Tag Archives: LA

Obvious Child

Obvious Child Movie Review

R, 84 m., 2014

Jenny Slate (Donna Stern), Jake Lacy (Max), Gaby Hoffmann (Nellie), Gabe Liedman (Joey), David Cross (Sam), Richard Kind (Jacob Stern), Polly Draper (Nancy Stern), Paul Briganti (Ryan), Cindy Cheung (Dr. Bernard), Stephen Singer (Gene). Directed by Gillian Robespierre and produced by Elisabeth Holm. Screenplay by Robespierre.

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Night Moves

Night Moves Movie Review

R, 112 m., 2013

Jesse Eisenberg (Josh), Dakota Fanning (Dena), Peter Sarsgaard (Harmon), Alia Shawkat (Surprise), Logan Miller (Dylan), Katherine Waterston (Anne), James Le Gros (Feed Factory Clerk). Directed by Kelly Reichardt and produced by Saemi Kim, Neil Kopp, Chris Maybach, Anish Savjani, Rodrigo Teixeira. Screenplay by Jonathan Raymond (as Jon Raymond) & Reichardt.

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Belle Movie Review

PG, 104 m., 2013

Gugu Mbatha-Raw (Dido Elizabeth Belle), Tom Wilkinson (Lord Mansfield), Miranda Richardson (Lady Ashford), Sarah Gadon (Elizabeth Murray), Sam Reid (John Davinier), Matthew Goode (Captain Sir John Lindsay), Emily Watson (Lady Mansfield), Tom Felton (James Ashford), Penelope Wilton (Lady Mary Murray). Directed by Amma Asante and produced by Damian Jones. Screenplay by Misan Sagay.

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Under the Skin

Under the Skin Movie Review

R, 108 m., 2013

With: Scarlett Johansson, Paul Brannigan, Robert J. Goodwin (Tearoom Customer (uncredited)), Krystof Hádek (as Krystof Hadek), Michael Moreland, Scott Dymond, Jeremy McWilliams. Directed by by Jonathan Glazer and produced by Nick Wechsler and James Wilson. Screenplay by Walter Campbell and Glazer.

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The Bag Man

The Bag Man Movie Review

R, 108 m., 2014

Robert De Niro (Dragna), Dominic Purcell (Larson), John Cusack (Jack), Crispin Glover (Ned), Celesta Hodge (Janet), Martin Klebba (Guano), Sticky Fingaz (Lizard (as Kirk ‘Sticky Fingaz’ Jones)), Theodus Crane (Goose), Rebecca Da Costa (Rivka). Directed by David Grovic. Screenplay by Grovic and Paul Conway, based on the original screenplay Motel by James Russo.

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The Wind Rises

The Wind Rises Movie Review

PG_13, 126 m., 2013

With the voices of: Joseph Gordon-Levitt (Jirô Horikoshi), John Krasinski (Honjô), Emily Blunt (Nahoko Satomi), Martin Short (Kurokawa), Stanley Tucci (Caproni), Mandy Patinkin (Hattori), Mae Whitman (Kayo Horikoshi / Kinu), Werner Herzog (Castorp), Jennifer Grey (Mrs. Kurokawa), William H. Macy (Satomi), Zach Callison (Young Jirô), Madeleine Rose Yen (Young Nahoko), Eva Bella (Young Kayo), Edie Mirman (Jirô’s Mother), Darren Criss (Katayama). An animated film directed by Hayao Miyazaki and produced by Toshio Suzuki. Screenplay by Miyazaki, based on a comic by Miyazaki.

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Labor Day

Labor Day Movie Review

PG_13, 111 m., 2013

Kate Winslet (Adele), Josh Brolin (Frank), Gattlin Griffith (Henry), Tobey Maguire (Adult Henry), Tom Lipinski (Young Frank), Maika Monroe (Mandy), Clark Gregg (Gerald), James Van Der Beek (Officer Treadwell), J.K. Simmons (Mr. Jervis), Brooke Smith (Evelyn), Brighid Fleming (Eleanor), Alexie Gilmore (Marjorie), Lucas Hedges (Richard), Micah Fowler (Barry), Chandra Thomas (Bank Teller). Directed by Jason Reitman and produced by Helen Estabrook, Lianne Halfon, Reitman, Russell Smith, and Nicole C. Taylor. Screenplay by Reitman, based on the novel by Joyce Maynard.

The buzz has been bad since last year’s festival circuit with negative report piling upon negative report for months. Well, now the returns are in and my verdict is…the emperor has no clothes. In this case, it’s the critics who are naked, not the filmmaker. Can you remember the last time so many critics, mainstream and non-mainstream alike, ganged up on a film as if it was a harbinger of the apocalypse only for the film itself to be not only not bad but quite good (I feel in the minority about Ridley Scott’s The Counselor, for example)? Yet nevertheless, the Tomatomator hovers around 30% with a Rotten majority, while the ever-so-slightly more forgiving Metacritic score is 51/100 with mostly mixed reviews. What in the hell is going on here?

Such as it is, Jason Reitman’s Labor Day is, in my humble opinion, far from the disaster it’s suggested to be. Reitman, adapting a novel by Joyce Maynard (of To Die For), tells the story of one Labor Day weekend in a small New England town, circa 1987. Adele (Kate Winslet, whose previous January release was her truly disastrous role in the ensemble kerfuffle known as Movie 43) is a divorced single mom raising her son Henry (Gattlin Griffith of Changeling, among other films) alone in a quiet, somber household in a pretty, rural suburb.

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Gimme Shelter

Gimme Shelter Movie Review

PG_13 , 101 m., 2013

Vanessa Hudgens (Agnes ‘Apple’ Bailey), Brendan Fraser (Tom Fitzpatrick), Rosario Dawson (June Bailey), James Earl Jones (Frank McCarthy), Dascha Polanco (Carmel), Stephanie Szostak (Joanna Fitzpatrick), Emily Meade (Cassandra), Ann Dowd (Kathy), Candace Smith (Marie Abeanni), Tashiana Washington (Destiny / Princess), Rachel Mattila Amberson (Nicky ‘Pink Friday’ (as Rachel Mattila)), Eddie Schweighardt (Dustin), Hector Lincoln (June’s Boyfriend), Sheila Tapia (Officer Ganz), Peter Epstein (Taxi driver). Directed by Ron Krauss and produced by Krauss and Jeff Rice. Screenplay by Krauss.

Ron Krauss’ Gimme Shelter, or (as it should be known) Apple Bailey’s A Series of Unfortunate Events, continues the ‘deglamification’ of former High School Musical star Vanessa Hudgens. Continue reading

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August: Osage County

August: Osage County Movie Review

R, 121 m., 2013

Meryl Streep (Violet Weston), Julia Roberts (Barbara Weston), Chris Cooper (Charlie Aiken), Ewan McGregor (Bill Fordham), Margo Martindale (Mattie Fae Aiken), Sam Shepard (Beverly Weston), Dermot Mulroney (Steve Huberbrecht), Julianne Nicholson (Ivy Weston), Juliette Lewis (Karen Weston), Abigail Breslin (Jean Fordham), Benedict Cumberbatch (Little Charles Aiken), Misty Upham (Johnna Monevata), Will Coffey (Sheriff Deon Gilbeau), Newell Alexander (Dr. Burke), Jerry Stahl (Liquor Store Owner). Directed by John Wells and produced by George Clooney, Jean Doumanian, Grant Heslov, and Steve Traxler. Screenplay by Tracy Letts, based on his play.

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The Impossible

The Impossible Movie Review

PG_13, 114 m., 2012

Naomi Watts (Maria), Ewan McGregor (Henry), Tom Holland (Lucas), Samuel Joslin (Thomas), Oaklee Pendergast (Simon), Marta Etura (Simone), Sönke Möhring (Karl), Geraldine Chaplin (Old Woman), Ploy Jindachote (Caregiver), Jomjaoi Sae-Limh (Red Cross Nurse), Johan Sundberg (Daniel), Jan Roland Sundberg (Daniel’s Father), La-Orng Thongruang (Old Thai Man), Tor Klathaley (Young Thai Man), Douglas Johansson (Mr. Benstrom). Directed by J.A. Bayona and produced by Belén Atienza, Álvaro Augustín, Ghislain Barrois, Enrique López Lavigne (as Enrique López-Lavigne). Screenplay by Sergio G. Sánchez, based on a story by María Belón.

In 2004, a tsunami hit Thailand. J.A. Bayona’s The Impossible takes that painful reality and depicts it in as visceral and involving a way as possible. Based on a true story, Bayona’s film shows the remarkable human ingenuity it took to survive in the wake of such a stunning disaster. Continue reading

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Benh Zeitlin’s directorial debut is a powerfully-moving, imaginative and hand-crafted modern fairy tale from the perspective of the bravest New Orleans denizen ever captured on film. Six-year-old newcomer Quvenzhane Wallis stars (!) as Hushpuppy, an androgynous young girl in post-Katrina Louisiana who resides in a shack with her alcoholic, violently frustrated father (fellow newcomer Dwight Henry) perched in a rural area dubbed “the Bathtub.” When young Hushpuppy finds that her father is dying, realizing she has no mother to raise her, she must learn to survive on her own. This crushing reality is intermixed beautifully with stunning imagination on the part of Zeitlin, whose young heroine believes that when Global Warming destroys the ice caps once and for all, her world and everything inside will be ravaged by giant prehistoric buffalo. The results are a powerful concoction of American neo-realism and magical fantasy – one film I won’t soon forget.

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Tony Kaye might be a name you don’t recognize, but it wouldn’t be for lack of trying. After having his career all but buried by the post-production fiasco that was 1998′s American History X (still young star Edward Norton locked Kaye out of editing and recut the film and the studio released it as he saw fit, only for Kaye to take out an ad ripping the star and the film a new one in Hollywood trade papers), Kaye all but disappeared. Now, he’s back with one of the very best films of the year…which nobody saw. Released in February on Video on Demand and in extremely limited runs in New York and LA, Kaye’s latest stars Adrien Brody, in what might be his best performance to date (yes, better even than The Pianist or Summer of Sam) as a depressed substitute teacher who is determined to avoid getting attached to the students in his charge, the faculty around him, or anyone else as he takes on an assignment at a Long Island high school. However, he soon finds out how hard that is. Further, the faculty (including Marcia Gay Harden, Tim Blake Nelson, Lucy Liu, William Petersen, James Caan, Blythe Danner, Bryan Cranston and Christina Hendricks of Mad Men) all have their own issues, as do the students (including the director’s daughter, debuting actress Betty Kaye as a depressed artistic soul) and hangers-on (including Sami Gayle as a young prostitute he takes off the street) he encounters. The subject matter could scarcely be more fraught or more timely, but the treatment shakes you to your very core. Seek this out.

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Danny Boyle makes a return to the epically-intimate rough-and-tumble style that marked his pre-Slumdog Millionaire (and, thus, pre-Oscar) days with 127 Hours, a markedly different award-worthy take on the astonishing true story of Aron Ralston (James Franco, in a heroically entertaining performance), an aspiring guide and amateur rock-climber who went to the middle of nowhere in Utah one day and fell deep into a cavern only to get his arm caught between – literally – a rock and a hard place. Going days without rescue, Ralston used cleverness, resourcefulness and, in a triumph of the human will to survive, cut through his own arm to free himself! Against all odds, Boyle and screenwriter Simon Beaufoy (The Full Monty) have crafted an often beautiful, surprisingly funny (albeit, gallows-humored) tale, aided and abetted by glorious A.R. Rahman music (as well as the great use of “Never Hear Surf Music Again” by Free Blood over the opening credits; you heard it most likely during the memorable teaser trailer) and wondrous cinematography by the hyperkinetic Enrique Chediak and frequent Boyle lensman Anthony Dod Mantle (put the camera INSIDE a waterbottle as it’s being sipped? Sure, why not!?!). All of this combines for one of the most purely entertaining tales of human perseverance in recent memory.

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Broken Embraces

Broken Embraces Movie Review

R, 127 min, 2009

Penélope Cruz (Lena), Lluís Homar (Mateo Blanco / Harry Caine), Blanca Portillo (Judit García), José Luis Gómez (Ernesto Martel), Rubén Ochandiano (Ray X), Tamar Novas (Diego), Ángela Molina (Madre de Lena), Chus Lampreave (Portera), Kiti Mánver (Madame Mylene), Lola Dueñas (Lectora de labios), Mariola Fuentes (Edurne), Carmen Machi (Chon), Kira Miró (Modelo), Rossy de Palma (Julieta), Alejo Sauras (Álex). Directed by Pedro Almodóvar and produced by Agustín Almodóvar and Esther García. Screenplay by Pedro Almodóvar.

Pedro Almodovar’s Broken Embraces brings his Hitchcockian influence full-circle. From the lush, melodramatic score to the stylish cinematography and the complex plot of adultery, blackmail, voyeurism and crimes of passion. It combines all of these elements that Almodovar favors with perhaps his favorite element: Penelope Cruz. Continue reading

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Taxi to the Dark Side Movie Review

R, 106 m., 2007

Director: Alex Gibney
Writer: Alex Gibney
Stars: Alex Gibney, Brian Keith Allen, Moazzam Begg

Alex Gibney’s Taxi to the Dark Side is a horrifying, unblinking and appalling documentary, confirming your worst fears about the terrible, no-good, very bad things that your government is up to in the name of protecting “freedom.” Continue reading

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Isabel Coixet’s sweet, funny, sad, odd little romantic drama is about a Yugoslavian factory worker (Sarah Polley) who volunteers to nurse a temporarily blind oil rig worker (Tim Robbins) back to health after a blindness-causing accident. The two leads are terrific, giving performances which pulse with tragedy and frailty, and Coixet (“Things I Never Told You,” “My Life Without Me”) crafts a wonderful improbable connection between them.

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Writer-director Jeff Lipsky?s sophomore effort (after 1997?s Childhood?s End) was a delightful, heart-warming, ultimately bittersweet romantic dramedy that literally traced the relationship Stuart (Justin Kirk) and Nicole (Julianne Nicholson) had over the course of a few years, starting with their mutual friends? set-up of the couple on a blind date, moving through marriage and marital troubles, attempted pregnancy, and an ending that is perhaps inevitable, but no less heartbreakingly real for it. A real sleeper!

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Writer-director John Cameron Mitchell?s Shortbus is the director?s brilliant follow-up to his edgy musical comedy, Hedwig and the Angry Inch (2001). This time, Mitchell has cast largely amateur and unknown actors as a group of lonely, sad people post-9/11 who are searching for sex and, ultimately, love. They all converge upon a nightly salon (hence the title), where games, orgies, conversations and art emerge from the miasma to form a sort of sexual underground that deserves to be above ground. Among the standouts in this terrific unknown cast are Sook-Yin Lee as Sofie, a sex therapist who has never had an orgasm, Lindsay Beamish as Severin, the melancholy dominatrix who takes polaroids and labels them in her spare time as an aspiring artist, and Justin Bond as?himself(?), the host and emcee of Shortbus. It?s a remarkably moving, funny and beautiful film to behold! Look for Mitchell in the orgy scene.

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R, 187 min, 1993

Director: Robert Altman
Writers: Raymond Carver (writings), Robert Altman (screenplay) & Frank Barhydt (screenplay)
Stars: Andie MacDowell, Julianne Moore, Tim Robbins

Robert Altman’s Short Cuts, like his early masterpiece Nashville (1975), is yet another epic-length mosaic of dozens of seemingly disparate lives weaving, warping and, yes, occasionally intersecting over a cross-section of a specific time and place (in this case, early 90s Los Angeles). The film, far from the Raymond Carver Country of the short stories (and one poem) on which it is based, trades in the rainy, dour Pacific Northwest for the almost fluorescent aqua blue swimming pools, white stucco houses and picturesque green lawns of suburban Southern California, but its characters embody Carver’s spirit of emotional and psychological nudity and fragility – something Altman has delved into before. Continue reading

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Barfly Movie Review

R, 100 min, 1987

Director: Barbet Schroeder
Writer: Charles Bukowski
Stars: Mickey Rourke, Faye Dunaway, Alice Krige

Anyone can be a non-drunk. It takes a special kind of talent to be a drunk. It takes endurance…

–          Henry Chinaski

Barbet Schroeder’s Barfly is a great comic portrait of the poetic life of a schlub living in the fringe on Skid Row. This film finds romanticism in the daily miasma of sloppy, good-time alcoholism, aided and abbetted by two one of a kind and fearless performances, resulting in a work that is original and utterly entertaining. Continue reading

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John Carpenter’s Assault on Precinct 13 (1976) is sold as some kind of sci-fi action hybrid on its DVD cover, yet it feels like anything but. From its dusty yellow Western look to its urban crime setting to its plot borrowed from Howard Hawks’ Rio Bravo (1959), the film is as modern as can be for its time.

Following the exploits of Ethan Bishop (Austin Stoker), a Los Angeles Police Dept. lieutenant reassigned to the closing Anderson Precinct on its last night in business, the film begins with the mowing down by police of a gang of youths in a stairwell from above – like shooting fish in a barrel. The next morning, Bishop’s radio reports on the shooting, selling it to the public as a gunfight between the (unarmed) gang and the police. From here, an ice cream man paranoidly watches as a youth gang cruises the neighborhood he’s selling ice cream in. A little girl stops with her father while he makes a phone call and one gang member shoots her in the head after killing the ice cream man. Meanwhile, Bishop is already in for a busy night when a prisoner’s illness results in a transfer being delayed at the now defunct Anderson precinct, and legendary criminal Napoleon Wilson (Darwin Joston) is among the transferees. Meanwhile (this whole film takes place meanwhile), the gang is assaulted by the father of the dead girl, who then catatonically runs into the Anderson precinct, and takes refuge while the gang lays siege to the premises.

Carpenter is an avowed Western fanatic, and huge acolyte of Howard Hawks, so perhaps its no surprise that the film has more in common with Westerns than perhaps any other film he’s made, and certainly than most urban crime dramas. From the dusty yellow cinematography and set design inside Anderson precinct before the siege, to the swinging front doors when the mournful father catatonically charges into the place seeking asylum from the gang (who may or may not have been out to get revenge for the police gunning down their friends at the beginning of the film), the film is a Western through and through.

Further, the film takes on some Hawksian relationships between characters. Although Carpenter does away with Julie (Nancy Loomis), one of the department secretaries who becomes hysterical, quite early on in the proceedings, there is a Hawksian woman in the person of Leigh (Laurie Zimmer), who develops a sharp and playful rapport with both Ethan and Napoleon, and can hold her own with weapons – the very definition of one of Hawks’ tough, brazzy females (although she doesn’t get a nickname in lieu of a real name, as they often did).

Politically, the film has something in common with George A. Romero’s Night of the Living Dead (1968) – a black hero in a fairly racist time and place. Indeed, one wonders if the police uniform is the only reason that Bishop is still alive at the end – although that might go against Carpenter’s personal beliefs (however jaded and cynical they may sometimes come across).

Carpenter’s film is not his best work – though as a film it’s more impressive than the clip we saw of his student feature debut Dark Star (1974). Still, in it you can begin to see some of the things that would envelop his career – from the Panavision 2.35:1 cinematography, to the Western tropes, to the simple narrative devices (such as claustrophic siege scenarios) and antagonistic relationships between characters who are on the same side (which reminded me more here of Robert Rodriguez’s From Dusk Till Dawn than some of Carpenter’s work).

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The music strikes an ominous chord and, so doing, literally sets the tone. From the opening refrain of Bernard Herrmann, and the relatively mundane yet oddly foreboding low angles of a Venetian church intercut with slides of a seemingly happy vacation there as the opening credits play. This sets the stage for an overwrought melodrama of such epic proportions that anything less than a psychological bloodbath by the end would be a letdown.

Sure enough, Brian De Palma’s Obsession (1976) delivers. Taking sultry New Orleans as its setting, and entwining its characters in a sinewy plot, De Palma manages to spring a few startling surprises on a jaded, burnt-out audience. The plot concerns, at its “heart,” a land grab on the part of a cynical businessman named Robert LaSalle (John Lithgow in a delicious early villain role), who has long worked with his friend and partner Michael Courtland (Cliff Robertson). Michael, you see, is married to Elizabeth (Genevieve Bujold), and has a daughter, Sandra. Both Elizabeth and Sandra are kidnapped one night and, due to some terrible police advice, Michael fails to pay the ransom money and instead tracks the kidnappers to a hideout, resulting in an explosion which appears to kill both wife and daughter. Yes, I’ve described things a bit backwards because this film makes the most “sense” in retrospect.

Flash forward 18 years and he’s built a monument in a cemetery. Further, Michael’s business is tanking, which LaSalle takes umbrage with. This leads to his meeting and courting of a woman in Venice (Bujold) who looks – wait for it – JUST like his wife! They intend to get married, but LaSalle appears to be opposed and has more than a few tricks up his sleeve (and did all along!) – and for good reason. The last shock isn’t exactly a shock, it doesn’t cheat, and yet it is in such poor taste that you can hardly believe your eyes upon first viewing (and it doesn’t get any easier over time and repeated viewings).

This is the kind of material made for an audience that either accepts melodrama (I grew up with soap operas, so it worked for me), or dismisses it as laughable excess. What I feel most audiences miss out on these days is: that’s ALL part of the fun. Any reaction is valid, from acceptance to laughing (which is, in a way, its own form of acceptance of this material). An audience that takes this with a somber resignation, as opposed to engaging with it and having as much fun as the filmmakers clearly are, is missing out on the “entertainment value.”

As Hitchcockian homage/pastiche goes, De Palma tosses in some Vertigo (1958) here, with Courtland trying to remake his wife from the remarkable visage of his new bride (it’s remarkable for a reason, hint, hint). There’s also a quarter tablespoon of Rebecca (1940, widely viewed as a David O. Selznick picture, not a Hitchcock film; ironically it won Best Picture, one other Oscar, and 9 other nominations!) in that De Palma has the young bride investigate the home of Michael Courtland and look at the master bedroom, the dead wife’s clothes, etc. Perhaps a Mrs. Danvers redux would’ve been too much, but then again “too much” is where this film lives and breathes.

I find it interesting to note that Paul Schrader wanted to make a 3-hour film of his screenplay, with more reversals and double-crosses and repeated sequences sending Cliff Robertson further into insanity. I can’t say if it’d be watchable, but if you’re a fan of overwrought melodrama you’d probably be full as a tick after, no?

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Woody Allen’s second feature film is as all-over-the-place, gag-a-second, and often hilarious as its predecessor. As the film opens, we have an assassination of a dictator on the small Latin American country of San Marcos – covered by ABC’s Wide World of Sports (featuring a must-see bit role for Howard Cossell!). Then things shift to Manhattan, where Fielding Mellish (he looks like his name sounds), played by Allen, works as a product tester. He gets a visit to his apartment one day from a pretty young thing named Nancy (Louise Lasser), recruiting people to sign a petition for intervention in the situations down there, and he’s immediately smitten. Soon they’re dating, attending demonstrations together, and seem very happy. Then she breaks his heart and he decides to prove he cares about her work by travelling to San Marcos, where a rebellion seeks to overthrow the fascist government. Hijinks ensue. Like his debut feature “Take the Money and Run” (1969), this plot is essentially a clothesline for Allen’s patented jokes; nothing is taboo. This is no-holds-barred comedy at its best. The results are mixed, and frequently hilarious. NOTE: Allen took a while to get serious, edging in that direction with Oscar-winner “Annie Hall” (1977) and going full-blown with “Interiors” (1978). He shifted to more polished, thoughtful dramedies such as “Manhattan” (1979), “The Purple Rose of Cairo” (1985), “Hannah and Her Sisters” (1986), “Crimes and Misdemeanors” (1989), “Husbands and Wives” (1992), “Deconstructing Harry” (1997), “Melinda & Melinda” (2004) and “Match Point” (2005).

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Lawrence of Arabia

Lawrence of Arabia Movie Review

PG, 216 m., 1962

Peter O’Toole (T.E. Lawrence), Alec Guinness (Prince Feisal), Anthony Quinn (Auda Abu Tayi), Jack Hawkins (General Allenby), Omar Sharif (Sherif Ali), José Ferrer (Turkish Bey (as Jose Ferrer)), Anthony Quayle (Colonel Brighton), Claude Rains (Mr. Dryden), Arthur Kennedy (Jackson Bentley), Donald Wolfit (General Murray), I.S. Johar (Gasim), Gamil Ratib (Majid), Michel Ray (Farraj), John Dimech (Daud), Zia Mohyeddin (Tafas). Directed by David Lean and produced by Sam Spiegel. Screenplay by Robert Bolt and Michael Wilson (originally uncredited: credit restored in 1978 by WGA), based on writings by T.E. Lawrence.

In an age of films billed as “Cinematic Spectacle,” here is a true cinematic Giant which humbles many films and cuts all the average weekend releases down to size. David Lean’s Lawrence of Arabia is a true epic, with images that awe and characters larger than life. At the age of 50 and a runtime of 216 minutes long, the film is none-too-fleeting but somehow manages to feel both fresh and relatively quick-paced.

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City Lights

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Metropolis Movie Review

UNRATED, 153 m., 1927

Alfred Abel (Joh Fredersen), Gustav Fröhlich (Freder – Joh Fredersen’s Son), Rudolf Klein-Rogge (C.A. Rotwang – the Inventor), Fritz Rasp (The Thin Man), Theodor Loos (Josaphat), Erwin Biswanger (11811 – Georgy), Heinrich George (Grot – the Guardian of the Heart Machine), Brigitte Helm (The Creative Man / The Machine Man / Death / The Seven Deadly Sins / Maria). Directed by Fritz Lang and produced by Erich Pommer. Screenplay by Thea von Harbou, based on her novel.

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