Click here for the flashback interview with Julianne Moore for FREEHELD. Julie Taymor, a visionary director if there ever was one, has done more than merely work around the inherent artificiality of the cinematic biopic. Rather, she has used it to excellent advantage in THE GLORIAS, a consideration of the life, and political education, of… Read More »
SUBURBICON
Chekov’s three sisters had their dream of a perfect life in Moscow. The increasingly desperate and frazzled denizens of SUBURBICON have Aruba, a place where the food is exotic, the golf is for couples, and the long arm of the law cannot reach them. Alas, this deliciously stylized evocation of the dark side of the… Read More »
MAGGIE’S PLAN
The eponymous Maggie of MAGGIE’S PLAN is a wisp of a winsome waif, a college career counselor with a gentle demeanor and a determined resolve that can move mountains. As played with a solemn quirkiness by Greta Gerwig, she is a woman who aims to live both honestly and ethically. Alas, her aim is less… Read More »
THE HUNGER GAMES: MOCKINGJAY — Part 2
THE HUNGER GAMES may be based on a wildly popular young adult series of novels, but the film adaptations have always tackled issues that are powerfully adult and presented as such. Set in an unspecified future, the class system has run so wild that the life and death of the proletariat class has become institutionalized… Read More »
Julianne Moore is STILL ALICE
It starts with a slip so small, so subtle, that it goes unremarked by everyone present. At the birthday celebration for Alice Howland (Julianne Moore), her rejoinder to a question about the sibling rivalry between her two daughters concerns her relationship with her own sister, now deceased. It is a moment that evokes what is… Read More »
THE HUNGER GAMES: MOCKINGJAY — PART 1
THE HUNGER GAMES: MOCKINGJAY — PART 1 is not unlike its iconic heroine, Katniss Everdeen. It’s bold, headstrong, no-nonsense, and impatient to get on with things. It begins almost directly from whence the last installment of the saga left off, and with little if any exposition about anything that happened before. For example, why those… Read More »
BLINDNESS
BLINDNESS, based on the novel of the same name by Jose Saramgo, takes away one of the five sense in order to examine the larger picture of humanity. It’s not the newest of conceits, nor is it the most original. Removing one item from ordinary life and speculating on the outcome is a time-honored premise.… Read More »
SINGLE MAN, A
Colin Firth delivers a towering performance in Tom Ford’s adaptation of Christopher Isherwood’s A SINGLE MAN. The novel’s interior monologue has been externalized as an haute-couture fashion shoot, familiar territory for the fashion designer turned filmmaker. Instead of a cheap gimmick or a cheesy idiom, though, it’s the perfect subjective palette on which to play… Read More »
THE HOURS
THE HOURS begins with a suicide, a famous one at that. Virginia Woolf with a fierce deliberateness puts a heavy stone in her pocket and walks into a river. We see her head duck silently into the water and then her body floating delicately away, pulled by the current with a gentle urgency. By the… Read More »
FREEDOMLAND
In FREEDOMLAND, Samuel L. Jackson’s character, Lorenzo, spends a great deal of time professing his belief in God. There is nothing in his life or in the lives of anyone around him that would back up that belief, never mind that at one point he proclaims that after 22 years of being a cop, he… Read More »