Cinematography: Lee Daniel & Shane F. Kelly; Editing: Sandra Adair
Production Design: Rodney Becker & Guy Studebaker; Set Decoration: Melanie Ferguson; Costumes: Kari Perkins
Stars: Ellar Coltrane (Mason Evans Jr.), Patricia Arquette (Olivia), Ethan Hawke (Mason Evans Sr.), Lorelei Linklater (Samantha Evans), Marco Perella (Bill Welbrock), Brad Hawkins (Jim), Jenni Tooley (Annie), Bill Wide (Steve), Zoe Graham (Sheena), Charlie Sexton (Jimmy), Richard Robichaux (Mason’s boss), Barbara Chisholm (Carol)
Released by IFC Films, writer-director Richard Linklater’s Boyhood has the bittersweet, existential quality of European cinema, as well as an inclination to elevate the average and unexceptional in a life goes on way that has become a hallmark of indies. Meaning it will be a doubly trying experience for many moviegoers less interested in cinematic experimentation than a smooth evening’s entertainment. Linklater began filming in 2002, returning each year to map the aging process of his young subject Ellar Coltrane, who was cast in the leading role of Mason when he was six and wrapped shooting at the age of eighteen, capturing the most fascinatingly formative years in a child’s physical and emotional development.
Gett is an Israeli-French co-production written and directed by star Ronit Elkabetz and her brother Shlomi Elkabetz concerning a long-term court case in which a woman’s petition for divorce from her husband was repeatedly hindered by delays and dismissals, leading to her being personally persecuted (the subtitle of the film, The Trial of Viviane Amsalem, can be taken in several different contexts).
Screenplay: Joel & Ethan Coen, Richard LaGravenese & William Nicholson; based on novel Unbroken: A World War II Story of Survival, Resilience, and Redemption by Laura Hillenbrand
Cinematography: Roger Deakins; Editing: Tim Squyres; Production Design: Jon Hutman; Set Decoration: Lisa Thompson;Costumes: Louise Frogley; Score: Alexandre Desplat
Stars: Jack O’Connell (Louis Zamperini), Domhnall Gleeson (Phil), Finn Wittrock (Mac), Miyavi (Mutsuhiro “The Bird” Watanabe), Garrett Hedlund (Fitzgerald), Alex Russell (Pete Zamperini), Jai Courtney (Cup), C.J. Valleroy (Young Louie), Shinji Ogata (Japanese Translator), Taki Abe (Radio Tokyo Man)
From the title alone I should have had an inkling of what to expect from this Angelina Jolie directed adaptation of Seabiscuit author Laura Hillenbrand’s 2010 bestseller about Italian-American bombardier Louis “Louie” Zamperini (Jack O’Connell) and his POW experiences in a Japanese internment camp on Tokyo during WWII.
Stars: Benedict Cumberbatch (Alan Turing), Keira Knightley (Joan Clarke), Matthew Goode (Hugh Alexander), Mark Strong (Maj. Gen. Stewart Menzies), Charles Dance (Cdr. Alastair Denniston), Allen Leech (John Cairncross), Matthew Beard (Peter Hilton), Rory Kinnear (Det. Nock), Alex Lawther (Young Turing), Jack Bannon (Christopher Morcom)
This British tale of Alan Turing, the English mathematician who masterminded a way to crack the WWII German encryption device known as Enigma, laying the groundwork for the modern fields of computer science and digital technology, is an intriguing story that’s been begging to be told and was, at least once before, in the far more fictionalized Enigma (2000). This version, based on the Andrew Hodges biography Alan Turing: The Enigma is slightly more faithful to the facts, but has still been criticized for its historical inaccuracies.
Cinematography: Greig Fraser; Editing: Jay Cassidy, Stuart Levy & Conor O’Neill
Production Design: Jess Gonchor; Set Decoration: Kathy Lucas
Costumes: Kasia Walicka-Maimone
Score: Rob Simonsen
Stars: Steve Carell (John E. du Pont), Channing Tatum (Mark Schultz), Mark Ruffalo (Dave Schultz), Vanessa Redgrave (Jean du Pont), Sienna Miller (Nancy Schultz), Anthony Michael Hall (Jack), Guy Boyd (Henry Beck), Brett Rice (Fred Cole)
Maybe I’ve watched one too many paranormal programs but I find it nearly impossible to separate in my mind the horrors said to haunt Fox Hollow Farm from what lies in store for the unsuspecting young men lured to Foxcatcher Farms, the du Pont family estate in director Bennett Miller’s new movie. Both true life stories seem subliminally intended to point up near identical morals regarding the fate that invariably befalls the sinful who are tempted into a life of drugs and sexual promiscuity.
Production Design: John Paul Kelly; Set Decoration: Claire Nia Richards
Costumes: Steven Noble; Score: Jóhann Jóhannsson
Stars: Eddie Redmayne (Stephen Hawking), Felicity Jones (Jane Wilde Hawking), Charlie Cox (Jonathan Jones), Maxine Peake (Elaine Mason), Harry Lloyd (Brian), Emily Watson (Beryl Wilde), David Thewlis (Dennis Sciama), Christian McKay (Roger Penrose)
The new biography of theoretical physicist Stephen Hawking, The Theory of Everything leaves one wondering what that theory of the title is alluding to exactly in terms of the content. The movie never makes it quite clear, though apparently it was intended to tie everything together at the end. Just as the feasibility of this grand design ultimately eluded Hawking, so James Marsh’s biography about him seems to likewise be missing some strategic element to impart it with form and to infuse it with meaning. This free thinker whose theories revolutionized the science of cosmology has been accorded a screen memorial that fails to think outside the box. Continue reading →
Screenplay: Ruth Prawer Jhabvala; based on novel by E.M. Forster
Cinematography: Tony Pierce-Roberts; Editing: Andrew Marcus
Production Design: Luciana Arrighi; Set Decoration: Ian Whittaker
Costumes: Jenny Beavan & John Bright; Score: Richard Robbins
Stars: Anthony Hopkins (Henry Wilcox), Vanessa Redgrave (Ruth Wilcox), Helena Bonham Carter (Helen Schlegel), Emma Thompson (Margaret Schlegel), Samuel West (Leonard Bast), James Wilby (Charles Wilcox), Nicola Duffett (Jacky Bast), Barbara Hicks (Miss Avery), Prunella Scales (Aunt Juley)
Merchant Ivory’s moody 1992 masterpiece is an intensely observed examination of intersecting classes in an Edwardian England poised on the cusp of change. The comfortably situated, middle class Schlegel sisters, Margaret (Emma Thompson) and Helen (Helena Bonham Carter) are emancipated women at a time when equal rights were becoming the new fashion. However they find themselves in increasing conflict with an influential, upper class family headed by conservative Henry Wilcox (Anthony Hopkins), who will contest their claim to Howards End, the country estate bequeathed to Margaret by Henry’s first wife, Ruth (Vanessa Redgrave). Taken from E.M. Forster’s carefully plotted novel by longtime Merchant Ivory scenarist Ruth Prawer Jhabvala, this erudite literary adaptation retains the compulsive fascination of a well spun yarn.
For a brief period of time, The George Eastman House in Rochester N.Y. had the good will to swing wide their vaults. The archive made available over their website many silent features and short films it would’ve been impossible for most people to see under normal circumstances. And though the company copyright was branded into the lower corner of every frame, even at the expense of obscuring certain title cards at times, posting these movies online constituted an admirable attempt to make long unseen treasures available again to the general public they were originally intended for.
Cinematography: Guillaume Schiffman; Editing: Anne-Sophie Bion & Michel Hazanavicius
Production Design: Laurence Bennett; Set Decoration: Robert Gould
Costumes: Mark Bridges
Score: Ludovic Bource
Stars: Jean Dujardin (George Valentin), Bérénice Bejo (Peppy Miller), John Goodman (Al Zimmer), James Cromwell (Clifton), Penelope Ann Miller (Doris), Missi Pyle (Constance), Uggie (The Dog), Malcolm McDowell (The Butler)
The Artist is a gentle, sincerely felt homage to silent movies blinded by its love of the art form. If this story of George Valentin (Jean Dujardin), the fading silent star who falls in love with Peppy Miller (Bérénice Bejo), the new sound actress he helped groom for stardom only to find himself supplanted by her in the hearts of the public, seems unduly familiar it’s because director Michel Hazanavicius and his predominantly French cast and crew are showing their love not just for silent films but for golden age Hollywood in general, by saluting other iconic American classics along similar lines.
“Think of a tree, how it grows ‘round its roots. The branch breaks off, it don’t stop, but keeps reaching toward the light.” – The New World
Terrence Malick has always been an acquired taste. His movies are mood pieces paced to the cadence of internal monologues whispered rhetorically by his characters in hushed, reverential tones onscreen. Striving for more than the movie medium can encompass, he’s a visionary seeking to push past its restricting barriers to self-expression. When the man stays focused there’s no director better at vividly evoking the sentient, existential sensations of simple human perception. His movies pulsate with the vibrancy of life as we experience it at almost a subliminal level. They heighten our awareness in a way that makes us feel as if we were experiencing a movie fully awake and responsive for the first time.