New Releases

Review: Mood Indigo

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Mood Indigo posterIf one can expect anything from Michel Gondry, it is that along with the whimsy and touch of the bizarre inherent in his work is an element of truth.  Eternal Sunshine of the Spotless Mind uses erasure imagery to illustrate the pain of heartbreak. Be Kind Rewind has friendly video store employees creating their own versions of Hollywood hits for their neighborhood.  Gondry's latest film, love story Mood Indigo, however, is utterly drowning in whimsy and lacking any figment of truth.

Debonair and bearded Romain Duris (Populaire, The Beat That My Heart Skipped) stars as Colin, living off family money in a spacious Paris apartment. Audrey Tautou (Amelie, A Very Long Engagement) plays cute Chloe, whom Colin meets at a party. The plot goes something like this: guy meets girl, guy and girl fall in love and marry, flower grows in girl's lung.

There's also a B-plot, involving a friend (Gad Elmaleh, Priceless, Midnight in Paris) Colin loans money to court a woman (Aïssa Maïga, Cache, Bamako), which is just as confusing as the rest of the film. The fever dream of a movie is full of fantastic visions, but the story is ridiculous beyond measure. Is fate written out for us by a room full of random people on vintage typewriters? And if so, who cares?

Unpredictabilities may rule Mood Indigo, but the film still follows the overly-familiar classic "movie cough" rule. It used to be that any time someone in a movie coughed, they were terminally ill -- after all, nobody has allergies in the movies. And indeed, as soon as Chloe adorably coughs post-honeymoon, things start going downhill for the couple. 

Movies This Week: August 15-21, 2014

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Mood Indigo 

The Austin Film Society's "Films Of Roger Corman" series (Jette's preview) continues this weekend at the Marchesa with 1961's The Pit And The Pendulum starring Vincent Price. Tonight's screening is a Free Member Friday event for any members of AFS (with General Admission tickets also available). It will also screen again on Sunday afternoon. Tom Gilroy's The Cold Lands is scheduled for a "Best of the Fests" booking on Tuesday at the Marchesa and Thursday's Essential Cinema selection features Barbara Stanwyck (Elizabeth's preview) in William Wellman's Lady Of Burlesque. This extrememly rare 35mm print is on loan from the Library Of Congress, making it a night you won't want to miss! 

Austin Film Society is also presenting the Texas premiere of Sin City: A Dame To Die For in 3D on Wednesday evening at the Paramount. Co-directors Robert Rodriguez and (just announced!) Frank Miller will be in attendance for an introduction, post-screening Q&A and at the after party. Aerosmith's Steven Tyler, who appears on the soundtrack, whill also be at the screening. Tickets, including VIP packages, are available on the Paramount's website

Cinema East will be hosting Above All Else (Don's SXSW review) on Sunday night on the lawn of the French Legation Museum. There's only one more film in this summer's series after this, so head out for this all-ages, BYOB-friendly event. Doors are at 7 pm and the film will begin at 9. This documentary had its world premiere at SXSW this year and examines the battle over the Keystone XL oil pipeline, introducing us to an environmental activist from East Texas who tried to block it. 

Review: The Giver

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The GiverReleased in 1993, the 1994 Newbery Medal winner The Giver by Lois Lowry has been one of the most controversial and influential novels of the 1990s. Banned from schools across the nation for being "violent" or "unsuited for younger age groups," this dystopic tale centers around Jonas, a young boy who lives in a literally colorless world of contentment.

Screenwriters Robert B. Weide and Michael Mitnick have adapted this book in the sci-fi thriller film The Giver, directed by Phillip Noyce (Salt, The Patriot Games).

In what at first appears to be an utopian society of "Sameness" with absence of pain and suffering, Jonas (Brenton Thwaites) seems content with his friends and family. He lives with his parents, the dutiful nurturer Father (Alexander Skarsgard) and his more stern and unyielding Mother (Katie Holmes). His classmates Fiona (Odeya Rush) and Asher (Cameron Monaghan) are frequent companions, and prepare to receive their life assignment as even choices have been eliminated in this seemingly perfect society.

Jonas receives the most prestigious and ominous assignment of all -- as the Receiver of Memory, he must learn and keep the dark history of the Community to guide the Elders and prevent the tragic mistakes of the past. However, as he begans to learn from the current Receiver who is now referred to as "The Giver" (Jeff Bridges), he discovers the dark history behind his community that has led to the absence of joy, pleasure, and color from their lives as well.

Jonas is faced with the difficult choice of accepting the role that he has been given, or do what he can with the aid of others to bring the Community back to the "real" world. Either way he must deal with the Chief Elder (Meryl Streep), who is fearful and distrusting of human nature in his journey.

Review: Calvary

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Calvary

The Catholic Church's seemingly endless scandals have been fodder for many great films, from the searing documentary Deliver Us from Evil to the star-studded critical darling Doubt to last year's sleeper indie hit Philomena.

The latest movie to address the church's sex scandals, the Irish drama Calvary, is one of the darkest. Equal parts whodunit (actually, who will do it), character study and meditation on faith, Calvary is a thoughtful film with a cold, grim heart.

Calvary's protagonist, Father James (Brendan Gleeson), is a marked man from the film's opening scene. During a confession, a bitter parishioner vows to kill Father James as retribution for being raped by another priest decades earlier.  The parishioner doesn't accuse Father James of any wrongdoing; in fact, he singles him out for his innocence. "There's no point in killing a bad priest," says the anonymous voice in the confessional booth, "but killing a good one -- that would be a shock."

Movies This Week: August 8-14, 2014

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The Hundred-Foot Journey

The Austin Film Society kicks off a brand new series featuring classic films from Roger Corman (Jette's preview) with a related documentary called That Guy Dick Miller, about the famed character actor. Tonight's screening will feature a post-film Q&A with Mr. Miller via Skype. It will be followed by a 35mm screening of Corman's 1959 feature A Bucket Of Blood, which features a great lead performance by Dick Miller. The film will also play again on Sunday afternoon.

On Wednesday, Whitey: The United States Of America V. James J. Bulger (from Joe Berlinger, the director of Paradise Lost) will be featured for Doc Nights (Elizabeth's preview), and this month's Essential Cinema series with the incredible Barbara Stanwyck (Elizabeth's preview) finds her on Thursday night starring in a 1937 drama called Internes Can't Take Money, screening in a rare 35mm print. 

At the Paramount's Summer Classic Film Series, you can catch a 35mm double feature of Charlie Chaplin comedies this weekend. The Great Dictator and Modern Times will screen at the Paramount multiple times on Saturday and Sunday afternoons. Marlon Brando will be featured in a 35mm double feature on Tuesday and Wednesday evenings with A Streetcar Named Desire and On The Waterfront. Ten classic thrillers from Hitchcock will be featured through the end of next weekend. You can head down for Rebecca and Notorious screening digitally on Tuesday and Wednesday at the Stateside, while Rope and The Trouble With Harry also play there digitally on Thursday night. If you'd rather catch your Hitchcock on film, Psycho and Vertigo are both featured in 35mm at the Paramount on Thursday evenng. 

Review: The Hundred-Foot Journey

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Poster for The Hundred-Foot JourneyNew release The Hundred-Foot Journey is a beautifully-shot drama produced by Oprah Winfrey and Steven Spielberg, who likely hope it will prove a hit along the lines of The Best Exotic Marigold Hotel. Formidable British actress Helen Mirren gets top billing as strict French restauranteur Madame Mallory. Her establishment has a Michelin star and brings in big name political figures. However, Madame Mallory's work and life isn't the main focus of this colorful film from Lasse Hallstrom (Chocolat, Salmon Fishing in the Yemen), adapted by Steven Knight (Eastern Promises) from a novel by Richard C. Morais. 

A family of refugees, the Kadams from Mumbai, moves into the vacated building across the street from Madam Mallory's restaurant. Papa (veteran Indian actor Om Puri, Gandhi) wants to open an Indian restaurant in this quiet French village, with the help of son and aspiring chef Hassan (Manish Dayal, 90210, Switched at Birth) and other adult children (Amit Shah and Farzana Dua Elahe). Even the two much younger siblings help out.

The Hundred-Foot Journey is really Hassan's story. The film opens to his narration, and lots of exposition. As soon as cute Marguerite (Charlotte Le Bon, Yves Saint Laurent, Mood Indigo) comes on the scene -- she's sous chef for Madame's kitchen, of course -- it is a given that she's the love interest for Hassan's character. The film deserves some credit for following the success of a character of color, but his plotline drags during the second half; this causes the movie to feel longer than its actual two-hour length.

Summer Indies to Catch: August 2014

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By Frank Calvillo

The final month of the summer has swiftly arrived and as tradtition dictates, this means it's time for major studios to unleash those titles that didn't either didn't quite make the grade for the earlier months, or the ones they hope will be sleeper hits that will bring in loads of cash because there's little else for audiences to watch. Apart from the heavily anticipated Sin City sequel, not only is there very little I can think of that I want to see, there's very little I can actually recall being released. It's almost a fitting end to a lackluster summer for blockbusters. On the flip side, while the studios are winding down, the indies show no signs of letting up with many standout features making their way to audiences this month.

Magic in the Moonlight (opens Aug. 8 in Austin)

Capitalizing on his love of period pieces, Woody Allen's newest offering Magic in the Moonlight will no doubt leave some moviegoers split, as early screenings and reviews have indicated. Set against the gorgeous backdrop of the Riviera, famed illusionist Stanley (Colin Firth) is brought in to debunk a young woman named Sophie (Emma Stone) whose claims of psychic visions have enchanted an upper-class family in 1920s France.

Movies This Week: August 1-7, 2014

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Get On Up

In terms of wide releases, it's a fairly quiet week due to Marvel taking over more than 4,000 screens nationwide. Universal is countering with its James Brown biopic, but there's no other real compeition in the market for mainstream crowds. Specialty audiences are still discovering Richard Linklater's Boyhood (Don's review), which expands to AMC Barton Creek and Alamo Drafthouse Lakeline this weekend, while continuing with plenty of showtimes at Alamo Slaughter Lane, Regal Arbor and Violet Crown Cinema.

Speaking of Mr. Linklater, he'll be at the Marchesa tonight to introduce Vincente Minnelli's The Band Wagon. It's a free screening for folks who contributed to last year's Austin Film Society campaign to make improvements at Marchesa Hall and Lars Nilsen reports that the 35mm print is "pretty much perfect." Capacity permitting, $10 general admission tickets will be available. Barbara Stanwyck wil be taking over the Essential Cinema series for August (Elizabeth's preview), kicking off with a 35mm screening of The Lady Eve on Thursday night. Henry Fonda and Charles Coburn also star in this 1941 classic by Preston Sturges. 

The Paramount Summer Classic Film Series is headed into the 1940s this weekend with 35mm prints of Casablanca and The Philadelphia Story on Saturday and Sunday. Wednesday and Thursday finds the series jumping ahead into the 1950s with a double feature of All About Eve and The Bad And The Beautiful, both also screening in 35mm.

Review: Get on Up

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Get On UpThe average music biopic has become so riddled with cliches in recent years that the entire genre was spoofed in a parody (Walk Hard: The Dewey Cox Story) that managed to be spot-on and over the top at the same time. In Get on Up, director Tate Taylor, coming off his successful big-screen adaptation of The Help, brings together a gifted cast and crew to tell the story of "The Hardest Working Man In Show Business," but it falls into many of the traps that made the biopic format so easy to mock in the first place.

James Brown's life began in 1933 while the country was in the midst of the Great Depression. Get On Up doesn't start with his birth, but rather opts to open with a bizarre incident in the late 1980s with him running around his office in a green velour tracksuit brandishing a shotgun to determine who had just used his bathroom. Brown is portrayed by Chadwick Boseman (who also took on the role of the legendary Jackie Robinson in last year's 42) and his dedication is clearly evident, especially during the recreation of the live concert sequences. In one of the film's many odd creative decisions, he frequently breaks the fourth wall to address the audience and explain his motivations. 

As we weave in and out of over 50 years of history in the making, the curious structure and tone of Get on Up become increasingly problematic. One moment we are running in the woods with Brown as a child playing with his mother and shortly after we're on a flight to Vietnam that is being shot at with his entire band on board preparing to land for a USO concert in 1968. We catch glimpses of Brown's difficult childhood and how he eventually ends up being raised in a whorehouse by his aunt (Octavia Spencer), but these moments only serve to feed more into the myth of James Brown instead of shining a light on the man he became. 

Review: Guardians of the Galaxy

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Guardians of the GalaxyWith its post-credits teasers for The Avengers after each superhero movie, Marvel generated excitement and buzz. After seeing Guardians of the Galaxy, I'm convinced that this movie, and not The Avengers, is the ultimate end product that all those scenes were teasing. Written by James Gunn (Super, Slither) and Nicole Perlman, and directed by Gunn, Guardians of the Galaxy is a space opera like nothing that's hit screens since Flash Gordon in 1980.

Based on a relatively new addition to the Marvel Comics universe, Guardians of the Galaxy fully realizes the possibilities of a comic book brought to life with phenomenal visuals and a script full of unexpected surprises and laughs. Readers of the series will notice some departures from a strict retelling, including a couple of absent members of the group (who will likely turn up in a sequel), but this is far and away the most colorful, flashy and entertaining release the studio has brought us yet.

Guardians of the Galaxy stars newly-buffed Parks & Rec star Chris Pratt as Peter Quill, aka "Star-Lord," the wisecracking leader of the group -- an unlikely misfit of a superhero with more charisma than Tony Stark. His work as a sort of outer-space Indiana Jones soon lands him in trouble with very dangerous people, and the only way through his predicament is to save the galaxy. He is joined on his quest by the lovely green-skinned assassin Gamora (Zoe Saldana) and muscle-bound alien Drax (Dave Bautista).  

It is the last two members of the group, however -- Rocket Raccoon (voiced by Bradley Cooper) and his bodyguard/companion Groot (voiced by Vin Diesel) -- who will provide the best merchandising fodder. While Quill is something of a Luke Skywalker type, young and full of unrealized potential, Rocket and Groot are clear analogues for Han Solo and Chewbacca with a little of R2-D2 and C3PO thrown in the mix. They provide most of the comedic relief to the epic dark galactic struggle in which the story is immersed.

A strong contender for my favorite movie this summer, Guardians of the Galaxy features a feel-good soundtrack of 1970s hits and art direction that seems inspired by visions of Alejandro Jodorowsky. I can't say enough great things about this movie, and I can't wait to get to a theater to see it again.

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