professionals together for a dinner party and lets the sparks, secrets and passions fly. Spouses bicker, kisses are stolen and home design is silently judged.

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REVIEW: Dinner Party is a Bust in Undercooked Change of Plans

REVIEW: Peru’s Burdens Slow Down Oscar-Nominated Milk of Sorrow

“Only death is obligatory,” Noe (Efraín Solis) says in The Milk of Sorrow , “the rest is because we want to.” After earning a rare measure of trust from Fausta (Magaly Solier), a traumatized young Peruvian villager who has just lost her mother, Noe becomes exasperated with the extreme fear that circumscribes her life. A gardener at the Lima estate where Fausta takes a job as a maid, he bridges the film’s metaphorical distance between the godless, pragmatic privilege of the city and the deterministic mythologizing of the rural poor, literally: He is the only outsider she will allow to escort her home in the evenings, she being too terrified to walk alone.

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REVIEW: Peru’s Burdens Slow Down Oscar-Nominated Milk of Sorrow

REVIEW: Film Unfinished Leaves Haunting Impression of Nazi Imagemakers, Victims

The narrator of Israeli director Yael Hersonski’s A Film Unfinished describes the “layers of meaning” locked within the images recorded by Nazi soldiers of the residents of the Warsaw Ghetto in May 1942. They are part of a compilation of raw footage that until 12 years ago were assumed to be vérité glimpses of the half-million Jews trapped within the confines of the Ghetto. It was only when a new reel of outtakes — shots of the subjects rehearsing their “spontaneous” moments over and over — was discovered that something closer to the truth about their provenance was revealed. Hersonski’s measured, devastating pursuit of that truth adds another layer of meaning to those reels, even as it methodically spools and studies each one.

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REVIEW: Film Unfinished Leaves Haunting Impression of Nazi Imagemakers, Victims

Garrett Hedlund Doesn’t Want Two Franchises

At a time when most actors are happy to add as many franchises as possible to their plate (just ask Daniel Craig ), Tron Legacy star Garrett Hedlund would rather take on indies like On the Road , and that’s why he bailed on the Captain America shortlist . “To be in something that had a second and a third film following it, we felt that Tron already had that, you know,” he told Fade In . “To mix in another heroic character with that was not necessary. In short, we kind of always passed on it. I didn’t really think that was my gig.” [ Fade In ]

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Garrett Hedlund Doesn’t Want Two Franchises

REVIEW: Lottery Ticket Trades Its Urban Nerve for Easy Charm

Erik White wanted the housing projects in Lottery Ticket , his fractious wish-fulfillment comedy, to look like an “Everywhere, USA ” that would be relatable to all. Though he envisioned the story taking place in his hometown of New York City, circumstance led him to shoot in Atlanta, Georgia, largely on a complex of soon-to-be demolished projects with a pink-bricked, benignly institutional look. He carefully shot around any identifying signs or landmarks, ensuring that his generic, non-specific, ultimately unsatisfying take on a bullet-proof concept — an 18-year-old Foot Locker employee wins the lottery but is forced to wait out a long weekend within the cutthroat ecosystem of his community before he can claim the prize — is reflected in its hermetic, alienating aesthetic.

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REVIEW: Lottery Ticket Trades Its Urban Nerve for Easy Charm

Should Big Brother Have Shown a Contestant Masturbating on the Live Feed?

Sorry to interrupt your Wednesday workday — and believe you me, this is as awkward as that episode of Weeds where Nancy Botwin has to confront her son about his habit of masturbating to a photo of her — but as a viewer of Big Brother , I am concerned about how much the producers get off on footage of their contestants craftily masturbating in showers , boxes , beds and fake lawns .

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Should Big Brother Have Shown a Contestant Masturbating on the Live Feed?

REVIEW: Ballet is the Star in Otherwise Uninspired Mao’s Last Dancer

Hyper-earnest and less than half good, Mao’s Last Dancer puts a biopic gloss on a bumpy journey, that traveled by Chinese ballet dancer Li Cunxin from Maoist China to the Houston Ballet Company in the early 1980’s. That gloss, a product of director Bruce Beresford’s constitutional timidity toward his more provocatively chosen subjects, hardens to a kind of reflective coat that is worn most glaringly by the film’s protagonist. By the end of 117 minutes we know the big-ticket plot points and that Li — here played by dancer and first-time actor Chi Cao — can dance like an angel, but as a man with a psychologically and emotionally motivated life he remains almost completely elusive.

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REVIEW: Ballet is the Star in Otherwise Uninspired Mao’s Last Dancer

Budget-Busting Battleship Adds Brooklyn Decker

Because you can’t have a summer franchise without a supermodel , Peter Berg has added swimsuit-issue favorite Brooklyn Decker to the top-shelf cast of Battleship as the love interest for Taylor Kitsch’s naval officer. For those keeping score at home, the $200 million Universal production now has Decker, Kitsch, Alexander Skarsgard and Rihanna above the line. Money well spent! Meanwhile, who’s next? No seriously, which random person will be next to get cast in this thing? [ Latino Review ]

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Budget-Busting Battleship Adds Brooklyn Decker

Author Richard Epstein Renounces Gray Lady: ‘She’s Become a Bit…of a Slut’

Richard Epstein disowned the New York Times today. ” Adios, Gray Lady ,” he proclaimed at the Weekly Standard’s website. “She’s become a bit – perhaps more than a bit – of a slut,” Epstein claimed, “whoring after youth through pretending to be with-it.” Epstein, a prominent libertarian author and law school professor, hysterically decried the Times’s ongoing descent into pomposity and cultural irrelevance. And Epstein would know – he claims he’s been a subscriber for 50 years. Chief among Epstein’s grievances was the contents of the Times’s opinion pages. Though he praised David Brooks, longtime token conservative of the Times’s commentators (and by many measures hardly a conservative at all), as not being “locked into a Pavlovian political response,” Epstein claimed that “I find no need to read any of the Times’s regular columnists.” Every so often I check to remind myself that Maureen Dowd isn’t amusing, though she is an improvement, I suppose, over the termagantial Anna Quindlen, whom I used to read with the trepidation of a drunken husband mounting the stairs knowing his wife awaits with a rolling pin. I’d sooner read the fine print in my insurance policies than the paper’s perfectly predictable editorials. Laughter, an elegant phrase, a surprising sentiment-the New York Times op-ed and editorial pages are the last place to look for any of these things…. I could go on about the artificial rage of Frank Rich-the liberals’ Glenn Beck-or the forced gaiety of “Sunday Styles,” but the main feeling I have as I rise from having wasted an hour or so with the Sunday New York Times is of what wretched shape the country is in if it is engaged in such boringly trivial pursuits, elevating to eminence such dim cultural and political figures, writing so muddledly about ostensibly significant subjects. Ouch. Epstein’s grievances, though, went far beyond the paper’s columnists, to other, less ostensibly political sections. I sometimes glimpse the Arts section to see which wrong people are being praised or have been awarded large cash prizes or recognized for years of mediocre achievement by election to the American Academy of Arts & Letters. Arts, of course, are no longer quite The Arts, at least in the New York Times, which features hard rock and rap music and video games and graphic novels under the rubric The Arts. Only the photographs of dancers lend an aesthetic dimension to the shabby section. I lift the Sunday New York Times from the hallway outside our apartment with a heart twice the weight of the hefty paper itself. From it I extract the Book Review, the magazine, “Sunday Styles,” the “Week in Review.” For decades now the New York Times Book Review has been devoted to reinforcing received (and mostly wrong) literary opinions and doing so in impressively undistinguished prose. The New York Times Magazine has always been dull, but earlier it erred on the side of seriousness. Now it is dull on the side of ersatz hipness. The other Sunday I put myself through a long article on the dangers of leaving a record of one’s minor misdeeds on the Internet. The article’s last sentence instructed that “we need to learn new forms of empathy, new ways of defining ourselves without reference to what others say about us and new ways of forgiving one another for the digital trails that will follow us forever.” Yes, I thought, and wet birds never fly at night. Epstein ends his jeremiad with a simple request: “Cancel my subscription, please.”

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Author Richard Epstein Renounces Gray Lady: ‘She’s Become a Bit…of a Slut’