Review: Manchester by the Sea

With writing credits for GANGS OF NEW YORK and YOU CAN COUNT ON ME under his belt, Kenneth Lonergan seemed to suddenly go quiet on the Hollywood front. But after a few years of silence, he is thankfully back with MANCHESTER BY THE SEA, a poignant story grappling with the affects of death and grief.

Casey Affleck plays Lee Chandler, a standoffish handyman in Boston who struggles to garner a likeable reputation on the job and off -- or maybe it's not a struggle at all, but a goal, as he fishes for bar fights and generally tries to avoid any sort of emotional connection.

When Lee's brother, Joe (Kyle Chandler) dies of heart failure, Lee drives to his hometown, Manchester-by-the-Sea -- yes, that's actually the name of the town -- to become the unwilling guardian of Joe's 16-year old son, Patrick (Lucas Hedges). It's not that he doesn't love his nephew; it is his tragedy-torn past that makes him so hesitant... a past which the town keeps whispering about every time he walks through the door.

The film fleshes out Lee's life in an array of flashbacks which show his relationship with Joe and Patrick (whose younger self is played by Ben O'Brien), and with his ex-wife, Randi (Michele Williams). But in contrast with these familiar, seemingly happy memories that Lee keeps reliving, there is one memory in particular that explains his current behavior. I'll let the film divulge that secret for you, but suffice it to say that it adds another layer to the emotional turmoil that Lee must now deal with.

MANCHESTER BY THE SEA is a compelling and true-to-life snapshot of the mourning process, as each character finds a way to deal with their grief. As much as Patrick would deny needing the help, he must lean on Lee, the more experienced in heartbreak, to navigate his father's death and continue on in life. But for Lee, this seems to just be an extension of what he thinks he deserves.

The performances in this film are stunning. Affleck adds such nuance to the stoic mask that Lee wears, and Hedges is a pleasant surprise for such a new actor. Chandler, Williams, and C.J. Wilson round out the supporting cast, though at least in the case of Chandler and Williams, they can hardly be counted as supporting roles due to their integral twining of the plot.

This film is in the race to pick up a few nominations for the Academy Awards. MANCHESTER BY THE SEA is now playing at Midtown Cinema!

Review: Moonlight

Despite the gains that have been made throughout the world for gay rights, there is still a lot of backlash and hatred for those who have come out, and there is still a heavy burden placed on those who have yet to come out. This may be especially true for members of the black community, who already have the deck stacked against them as minorities, and have the addition layer of adhering to society's skewed view of black masculinity.

Barry Jenkins' newest film, MOONLIGHT, is a chance to shake things up. Following a boy named Chiron, the film portrays the life-long struggle that he has in coming to grips with his sexuality. The story is segmented into three parts: childhood, adolescence, and adulthood.

Nine year old Chiron, more commonly called "Little" (Alex Hibbert), is the target of the other kids' torture, though he isn't sure why. When Little gets chased by some neighborhood bullies, he runs into Juan (Mahershala Ali), a crack dealer with a heart of gold, and his girlfriend, Teresa (Janelle Monáe), who let him stay the night at their house. The love they bestow on him is plentiful compared to what he gets when he returns home to his emotionally abusive mother, Paula (Naomie Harris).

Little also has a friend named Kevin (Jaden Piner), who tells him to show the other kids he isn't "soft". Later, when Chiron (Ashton Sanders) and Kevin (Jharrel Jerome) are 16, they have an intimate moment -- Chiron's first intimate moment with a member of the same sex. But this moment is later ruined by school bullies, and a betrayal by Kevin.

Chiron moves to Georgia, giving himself a chance to "start over" -- he calls himself Black (Trevante Rhodes) and ends up in the same industry as his past father-figure, Juan. But a random phone call from Kevin (André Holland) brings him back home to face his inner turmoil head-on.

This is a beautifully told, honest character study, revolving around a search for a man's personal identity and understanding of black masculinity. Each and every cast member is dynamic in their role, and though there are times when the cinematography tries to overshadow the story, the slow-paced plot gives us a chance to really sink our teeth into these characters.

It is rare to see a story come to life as easily and meaningfully as MOONLIGHT does. Now playing at Midtown Cinema! Don't miss this one.

Review: Certain Women

If you're a fan of action-packed, story-driven films, you probably don't want to watch CERTAIN WOMEN. If you don't want to spend an entire film just getting to know characters, this film isn't for you. But Kelly Reichardt's latest film, featuring three individual stories of women in Montana, is a beautiful look at modern women and their quiet struggles.

These women's stories are divided into the film's three acts -- it's more a collection of short stories than a cohesive ensemble piece, thought it does come back around to connect the stories at the end -- and focuses on the women's daily lives and struggles. Each story centers around women stuck in their situations: the first story portrays a lawyer named Laura (Laura Dern) whose latest client's inability to come to grips with his own circumstances causes him to use Laura as a tool to get what he wants; in the second act, Gina (Michelle Williams) hopes to purchase some large, unwanted rocks in her neighbor's yard to incorporate them into the house her family is building, but worries about his response if she asks instead of her husband; and in act three, Lily Gladstone and Kristen Stewart play opposite each other as a rancher whose job has left her with little social interaction and a new lawyer who got roped into a teaching job four hours' drive from her law firm -- the two of them strike up an unusual relationship which consists entirely of mixed messages and loneliness.

The film moves along at a glacial pace, but is brimming with subtext, right down to the "meaningless" conversations about coyotes and horses. What a beautiful way to spend two hours... CERTAIN WOMEN is now playing at Midtown Cinema!

Review: Denial

There is a list of claims that Holocaust deniers typically adhere to in their statements: 1) that the killing was not systematic, 2) that the numbers were exaggerated, 3) that Auschwitz was not built for extermination, and 4) that the Holocaust was there for a myth -- so that Jews could receive pity or funding because of it.

Historian Deborah Lipstadt scoffs at all these claims. In Mick Jackson's latest film, DENIAL, based off of Lipstadt's book, "My Day in Court with a Holocaust Denier", Lipstadt (played by Rachel Weisz) does exactly what the title reflects: known for refusing to debate those who deny the Holocaust actually happened ("I won't debate fact," she says), she finally finds an exception in John Irving (Timothy Spall), a denier and Hitler enthusiast who sues Lipstadt for libel, saying that she is part of a worldwide conspiracy to rob him of his reputation.

Lipstadt turns to Anthony Julius (Andrew Scott) -- a litigator known for working with Princess Diana on her divorce case -- who quickly puts together a legal team to take the case, led by Richard Rampton (Tom Wilkinson). But Julius and Rampton want to do things a little differently than how Lipstadt expects: they don't want to call any Holocaust survivors to the stand as witnesses, instead deciding to veer the case away from proving the Holocaust's viability and focusing the trial on Irving's credibility -- prove that he got facts wrong intentionally, they say, and the case is won.

The juxtaposition of Julius and Rampton's cold, calculated litigation and Lipstadt's fiesty, outgoing personality is startling at first, but provides a nice contrast in a story that borrows its structure from films like last year's SPOTLIGHT: the team deals with nothing but the facts, yet the social implications are still powerful. Weisz adds the zest needed to make DENIAL stand apart, though perhaps the fast-moving pace of the story prevent her from that next level of memorability in this particular role. There are, however, some powerful scenes, particularly the one in which the team visits Auschwitz, taking one of the few still, slower-paced moments in the film to reflect and remember.

This is an interesting watch! DENIAL is now playing at Midtown Cinema.

Review: Queen of Katwe

"In chess, the small one can become the big one."

Disney has always gravitated towards the story of the underdog: climbing up from the depths of adversity, and proving to the world that they are worth something. And Mira Nair's QUEEN OF KATWE holds true to this theme -- telling the true story of Phiona Mutesi (played by Marina Nalwanga), a young girl who rises from the slums of Uganda to become a chess master, this story has inspiration steeped in its bones. But it's got more up its sleeve than warm and fuzzy feelings... it actually lets Western civilization get a glimpse of the social landscape of Uganda through a lens other than its own.

Phiona lives with her mother, Nakku Harriet (Lupita Nyong'o) and brothers in Katwe, a slum on the outskirts of Kampala, trying to make ends meet by selling maize on the street. One day, her brother Brian (Martin Kabanza) shirks his duties to play with some kids at a local chess club in the neighborhood, and Phiona follows him. Despite the other children's insistence that Phiona stinks, she begins to learn the game, cleaning herself up and stubbornly sticking to it; and pretty soon, she's beating the regulars, and pulling tricks out from her head that the club's coach, Mr. Katende (David Oyelowo), has only seen in books.

The rest of the story details the discipline and excitement that Phiona experiences as the kids enter tournaments -- Benjamin (Ethan Nazario Lubega) and Ivan (Ronald Ssemeganda) follow Phiona further and further into competitions -- and the struggle that her family has in keeping their heads financially afloat. Each and every character adds their own nuance of life into the story, whether it is a lesson in humility, commitment, or confidence.

The film shows with such sharp clarity what life is like for young Phiona: vendors sticking their products into car windows to make a sale; men driving their boda-bodas (motorcycles); carrying the brightly colored plastic jugs to collect water; the treasure of a song being sung during dinner. Even the opening logo has that reggaeton music playing in the background. You will hear words like "sebo" and "nyabo" ("sir" and "madame" respectively), and delight in the mannerisms that are so prevalent in Uganda. While there are some moments throughout the film that give a slight overdose of melodrama, the atmosphere rings true: this film will transport you.

Nyong'o and Oyelowo, of course, give esteemed performances, but credit must be showered on the new talent in this ensemble: Nalwanga and the rest of the chess club are phenomenal. And the well-chosen cast is just a part of what makes this film stand out from all the other feel-good Disney movies of the past. While the "underdog" stories have always thrived on Disney's doorstep, this is the first time a representation of Africa has been given that is not dependent on Western civilization: miraculously, there are no white saviors in this film. Perhaps this is because it is helmed by a director who actually lives in Uganda, and has a connection to the people and culture. This is why the film strikes so true: its depiction of Uganda is seen through the eyes of locals, and not just some touring Hollywood executives.

Let's hope that more good films are made in Uganda and the surrounding countries that represent it in cast and in story just as much as QUEEN OF KATWE does... You won't want to miss this film. Now playing at Midtown Cinema!

Review: The Birth of a Nation

We've been hearing about this film since it made waves at Sundance; borrowing the name of D.W. Griffith's 1915 movie to make a statement, director Nate Parker's THE BIRTH OF A NATION has kept our attention since it made waves at Sundance. And with the formation of the Black Lives Matter movement and the constant occurrences of police brutality and political drama, this film has perfect timing.

The film follows the story of Nat Turner (played by Parker), a literate slave who led a revolt against the white slave-owning families in Southampton County, VA in 1831. It's a violent tale, which is not glazed over in the film: once the rebellion occurs (and in a few scenes prior), there are moments that borrow their tone straight from horror films, unapologetic in their gore.

But for the first three quarters of the film, the story focuses on the buildup. Since he was a little boy, Nat has lived on the Turner Plantation, owned by a family (whose last name he has taken) that has always seemed to keep conditions a little more humane than the surrounding plantations -- they still treat them as lower beings, but there is a certain lack of assault and removal of human rights that puts them a notch above the others. Unfortunately, this progressive act has made them a laughing stock to the rest of the county. But when Samuel Turner (Armie Hammer) decides to pay off some debts by renting Nat out as a traveling preacher to the slaves in neighboring plantations, something begins to shift: what at first makes Samuel resort to alcohol soon becomes a tactic he's willing to try to take back his family name.

But Nat, who was told since he was a little boy that he is a prophet, believes that God is telling him to take action. After his wife, Cherry (Aja Naomi King) is assaulted by white slave drivers, and Samuel allows a guest to have his way with another slave on the plantation, Nat calls together a group of men to rebel.

Let's back up for a moment. The idea of Nat as a prophet is not taken lightly in the direction of this film. In real life, Turner would speak of visions that he had from God, and would preach to his fellow slaves; while the film curtails the idea of Nat having visions, there is certainly enough divine imagery sprinkled throughout the film to nod to this detail of his history. The cold, harsh truth of slavery is paired with fleeting, fantastical dream sequences, revealing nearly angelic qualities in this young preacher. While the fact that some of these artistic decisions seem to regard Nat as a savior instead of the leader of a movement seems a little bit of a stretch for me, it certainly paints a picture of Nat's spiritual commitment, and his commitment to the cause.

THE BIRTH OF A NATION is now playing at Midtown Cinema! Come watch a shoo-in for an Oscar nomination.

Review: The Innocents

"Faith is 24 hours of doubt and one minute of hope."

This honest description comes from a woman wracked with trauma and hiding in secrecy -- from a nun, in fact. Director Anna Fontaine's THE INNOCENTS explores a too-real, overwhelmingly solemn experience, based on real events, which hope to remind us of the truth behind this statement.

Mathilde Beaulieu (Lou de Laâge) is a young doctor working for the French Red Cross in Poland, 1945. When a nun comes to the door of a survivor camp at the end of the war, Mathilde discovers a world constructed by nightmares: in the nearby convent, several nuns are in advanced stages of pregnancy, a result of a night in which German soldiers attacked the convent 9 months previous. Mathilde agrees to help the nuns in birthing the babies, and to keep their secret.

What an emotionally brutal, complex story to bring to the big screen, and yet it is handled with such sensitivity. The plot unfolds with as much prudence as can be hoped for, not forceful in its procedure but simply allowing the audience to uncover the horror of the situation themselves. Fontaine gives a devastating look at the inner turmoil of these nuns as they struggle with their faith and outward perception, not to mention PTSD from the rapes, throughout the film.

De Laâge shines in her performance, serving as the surrogate for the audience while simultaneously tackling her own arc. Agata Buzek and Agata Kulesza (who we've recently seen in last year's IDA) give beautiful performances as well, handling their characters' circumstances with great delicacy.

This is a film you won't want to miss. THE INNOCENTS is now playing at Midtown Cinema!

Review: The Hollars

He gave us BRIEF INTERVIEWS WITH HIDEOUS MEN back in 2009, and as many directorial debuts can be, the result was uneven and lacking in authority. Now, John Krasinski has helmed another film, and while THE HOLLARS is endearing, it doesn't show a lot of growth in direction.

John Hollar (Krasinski) has an eccentric family. His father, Don (Richard Jenkins) cries at the drop of a hat; his brother, Ron (Sharlto Copley) is in his 30s and has the responsibility of a child; and his mother, Sally (Margo Martindale)... Well, Sally just found out she has a brain tumor.

John travels back to his childhood home, leaving behind his pregnant girlfriend, Rebecca (Anna Kendrick), to be with his family. But when he arrives, he is bombarded by the mess that his family has created around them. Ron has divorced his wife (Ashley Dyke) and is slowly being driven crazy by her new Reverend boyfriend (Josh Groban), and Don can't keep the family business from sliding into bankruptcy. Sally's nurse (Charlie Day) is now married to John's ex-girlfriend, making things a little awkward for John, who is already feeling anxiety about his and Rebecca's relationship.

The characters in the story are brilliant, and transparent to a fault. Unfortunately, there seems to be a lot of comedy for the sake of comedy in THE HOLLARS. The plot seems to be staged around gimmicks, and the more poignant moments of the film are sometimes a little bit clumsily juxtaposed with the latter.

But there are nuggets dispersed throughout the film that make up for the uneven pacing and cartoonish humor. The story may have its flaws, but the characters are still relatable. For a fun watch to bide the time until Oscar contenders start cropping up, check THE HOLLARS out at Midtown Cinema!

Review: Morris From America

No one wants to reminisce about when they were thirteen years old.

In fact, no one wants to be thirteen years old; especially when you're moving to a new neighborhood -- scratch that, new country -- and are going to be the only black kid in town. That pretty much eliminates any initial chances of fitting in.

Morris (Markees Christmas) has this problem. In director Chad Hartigan's newest film, MORRIS FROM AMERICA, we see the pinnacle of awkward middle school angst: Morris and his father, Curtis (Craig Robinson) have just moved to Heidelberg, Germany for Curtis's job as a professional soccer coach. Morris doesn't want to be in Germany; Morris wants to be back in the States, working on his dream of becoming a rapper. There's no way he wants to put himself out there, barely knowing the language, and make friends. But when even his language instructor, Inka (Carla Juri) tells him that he needs to go out and meet people his own age, Morris decides to go to the local youth club.

Almost instantly, Morris meets a girl. For a thirteen year old, puppy love is a big deal, and when Katrin (Lina Keller) pays attention to him, it's an even bigger deal. But Katrin hangs with a racy crowd, and the more Morris wants to be cool (in tune with his "gangsta rapper" ambitions), the more trouble he finds himself in.

Hartigan gracefully meshes relatable characters with unique circumstances, resulting in a completely fresh perspective for this coming-of-age story -- while it is already natural for a thirteen year old to feel alienated, the scenario is a little more stacked for Morris as he is thrust into a completely different world. And the relationship between Morris and his father feels completely natural and ingrained -- there is still the stern quality of parenthood in Robinson's performance, but it is clear that father and son are also friends. This is largely due to the chemistry that Robinson and Christmas bring to the screen: they are perfectly cast.

With its high energy and realistic undertones, MORRIS FROM AMERICA is a delight. Starting 9/9 at Midtown Cinema!

Review: Swiss Army Man

There's an initial strangeness in seeing SOS messages scrawled on old tin cans and chip bags -- messages like "Help" and "I was on a boat and got lost" and "I AM SO BORED". The idea of needing to send for help in a place that there is so much garbage triggers wonder at what kind of "alone" this stranger really is.

That stranger is Hank (Paul Dano), a young man who has run away from home and gotten himself stranded on an island. Just as he is about to give up and end his own life, he sees a body in the distance; and though it is a dead body washed up on shore (played by Daniel Radcliffe), this corpse seems to have some magical qualities which Hank is not sure are real or if he's just hallucinating from starvation. It starts with a fart -- a really, really long fart -- that prevents Hank from killing himself, and continues with various functions that should never come from a dead body, until finally, the dead body speaks. And his name is Manny. And Manny is the SWISS ARMY MAN.

Written and directed by Daniel Scheinert and Daniel Kwan, the story unfolds to reveal a beautiful friendship. Hank knows Manny can help him survive and get back home, and so he begins the tender yet hilarious process of trying to trigger his dead friend's memories, which seem to enliven him enough to be more helpful. And so ensues a bizarre and wonderful relationship between two men, one struggling to live, and one struggling to... well... live.

The beauty of this movie is that it is inherently silly, and yet also full of vibrancy and meaning. Never again will a movie that is so actively about farts move you in such a heartfelt way. There are several details about the plot that don't quite add up, but at some point, it doesn't really matter. Its magic realism sweeps you into that safe place of suspended disbelief where it becomes more about the dynamic between the two characters and the lessons that they learn than it is about the logistics of where they are or what is actually taking place.

Dano and Radcliffe are like long lost brothers in this film, lighting up the screen with their characters; and the soundtrack is enthralling. Composed by Manchester Orchestra, the music consists of interactive a Capella -- the characters actually contribute to it -- with an incredible energy to it. Hank likes to sing to himself; his songs are like Manny's flatulence, in that they just come out, and that they are intrinsic to his survival and emotional wellbeing. If that sounds ridiculous, that's because it is. And that's what makes it so enjoyable.

You don't want to think too much before watching this movie. To overthink it would be to belittle the comic value and the sincerity of the characters. Just sit down and enjoy it. SWISS ARMY MAN is playing at Midtown Cinema starting 7/8!

Review: Maggie's Plan

From the pen and direction of Rebecca Miller comes a lighthearted, jaunting depiction of the phrase "It's complicated" -- a film entitled MAGGIE'S PLAN, with Greta Gerwig as the title role.

Maggie is in her twenties, and wants a kid now. She doesn't want to wait until she is old and desperate enough to have to "resort" to artificial insemination -- she just wants to do it now, so that it's a choice. Her best friend, Tony (Bill Hader) is directly against this idea, telling her she should wait; but she has already found someone willing to donate his sperm -- a math major-turned pickle salesman named Guy, whose over-eagerness somehow trumps his social awkwardness.

Maggie meets John Harding (Ethan Hawke) when she accidentally receives his check from the university they both work at. She soon learns that John is the "bad boy of fictocritical anthropology", and is stuck in a crumbling marriage with Georgette (Julianne Moore), a French woman in the same field who breaks out in hives at the slightest stress. When John approaches Maggie with the first chapters of the book he is writing (which is essentially modeled after his own life), the two begin a spiraling relationship that leads to an affair and, ultimately, Maggie's disposal of the artificial insemination idea in favor of having a child with John.

But here's where things begin to get crazy. The story abruptly hops to three years later, when Maggie has discovered John's selfishness and her own desire to be free of their relationship. So, with the help of Georgette, she devises a plan to kindly rid herself of him.

The plot is a bit jumbled at points, and certainly has its faults -- almost immediately we get an earful of exposition, and there are moments when the dialogue doesn't visually match the emotions portrayed by the cast -- but the story is so charming and meandering, it works. It is genuinely entertaining, with the same off-kilter energy that Gerwig has laced into all of her performances. Moore will simultaneously make you laugh and sympathize, and Hader and Maya Rudolph strike a match as Maggie's married best friends. The characters in this film are larger than life, make no mistake -- but they all hold enough of a nugget of truth that they are relatable and likeable.

MAGGIE'S PLAN will make you laugh, and reflects the ever-so human quality that humans boast in trying to control the people around you. The film starts June 10 at Midtown Cinema!

Review: Love & Friendship

Jane Austen finally gets her comedy on the big screen. Adapted from her novella, "Lady Susan", Whit Stillman's self-aware LOVE & FRIENDSHIP does the late author justice, though dragging a bit at times.

Lady Susan (Kate Beckinsale) is often described as the "most accomplished flirt in England" -- widowed and with a teenage daughter, Frederica (Morfydd Clark), whose life she tries to control for her own benefit, her current game is playing the system to make a married man jealous. She does this by flirting with Reginald DeCourcy (Xavier Samuel), a younger man who is easily swayed -- and simultaneously, trying to set her daughter up with a silly man whom Frederica cannot stand.

Almost immediately, the film is saturated in a kind of self-aware humor, introducing the characters like a Victorian soap opera with little spotlights and titles as they stare off into the distance. The story is not shy in assuming the self indulgence of those in aristocratic society, and the film's ability to laugh at itself continues somewhat sporadically throughout the story, as its protagonist (though certainly not the hero) allows her antics to become more and more ridiculous.

Beckinsale and Clark are superb, as is Chloe Sevigny as Lady Susan's best friend, Alicia Johnson. You will see Stephen Fry pop into the frame a couple of times, as well as Jemma Redgrave -- but the story gives way to a few lesser-knowns who own the screen.

While the situational humor is present and flourishing, there is a certain lack of empathy for the characters -- you never quite get close enough to any of them to do more than sympathize for them. Perhaps it is the way that the form matches the frills on their petticoats, but LOVE & FRIENDSHIP is enjoyable mostly in the way that it ruffles your feathers, providing an opportunity to laugh at these selfish characters' games.

Come check out Jane Austen's humor for yourself -- LOVE & FRIENDSHIP starts at Midtown Cinema on May 27!

Review: The Meddler

Everyone's worst nightmare is a meddling mother, especially one who's got nothing else better to do. Writer/director Lorene Scafaria's THE MEDDLER boasts just such a character -- but carefully extricates her from her stereotypes to reveal her lovable qualities.

Our first glimpse of Marnie is in bed -- surrounded by bright yellow bedding, she lies in bed, staring solemnly at the ceiling fan. This is the quietest you will see Marnie (Susan Sarandon), for almost immediately, her cheery New Jersey accent floods the speakers, introducing a flashy, sunny Los Angeles -- Marnie is exploring her new home, to which she has just moved in order to be closer to her daughter, Lori (Rose Byrne). It seems that Marnie's life revolves around talking -- voicemail after voicemail (which she graciously bestows upon her daughter's cell phone) describes Marnie as ready to embrace this new page in her life -- a page that is made possible by her deceased husband's money.

As we begin to see this vibrant yet overbearing mother in her new habitat, the story quickly becomes clear: Marnie fills her time with busybody tendencies, preferring to meddle with other people's lives than deal with her own ("Basically, I feel great!" she repeats several times throughout the film, often coupled with a bit of advice that was not asked for). From commandeering her daughter's social life to financing and planning a complete stranger's wedding, Marnie has a heart of gold, but she doesn't realize how deep she's getting herself (and others) into messes.

The performances in this film are spectacular -- Sarandon delightfully handles the complexities of a woman juggling loneliness and fear, and Byrne plays the quintessential depiction of mortification, while still allowing for connections throughout the film. Sarandon also brews some great on-screen chemistry with J.K. Simmons as the "biker teddy" love interest, Zipper. The characters are tangible and relatable, and while there are a few too many plot points crammed into the story, the core is worthwhile.

It's not the perfect flick, but it's fun and engaging -- THE MEDDLER starts May 20th at Midtown Cinema! Be sure to check it out!

Review: The Man Who Knew Infinity

Based on a true story, Matt Brown's THE MAN WHO KNEW INFINITY may try a little too hard at times, but it will still stir your soul.

The story follows Srinivasa Ramanujan (Dev Patel), a young man in Madras, India, who has no formal education to his name, yet harbors a brilliant mind, seeing mathematical equations like they are paintings. Ramanujan is desperate to publish his work, but continually hits dead ends -- until he receives a letter from G.H. Hardy (Jeremy Irons), a professor at Cambridge University. Hardy takes the ambitious mathematician under his wing, bringing him to England to get published.

There are complications -- many at the university look down on him for being a foreigner, and he has the additional tax of being separate from his wife -- their culture technically forbids them to cross the seas. And Ramanujan and Hardy's differing personalities are a point of contention: while Hardy calls himself an atheist, relying heavily on proofs, Ramanujan believes his abilities come from God, and is very reluctant to prove himself by finding the proofs that Hardy demands of him.

Though the film gets slightly over-sentimental at times, Ramanujan's journey is a fascinating story of passion and prayer. Backed by a stunning Indian soundtrack, the film is beautifully shot, and gives you a snippet of history. THE MAN WHO KNEW INFINITY starts May 13 at Midtown Cinema!

Ramanujan loves form for its own sake -- "an art unto itself," Hardy describes.

Review: Elvis & Nixon

One of the most requested photos from the National Archives is that of Richard Nixon and Elvis Presley in the Oval Office. There is not too much of a recorded account of what happened while he was there, but the scant details provided by those who were present for this bizarre event have now been made into a movie. A fabulous movie.

Amidst a sea of bungling joke-fests that favor shock value over situational comedy, what a refreshing comedy we have in ELVIS & NIXON. The film, directed by Liza Johnson, takes two larger-than-life figures, extracts the humorous dynamics that such characters could foster, and blends the two together with juxtapositionally hilarious results.

Elvis (Michael Shannon) is a quiet, cavalier man who doesn't seem to quite have a grasp on priorities. His closest friends, Jerry (Alex Pettyfer) and Sonny (Johnny Knoxville), know it, and do everything they can to prevent Elvis from knowing it too. This trio seems to have taken some time apart, but now reunites for a jaunt to Washington, DC, where Elvis would like to become a "federal agent at large" ("Is that a real title?" is the question of choice from many people in the Oval Office throughout the film). He strives to arrange a meeting with President Nixon to get a badge from him so that he can help the youth of America.

Nixon (Kevin Spacey), on the other hand, wants nothing to do with Elvis. But Egil "Bud" Kogh (Colin Hanks), White House Deputy for Domestic Affairs, and Dwight Chapin (Evan Peters), Deputy Assistant, convince him that it will be a good idea -- perhaps they think it will be good for the President's image, or perhaps they just want to meet the King.

The entire film is one big shenanigan -- though not without its somber moments -- culminating in a satisfying glimpse of what this moment in history might have been like. Shannon runs the show, though Spacey, Hanks, and Pettyfer give great performances as well. The real beauty of the story is watching Presley and Nixon butt heads, and the constant confusion of the names "Mr. President" and "Mr. Presley" escalates the clash of power that these characters experience in their meeting. Even more enjoyable is watching each and every ridiculous reaction of the supporting characters when they meet Elvis.

Overall, this is a delightful film -- one you should be sure not to miss. ELVIS & NIXON starts May 13 at Midtown Cinema!

Review: Papa Hemingway in Cuba

Imagine having Ernest Hemingway as your mentor. It would probably lead to a pretty good story, right? In the case of writer Denne Bart Petitclerc, who could actually say that the former was true for him, it is surprising that the latter is not so true -- at least not in this adaptation.

PAPA HEMINGWAY IN CUBA, the first film shot in Cuba since the revolution in 1959, has all the qualities of a good story, but seems to be disassembled. Giovanni Ribisi plays Ed Myers, a reporter for the Miami Globe in the late 1950s. In a voice-over narration typical of a memoir, Ed describes the events that led him to meet author Ernest Hemingway (Adrian Sparks). The events match the experiences of the late Petitclerc: he writes Hemingway a letter, describing how the author inspired him to the point where he is today, but he doesn't send the letter -- until his girlfriend, Debbie (Minka Kelly), sends it for him.

In a surprising turn of events, Hemingway responds, calling Ed up and inviting him to Havana to go fishing. This is the start of a mentoring relationship, as Ed continuously travels to visit Papa -- as Hemingway ask him to call him -- and his wife, Mary (Joely Richardson), in effect snubbing Debbie as she tries to connect with him. In several sentimental scenes, Ed describes how he learned to write through Hemingway, learning spelling and grammar by copying his works. But things in Havana are not as perfect as they seem -- as Ed gets to know his new mentor, he realizes that the man's mental health engulfs him -- and the government's plot to ruin the famous author also comes into play.

Petitclerc may have mastered grammar and spelling from Hemingway, but he certainly didn't learn about plot structure. For the first hour of the film, there is essentially no conflict; and the second hour consists of several conflicts vying for attention. Not only that, but the characters' development is weak -- Ed is a pretty flat character, despite a few scruffy attempts to give him an arc concerning marriage and commitment, and Hemingway himself has no immediate impact upon introduction. There are a few good one-liners, and some pretty Havana scenery, but overall, the film is significantly underwhelming -- an irony given that it's about one of the most celebrated authors in American history.

One can only hope that Ribisi and co. find better crafted roles in the future. For those who love Hemingway, you may get a small nugget of enjoyment from watching, but don't expect to be wowed. PAPA HEMINGWAY IN CUBA is playing at the Midtown Cinema starting April 29th.

Review: Louder Than Bombs

When a loved one dies, grief tends not to come all at once. Years later, you may feel stricken with the sudden memory of that person, or perhaps it has been a constant for all those years. This concept is played out in director Joachim Trier's LOUDER THAN BOMBS, a story of a family grieving their lost loved one.

After a lifelong career in photojournalism, Isabelle (Isabelle Huppert) quit to be with her family -- and after a short time, died in a car crash. The suspicion that her death was a suicide is kept quiet by her family -- her husband, Gene (Gabriel Byrne), and her oldest son, Jonah (Jesse Eisenberg) -- though her youngest son, Conrad (Devin Druid), has been told that it was an accident. When a friend of the family (a journalist who traveled with Isabelle) decides to write a retrospective article sharing this information, Gene and Jonah must decide how to tell Conrad the bad news.

What follows is a very powerful story with fascinating characters. With a multitude of shades, there is undoubtedly a character that you will relate to: the single father desperately trying to connect with his son; the boy trying to sort out his weird, adolescent feelings and teenage angst; the young man trying to avoid his new family to wrestle with the past. None of them are perfect -- but all of them are painfully real.

The cinematography sets a very intimate atmosphere, a decision not unfamiliar to Trier, whose past work (OSLO, AUGUST 31ST) is just as powerful. The only drawback to the film is its use of dreams, which narratively are used to tap into characters' inner conflict, but which never go beyond the conversations into which they are introduced. But it allows for quiet moments amidst the cast, who meshed beautifully. Byrne and Druid give compelling performances, but Eisenberg steals the show, giving possibly the most complex performance of his career with a character who is so easily lovable and hatable all at once.

This isn't a happy film, by any means, with a cut-and-dry story -- but it is a refreshing glimpse into reality. LOUDER THAN BOMBS is playing at Midtown Cinema starting 4/22!

Review: Remember

There will always be films involving the Holocaust, or at least its survivors. But sometimes, a story surfaces that departs from the formulaic Holocaust story that so many filmmakers gravitate towards. This is the case with REMEMBER, director Atom Egoyan's latest drama/thriller.

Zev (Christopher Plummer) is one of the few remaining survivors of Auschwitz. We first meet Zev in a nursing home about a week after his wife, Ruth, has died. One of the other men in the home, Max (Martin Landau), who was also with Zev in Auschwitz, says that he has a mission for him, one that they discussed previously -- of course, because of Zev's dementia, he can't remember the conversation (he can barely remember his wife died), so Max gives him a letter explaining everything.

Zev takes the letter's advice and escapes from the nursing home, taking off on a muddled roadtrip that causes some concern: it doesn't quite seem like a good idea to send a man with dementia on a mission that spans several days, as, in very much a wink to the protagonist of MEMENTO, Zev seems to forget where he is and what he's doing at each junction of the journey, relying on crossed off check-lists and notes on his arms to get the job done. Meanwhile, his son, Charles (Henry Czerny) tries to track him down, unaware of his father's mission.

What exactly is his mission? Max has tracked down the name of an Auschwitz guard who took on the identity of an executed prisoner in order to escape after the war ended. He now sends Zev to find every Rudy Kurlander in a (pretty large) radius, determine which one it is -- and then kill him.

What results is a pseudo-thriller with a splash of mystery. Each Rudy Kurlander that Zev meets adds a different shade to the story, twisting and turning the plot to slowly reveal new information. Plummer does a fantastic job with his role, leaving you genuinely afraid for him in his uneven state -- though there are several moments where his fragility is the least of his concerns.

REMEMBER starts at Midtown Cinema on April 8! Don't miss this one!

Review: Hello, My Name is Doris

It starts with death. How's that for a comedy? At the funeral of her mother, Doris (Sally Field), with her cat-eye glasses and added hair piece, stands out as zany compared to her insincere brother and sister-in-law ("We're all pretty devastated, so..."). Though Michael Showalter's HELLO, MY NAME IS DORIS starts with a caricature, it ends with a full-fledged character -- and a heartfelt one at that.

What Doris lacks in backbone, she more than makes up for in her unique, 50's retro style -- it's not just a fashion statement, it's an iron grip on the past. This nearly-retired woman has to take a ferry to work every day but refuses to move out of her mother's house; though her wardrobe gives an air of nonconformity at a surface level, we quickly come to realize that Doris gets caught up in the smallest of things. Having grown up with and cared for a hoarder to her dying day (her mother), Doris has developed a bit of an obsessive personality -- and though her fiesty best friend, Roz (Tyne Daly) is willing to accept this part of her, it leads her to all sorts of trouble the day a new employee starts at the office.

Young, handsome, and full of that youthful, hipster zest that has caused an avalanche of tropes in recent years, John Fremont (Max Greenfield) immediately catches Doris's eye. The problem is, he's in his twenties, she's in her fifties, and they have completely different ideas of what they want from a relationship with each other: while John seeks friendship in the office, Doris wants a romance. As she chases after her daydreams, it becomes apparent that her newfound freedom to focus on her life rather than someone else's is exhilarating -- but overwhelming.

DORIS is adorable, and laugh-out-loud funny; Field has a lot of room to work her comedic magic in this role, but just as thoroughly builds Doris's complexities. Greenfield is a delight, and Daly serves as the anchor in this charming comedy. HELLO, MY NAME IS DORIS starts at the Midtown Cinema on April 1 - make sure to check this one out!

Review: Eye in the Sky

Drones are a controversial subject in today's society, to be sure. So the idea of tackling such a subject in a film must have been a daunting task -- it would either be very biased, or attempt to remain neutral (but still most likely be affected by a bias).

I am pleased to say that director Gavin Hood's EYE IN THE SKY is pretty terribly balanced in this regard -- and it packs one hell of a punch. Taking place mainly in Kenya, the film covers a covert military operation with an outcome that is heavily influenced by the use of drone technology, detailing the risks involved.

There are several major players in this game of stakes. Colonel Powell (Helen Mirren), a British military intelligence officer in charge of tracking a group of terrorists under Al Shabab, leads the secret drone mission to capture the terrorists in a safehouse in Nairobi. Lieutenant General Frank Benson (one of the late Alan Rickman's last roles) is back in the safety of the UK office with several government officials, monitoring the mission via conference call. Private Steve Watts (Aaron Paul) is assigned to pilot the "eye in the sky", with Private Carrie Gershwin (Phoebe Fox) as the (somewhat tacked on) moral support, maneuvering the remote drone while the soldiers on the ground do their work. Jama Farah (Barkhad Abdi) is on the ground, getting a view that the drone is unable to pick up with a remote control beetle.

When it is discovered that the group is preparing two suicide bombings, the mission quickly changes its objective to sending in a drone to kill the terrorists.

But when a young girl sets up shop within the kill zone, selling bread, the tone of the entire mission shifts: where there was already an issue with the British leading an attack on friendly territory, there is now the question of civilian casualties -- a higher risk for the "propaganda war" when there are children involved. Tensions rise as responsibility gets passed around like a hot potato -- no one seems to want to make the final decision except for the people who don't have that ability.

The idea of comfortable people shirking responsibility is a concept that runs strong throughout this film: the juxtaposition of Lt. General Benson trying to buy the "right" doll for his granddaughter cut next to the raggedy doll in the Kenyan girl's bedroom is a clear sign of a disparity in privilege. The debate is presented in a fairly even manner: there are those who would rather wait for the girl to move, while others believe that the life of one individual does not stand against the lives of many.

Though the fairly obvious choice -- to wait until the terrorists actually start to leave the house to hit their mark -- seems to be overlooked, the strongly debated issue of drone warfare is gracefully tackled (the scale does seem to tip in favor of it, but it beautifully presents the gravity of the situation). It shows the people affected by drone warfare -- most significantly through the little girl that is unknowingly causing such a fuss for the mission: a reminiscence of the little girl in Schindler's list, she puts a human spin on the drone conflict.

This film may be about a divisive topic, but the way it is handled is well worth the watch. EYE IN THE SKY plays at Midtown Cinema, starting 4/1!

Review: Marguerite

I think it is everyone's fear to realize that they are Marguerite.

The title character of French director Xavier Giannolli's newest film, this abundantly affluent housewife (Catherine Frot) has decided to pursue her passion with a career as an opera singer... and no one is willing to tell her she's terrible. "No one" includes her husband, Georges Dumont (André Marcon), who spends the majority of his time pretending his car has broken down just so he doesn't have to deal with her -- and the rest of his time he spends with his mistress.

But Marguerite's "fans" are increasingly loyal: her butler, Madelbos (Denis Mpunga), photographs her in the operatic memorabilia that she collects, steadfast at her side throughout her in-house concerts (sponsored by the Amadeus club, a local music club that had the misfortune of agreeing to let her sing). Her friends' loyalty is understandable: Marguerite immediately wins you over with her bright eyes and nervous air, though at times her face betrays a hint of disbelief of her acquaintances' support.

But the question is why they unabashedly support her. Why does everyone keep Marguerite's worst secret from her? Enter Lucien (Sylvain Dieuaide), a critic for a local paper, and Kyrill (Aubert Fenoy), an anarchist artist, who can't get enough of the bittersweet peculiarity of Marguerite's situation. Lucienne has motives to impress Hazel (Christa Théret), a young opera singer with actual talent, and Kyrill has designs to make Marguerite a part of his bizarre art; together, the two of them strive to pursue their own two-faced form of entertainment, dangerously veering Marguerite towards the earsplitting truth.

Intermittently laden with the calls of Dumonts' pet peacock, the film strikes a delicate balance between comedic perfection and the tenderhooks of Marguerite's delusion; it is a hilarious, yet simultaneously heartbreaking tale of a woman trying to hold onto her life as it actively slips away from her. The characters that Giannolli and writer Marcia Romano present are vibrant -- including Pezzini (Michel Fau), the fading opera singer who unwillingly agrees to train Marguerite -- and the performances are compelling, brazenly characterizing the cruel intentions of the upper class.

The only slight negative to this film is the abrupt ending -- though poetic, still abrupt (much like this review) -- but the rest of the film's pros far outweigh the cons. MARGUERITE is now playing at the Midtown Cinema, for just this one week! Come see it before it disappears!

Review: Embrace of the Serpent

A man stands, nearly naked, with spear in hand, staring into the sparkling water of the river. The sparkle of the water gives way to a canoe, slowly edging its way into sight and revealing a native man and a white man, both dressed in white man's clothing.

What a beautiful way to open a story that addresses the strong hand of the White Man's influence on Amazonian culture. Ciro Guerra's EMBRACE OF THE SERPENT, based on the journals of German scientist Theodor Koch-Grunberg, follows Karamakate (whose young and old self is played by Nilbio Torres and Antonio Bolivar), the last survivor of his tribe, who guides Theo (Jan Bivjoet) and an American scientist, Evan (Brionne Davis), through the Amazon respectively. Both scientists are after the elusive, sacred healing plant -- the fictional yakruna -- though their motives are very different: while Theo seeks it as the remedy to his own illness, Evan is out to make a profit from it, just as the Colombians have ravaged the land to profit from the rubber trees.

The disparity between Theo and Evan, and the way that Karamakate interacts with each of them, is fascinating on its own, but the film boasts more intricacies than just the relations of the Western world with its assumed property -- scenario after scenario portrays the struggle to sustain Amazonian culture as the world around it begins to slowly cave inward. One scenario shows an accidental breech in what sci-fi fans know as the "prime directive" (interference with the development of a culture); another reveals a religious sect gone awry. Karamakate adds a fascinating layer of complexity to the story with his own personal journey, desperately trying to hold onto the ways of his lost tribe -- especially as his memory begins to slip away and he becomes a "chullachagi".

Beautifully shot and wonderfully acted, EMBRACE OF THE SERPENT is a rarity in its delicate treatment of the content. This is a must-see -- now playing at the Midtown Cinema!

Review: Son of Saul

There are plenty of films about the Holocaust, but it's hard to find art films that fit into this category. Fortunately, Hungarian director László Nemes' Oscar-nominated film, SON OF SAUL, breaks down that barrier.

Taking place in Auschwitz in 1944, the story follows Saul Ausländer (Géze Röhrig), a Sonderkommando (a prisoner whose death is delayed in order to do the dirty work in the concentration camps) who, having witnessed the death of his son whom he was not there for in life, now wants -- no, needs -- to give him a proper burial. His desperate plans are a direct conflict with the scheme of his fellow prisoners, who are organizing a revolt to escape the camp. He even puts his own life at risk to make amends with his past.

Ninety percent of the shots hold steady on Saul in shallow focus -- a fascinating decision, given the horrifying acts that occur in his background. Naked bodies are dragged past, and blood scrubbed from the floors, but the cinematography attempts to desensitize you -- just as the characters must desensitize themselves in order to push forward and survive -- leaving you with an uneasy feeling as your moral compass tries to ground itself.

There is never a moment where the action stops, where the characters sit down and feel sorry about themselves while sad music plays in the background -- no, every second of this film has an electricity to it, as the characters weave their way around each other, any thoughts of self-pity pushed to the side by their desperate will to survive. But Saul has a different motive. While he still very much wants to live, the guilt of his son and a desire to make things right gnaw at him.

SON OF SAUL is a moving film, heartbreaking and breathtaking in one fell swoop. Now playing at the Midtown Cinema!

Review: The Lady in the Van

There is nothing more alarming than sitting in a movie theater, waiting for a film to start that from the look of the trailer was a comedy -- only to find as the lights die that the first sound coming to your ears is the sound of a man screaming, and then a large crash.

Even more alarming is when the first image you see is Maggie Smith, completely shaken in her Berford van, a large red smear seeping into the fresh spiderweb crack on the windshield.

But I swear, THE LADY IN THE VAN is a comedy. Or, rather, dramedy, as the film's protagonist, Miss Shepherd (Smith), in all her chuckle-inducing eccentricity, will nevertheless tug on your heart strings on multiple occasions. The film, directed by Nicholas Hytner, announces itself as "A Mostly True Story", based on Alan Bennett's autobiographical memoir, and is forthright in its storytelling: everything is laid out on the table with the intent of examination. Alan (played by Alex Jennings) is even broken down into two characters: Alan the writer, and Alan the man living life. In a clever nod to the way a writer's mind works, these two cohabiting Alans find themselves in a new neighborhood (1970s Camden Town, London), with friendly neighbors and an encroaching pseudo-neighbor who keeps moving her home to the visitor's parking spot in front of various people's homes.

That's Miss Shepherd, by the way. Considerably older and more disheveled than in the opening scene, Miss Shepherd now lives in her van and makes a less-than-modest living "teaching" (writing on the pavement with chalk) and selling pencils. She wants nothing to do with music, though inklings of her past may indicate otherwise. Her odor and inconvenience causes the neighbors to pray for the day she moves on to the next parking spot, occasionally soliciting loaded comments from the neighbors ("That's Camden... people wash up here.").

But Alan finds himself intrigued by Miss Shepherd: part of him wants her to go away, yet the other part of him -- the writer, always on the lookout for good material -- wants to draw the story out of her. "Put yourself into what you write," he scoffs to himself; "How? We're both so fucking tame."

And so begins a ruffled yet charming relationship between the two, as Alan offers his begrudging hospitality in exchange for a slow, arm's-length investigation of the woman's troubled past. Intertwined with visits from Alan's mentally deteriorating mother, Miss Shepherd's stay in the neighborhood, which begins to morph from hopefully transient to unapologetically permanent, becomes more and more of a trouble for Alan, who is torn between charity, inspiration, and the desire to have a life.

The film is packed with humor, frustration, and the human spark of reality, creating characters with such life in them that by the end, it will feel like you were one of the neighbors. Smith, who never ceases to give a dazzling performance, makes no exception here: her stubborn vagabond charm will steal your heart, and she and Jennings are a delightful pair. THE LADY IN THE VAN is now playing at the Midtown Cinema - don't miss it!

Review: Where To Invade Next

Imagine a montage of mayhem flashing before your eyes: ideas of freedom keenly juxtaposed a video clip of Eric Garner crying, "I can't breathe", images of riots and other various examples of the American populace falling apart, debt climbing and people hurting; all ambitiously accompanied by the glaringly recognizable INCEPTION soundtrack -- a move which induces a chuckle, but in all its irony, still proves a point. So begins Michael Moore's new film, WHERE TO INVADE NEXT.

Moore has the uncanny ability to polarize an audience, whether it's with his political views or with the way he presents them. So when he decides to travel across Europe under the pretense of "invading" each country -- with American flag in hand, he searches for ideas to steal and bring back to America to claim as its own -- the fact that he is able to talk with so many presidents and heads of state is astounding.

This tongue-in-cheek European tour begins in Italy, claiming the Italian structure for paid leave as America's (fun fact: Italy gives everyone eight weeks of paid vacation a year, and women get five months of paid maternity leave). He then works his way through various countries, collecting other various ideas -- standards of health food, sex education, general education (and cost thereof), the criminal system, and accountability (of immediate and historical proportions) -- to bring back to the Mother Country. Sounds like a lot of issues to tackle in a two-hour film, and there is far too much truth in that -- Moore tends to focus on the surface, revealing the benefits but not the application. But while each claim that Moore makes could have a movie all to itself, at least the conversation is sparked with WHERE TO INVADE NEXT.

Overall, it is an informative film with many relatable moments (though not without their bias), and at least for this reviewer, makes picking up and moving a compelling idea. But with a film like this, you need to have action following after. For the sake of America, one can only hope. WHERE TO INVADE NEXT is now playing at the Midtown Cinema!

Review: 45 Years

Director Andrew Haigh's 45 YEARS may be a little long for a protagonist who seems to make up her mind about the stability of her marriage in so short a time.

We meet Kate and Geoff Mercer (Charlotte Rampling and Tom Courtenay) in retirement, as they prepare for their 45th wedding anniversary party. Retired life has given them a restful, relaxed lifestyle: there is plenty of time to read, walk the dog on their spacious land, and go into town for a bit of shopping, should they choose. They have their own routine -- a routine that is knocked off kilter one morning with a letter.

When Geoff receives news that the body of Katya, a woman who died over 50 years ago -- his late wife, for all intents and purposes -- has finally been uncovered in the Swiss Mountains, Kate begins to sense him pulling away as he deals with his resurfaced memories. This is a red flag to Kate; the fact that the couple has saved no photographs of their relationship in the past 45 years, but Geoff still keeps a photograph of Katya in the attic is also a red flag. As Kate begins to examine the missed cues of intimacy and pockets of conversation that were left unsaid over the years, she begins to take her husband's preoccupation with this news personally, worrying that their marriage will fall to pieces.

The film's painfully slow pace would not be a problem if it presented a character whose obstinance didn't get in the way of character development; as is, Kate becomes an unbearable protagonist. Given the environment that the couple is placed in, Kate's inner turmoil dips into triviality on several occasions. This is not to say that the conflict isn't based on a relatable reality -- seeing your loved one suddenly focus so fiercely on the past can take its toll on anyone -- but for a relationship that has lasted for 45 years, dealing with the ghost of a relationship that was brought however harshly to an end over 50 years ago, the near teenage angst of Kate's predicament causes the conflict to feel a bit empty.

Rampling and Courtenay's acting is the shining light in this film -- the nuances of their performances create a feeling of empathy for the characters where the story falls short.

Though it is clear that I have lots of negative thoughts on the film, it is duly noted that the film certainly gives you something to talk about. 45 YEARS is now playing at the Midtown Cinema! Come watch and tell me what you think!

Review: Theeb

"Sing!" the men cry, sitting around the campfire. Though the Englishman refuses, the same cannot be said for director Naji Abu Nowar's Bedouin western, THEEB, as a whole -- its song is poignant and compelling; its story will touch your heart.

Theeb (Jacir Eid Al-Hwietat) is your typical young boy: curious, shrewd, and idolizing the closest father figure -- who happens to be his older brother, Hussein (Hussein Salameh Al-Sweilhiyeen). The two live in a culture culture that has a very puzzling feature: it is hospitable, yet always on its guard. This tension is exemplified when, one night, Hussein hears someone just out of sight of the tribe's campfire, and the entire camp goes silent as he goes to investigate -- only to return with two others, simply saying, "We have guests," and fetching the fatted goat.

One of their guests is an English soldier, Edward (Jack Fox), who requires a guide to take him to the next watering hole so he can find his way back to his regiment. Hussein is the man for the job, and Theeb, as much as he wants to, is not allowed to go. But Theeb, curious about a box that the Englishman carries which is rumored to contain gold, follows them out to the middle of the desert the next morning; because Edward wants to push forward, they begrudgingly take Theeb along with them on their journey. But the desert is full of raiders, and Theeb's new traveling party is the perfect target; what follows is a grave story, shocking in its juxtaposed distrust and mutual understanding.

It is fascinating look at Jordanian culture, inhabited by genuine characters. Hwietat will win the heart of any audience with his quiet persistence. It is a fascinating coming-of-age story for a young boy shrouded in danger. Now playing at the Midtown Cinema!

Review: Mustang

When Lale and her four sisters take a detour while walking home from school one day, they do not expect such innocent play to be taken so seriously. A game of chicken fight in the ocean leads to a complete lockdown at the sisters' house when their grandmother learns of their "infidelities".

Director Denis Gamze Ergüven's MUSTANG follows these five sisters, orphaned when they were just babies, who find strength and respite in each other's company. Despite their grandmother's desire for them to be pure and ready for marriage, harshly punishing them for even the thought of infidelity, she still becomes their defender when it comes to their uncle, who now lives with them.

The sisters have little in the way of freedom, but bide their time together, Creating fun in their ever-adaptive hunt for freedom -- and the simple goal is to step outside their own front door. We see their story through the eyes of Lale (Günes Sensoy), the youngest, whose continuous attempts to drive the family car are more than just a symbol of a mustang trying to stretch her legs.

MUSTANG is not only a touching story of the strength that women draw from each other, but also a heartbreaking account of the way that they can be trapped within their own lives. There is not a second of this film that feels forced, or in which the cast feels like an assemblage of actors -- every moment on screen feels like real life. Beautifully shot and beautifully told, it is no wonder that the film was nominated for this year's Oscars. MUSTANG is now playing at the Midtown Cinema!

Review: ANOMALISA

Charlie Kaufman -- the man who has nailed the art of taking really simple sci fi premises, and drawing human nature and relationships from their cores. His films are always bizarre, yet so human; and ANOMALISA, his latest endeavour through 3D-printed stop-motion animation, is no different.

Co-directed by Kaufman and Duke Johnson, ANOMALISA thrusts you into the world of Michael Stone (David Thewlis), a self-help author on a speaking tour across the country, which separates him from his wife and son. You know someone like Michael: the quiet loner-type, the romanticist who longs for something more, and can't be bothered with anything less -- the kind of guy searching for something or someone more engaging, but nothing, and no one, stands out.

But for Michael, this sentiment is a little bit more literal. No one stands out in the crowd because everyone has the same face, and everyone has the same voice (Tom Noonan's, regardless of the character's gender); it is as if Michael has a bad case of prosopagnosia, but the face blindness trickles into his ability to recognize people's voices, as well. To Michael, the people who swarm around him on a daily basis are indistinguishable.

Except for Lisa (Jennifer Jason Leigh). Lisa, the insecure woman he meets at a hotel in Cincinnati, is different. She is an anomaly, and Michael must pursue her.

This is a fascinating film engendering romanticism at its worst. As usual, the characters that Kaufman puts on screen are almost a little too relatable; and the mind-bogglingly realistic animation adds to that feeling of discomfort when these characters do hit so close to home.

Thewlis makes it difficult not to like our protagonist, and Leigh brightens the screen with the charming intimacy she brings to Lisa. It is fair to say that this movie will not be what some people expected; but it leaves an imprint, long after you leave the movie theater. ANOMALISA is now playing at the Midtown Cinema!

Review: Carol

Hollywood has tackled same-sex relationships in a present-day sense, but finally we see a story hidden amongst our history. Based on Patricia Highsmith's novel, "The Price of Salt", director Todd Haynes brings us CAROL, the 1950s love story of two women hailing from completely different worlds.

Therese Belivet (Rooney Mara) is a 20-something aspiring photographer, stuck working at a department store with a boyfriend, Richard (Jake Lacy), who is much more interested in her than she is in him. Carol Aird (Cate Blanchett) is a well-off, older woman with a daughter and an ex-husband, Harge (Kyle Chandler), who wants her back. The two meet while Carol buys a train for her daughter, and leaves her gloves behind. Therese returns the gloves, and a relationship blossoms.

Therese, in her shy yet amiable way, finds that she has a crush on Carol right from the start. And as she gets to know her more and more, and sees Carol's struggles underneath the peeled back layers of glamour, it becomes harder and harder to tolerate Richard. When Carol approaches her with the idea of a road trip, she pounces on the opportunity, breaking free of Richard's ties and embracing her feelings for Carol. But Carol has her own ties from which to break free, and the story that follows shows the dangers of their relationship within the world that they are ensnared. It is a close look at love and jealousy and the desire for one's feelings to be accepted.

Mara and Blanchett blend together perfectly, and Chandler plays a fantastic villain to their kindling romance. Shot on 16mm to encapsulate the feel of the 1950s, CAROL will certainly transport you -- but it still maintains a connection to today's world: every character and emotion could be directly extracted from present day situations.

It is a refreshing film in the midst of the upcoming Oscar season. CAROL is now playing at the Midtown Cinema!

Review: The Revenant

After BIRDMAN won last year's Oscar for Best Picture, one would assume the heavy burden that director Alejandro González Iñárritu would feel for his next project, THE REVENANT. But it seems that while it doesn't quite reach the magnitude of BIRDMAN, it does come awfully close, in its bloody, breathtaking portrayal of the human spirit and drive for survival.

Leonardo DiCaprio plays Hugh Glass, the real-life survivalist legend for whom the story is inspired. A fur trapper in the 1820s American West, Glass finds a job with the military, hunting for pelts in the uncharted wilderness. This ragtag team of trappers, led by Captain Andrew Henry (Domhnall Gleeson), is decimated by an attack from a local Arikara tribe, leaving only 20 left in the hunting party. To make matters worse, Glass has an unfortunate, near-fatal run in with a bear, slowing the hunting party in their attempt to return to civilization.

Henry finally makes the decision to leave Glass behind -- a decision that Glass's son, Hawk (a half-Pawnee boy, played by Forrest Goodluck) does not appreciate. Hawk and two other men, Bridger (Will Poulter), and John Fitzgerald (Tom Hardy), stay behind with Glass -- though Fitzgerald agrees to it only after Hawk and Bridger offer up their share of the reward for staying. With his greed and consistent concern for only himself, it is no surprise when Fitzgerald causes trouble, disrupting the little party that stays behind and abandoning Glass to survive on his own.

I'll let the rest of the story tell itself on screen, but suffice it to say that one of the things that keeps Glass alive is a thirst for vengeance. The concept of survival through vengeance may have been done before, but the story is still powerfully executed, and the characters are vibrant within the plot. Hardy's cruel, curmudgeonly greed creates the perfect antagonist, and DiCaprio owns the screen with his mostly non-verbal role. While it may not be an Oscar-winning performance for DiCaprio (it may be his strongest role yet, but for whatever reason the dialogue in the film is this man's downfall) there is no doubt of the captivating quality that he brings throughout the 2 hours and 40 minutes of the plot.

As usual, cinematographer Emmanuel Lubezki's work demands applause: we are gifted with the trademark long, rambling shots which capture the natural beauty of Glass's surroundings, all within natural lighting -- the crew apparently forewent electric lighting to enhance the atmosphere of the story.

Another hard-earned feat for Iñárritu, and a sure Oscar nomination, to say the very least. THE REVENANT is now playing at the Midtown Cinema!