FATALE is a densely plotted and devilishly twisted erotic fantasy of a noir. Filmed with self-conscious style, it offers a variation on FATAL ATTRACTION that is not without merit, yet with a bemused view of womanhood that gives one pause. We are firmly ensconced in the, admittedly noir Madonna/whore paradigm here, but making a woman… Read More »
It begins with Kristen Scott-Thomas, in stark black-and-white, answering her door, hair askew, elegance frayed, eyes wild. She points a handgun right at the camera.
The first thing I asked Thomas Torrey when I spoke with him by phone on February 23, 2017, was whether shooting his film, FARE, in three days, and entirely within a car, was necessity or personal challenge. Once that was out of the way, we went on to talk about the odd sort of intimacy… Read More »
LOUDER THAN BOMBS begins with a perfect picture of family love. Jonah (Jesse Eisenberg) is marveling at his newborn as his wife Amy, (Megan Ketch) looks on beaming. Jonah is beaming, too, and he is aghast that he has forgotten to bring his wife the food she had requested when she discovered that the hospital tray… Read More »
All credit to director Sarah Gavron and company for taking on the task of adapting “Brick Lane”, Monica Ali’s finely realized novel to the big screen. They’ve made bold cuts, condensing the story, but not the emotions, and distilling from it the essence of a woman’s journey from darkness to light. The darkness is the overwhelming… Read More »
When I spoke to Sarah Gavron at the San Francisco International Film Festival on April 25, 2008, her film, BRICK LANE, was screening and she was anxious to find out what Bay Area audiences would make of it. She needn’t have worried, but then, worry was part of the process of bringing Monica Ali’s novel to… Read More »