Produced in collaboration with the National Film Board of Canada, Canadian director Sarah Polley’s documentary Stories We Tell is a tender and often moving inquiry into the life of her mother Diana who died in 1990 from cancer when Sarah was only eleven years old. Her investigation, consisting of interviews with her Toronto family members…
A dream-like atmosphere pervades David Lowery’s Ain’t Them Bodies Saints, a nostalgic tone poem that hints of Terrence Malick with its sweeping vistas and soft voice-overs. Though the title card that opens the film says, “This was in Texas,” there is no delineation of time or place, and it is left to the viewer to…
Jayne Mansfield’s Car is a tedious, depressing dysfunctional film about a tedious, depressing, dysfunctional pair of families, headed by patriarchs Robert Duvall and John Hurt, respectively. It seems that 30 years before, Kingsley Bedford (Hurt) stole Jim Caldwell’s (Duvall) wife, Naomi (Tippi Hedren, whose most famous role was in Alfred Hitchcock’s “The Birds“) and took…
Most famous and renowned for his passionate tales of romance, Kar Wai Wong still seems like an inspired fit for Chinese martial arts moviemaking. The beloved director has a lyrical control of tone and atmosphere, can precisely pace a picture, and has exhibited careful control of the camera. The challenge of melding artful storytelling with…
We’ve all seen at least a few coming-of-age summer films, and as a directorial debut for Nat Faxon and Jim Rash it certainly isn’t the most adventurous or original topic, but The Way Way Back is executed so wonderfully that it’s hard to find cause for complaint. It’s nostalgic without making you cringe (at least,…
Sutter is brash. Sutter is funny. Sutter has charisma. Sutter comes from a nice home and has a part-time job. Sutter is popular. Oh, yes. Sutter also drinks too much. Based on a novel by Tim Tharp and written by Scott Neustadter and Michael H. Weber (“(500) Days of Summer“), James Ponsoldt’s The Spectacular Now…
While I am not crazy about a director including his own name in the title of a film (after all, we never saw a movie called “Orson Welles’ Citizen Kane” or “David Lean’s Great Expectations” or “Martin Scorsese’s Taxi Driver”), I can sort of forgive Lee Daniels (who directed the equally obscurely titled “Precious: Based…
