Thumbnails Aug 14
in the Moonlight (10/10):
Allen has done it again with a thoroughly captivating romantic comedy
set on the Côte d'Azur in the ‘20s with star turns by Emma Stone (more
beautiful than she’s ever been) and Colin Firth, who create bewitching
chemistry. Woody’s laugh out loud script seems to be deeply influenced
by George Bernard Shaw’s Pygmalion, resulting in Magic in the Movie
Kazan stars in a sweet love story about a woman in a relationship with
another man when she meets her soul-mate, Daniel Radcliffe. There is no
nudity to distract you, which is good because this is a movie that
emphasizes good values and uses language instead of four-letter words;
you must listen carefully to the acute dialogue. It’s also a movie in
which Kazan continues to demonstrate that she is one of the most
talented actresses on the big screen. Not uncommonly beautiful, she
captures audiences with her expressive eyes and incomparable acting.
Opens August 8
Purge: Anarchy (8/10):
sequel to last year’s surprise low-budget hit (it returned 11 times its
cost of production) is an extremely well made film, highlighted by
top-notch directing with wonderful unrelenting pace and tension by James
DeMonaco, outstanding music by Nathan Whitehead, and fine acting by the
Transformers: Age of Extinction (3/10):
the first 90 minutes this is an entertaining film with good
performances, especially by Mark Wahlburg, and eye-popping special
effects. But that’s only the half of it. As it creaks on and on it gets
more and more duplicative until finally one is begging to be put out of
the misery of waiting for it to end.
Wanted Man (3/10):
Carré writes long, boring, wordy novels. Director Anton Corbijn has
faithfully converted le Carré’s 2008 novel into a long, boring, wordy
movie that is memorable only because it is the late Philip Seymour
Hoffman’s last movie and one gets to watch Rachel McAdams cavort in the
tightest jeans ever donned by woman.
not Debbie Reynolds’ Tammy, and more’s the pity. Where Debbie’s Tammy
was beautiful and sweet and innocent, Melissa McCarthy’s Tammy is of
meager intelligence, gross, and vulgar. Worse, director Ben Falcone
(McCarthy’s husband) can’t seem to decide if he’s making a smutty comedy
or a film of maturation and relationships. The result is a coarse,
humorless movie with a low moral tone.
protégés of vulgarian Judd Apatow, this movie has three strikes and out.
One constitutes the scriptwriters who display that they are functionally
illiterate in one of the first scenes in which Cameron Diaz ends a
sentence with “for Jay and I,” then fill the script with F-bombs, adding
dialogue and sexual incidents that are too silly to be considered
childish. The second is abysmal directing by Jake Kasdan, who was also
responsible for the tasteless “Neighbors” a few months ago. The third is
the acting that required the subtlety of a Cary Grant and Irene Dunne.
Instead we get Diaz and Jason Segel who have the subtleness of an atomic
a phantasmagorically bilious movie, carrying surrealism to its nth
degree. Although it is supposed to be a love story between Romain Duris
and Audrey Tatou, their world, the devices in it, and the physics under
which they live are so preposterous it’s difficult to develop any
empathy. Examples: a water lily growing in Tatou’s lung, an apartment
that changes shapes according to Duris’s emotions, and a gun that is
built by having naked men lie for 24 hours at a time on mounds of dirt.
In French, color, and black & white.