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*** Lawless – A number of high-profile actors of 2012, Jessica Chastain (from Zero Dark thirty), Tom Hardy (who played Bane in the Dark Knight Rises, Shia LeBouf, Gary Oldham, and Guy Pierce all appeared that same year in this little seen Indy film set in the the prohibition era of the 30s. Almost Grand Guignol in the scope of its extreme violence, this plays like a Quentin Tarantino blood-soaked revenge fantasy without Tarantino’s caustic wit, and instead gives us hillbillies who spit tobacco while spouting dialog like “It’s not the violence that sets men apart … it’s the distance that he is prepared to go.” Fascinating to see so many English and Australian actors playing West Virginia good ‘ol boys, with guns and knives and the bloodiest fights seen in ages. Partly historic, with a fetishistic sense of time and place, it veers wildly into surrealistic melodrama, particularly with the fascinatingly repulsive gay sadistic glove-wearing Guy Pierce as the most corrupt of all law officers. Never have people been so beaten, shot, and knifed and yet continued to live and come back for revenge. Its bootlegger history re-imagined as Jacobean drama.
*** Sarah’s Key – a compelling adaption of a novel that delves into finding the links in history that connect a journalist, played by Kristen Thomas, to the story she is researching, about the Vel d’Hiv roundup of the jews in Paris, in which thousands of jewish families were separated and deported to be killed. The holocaust scenes are grim and difficult to watch, but bring a compelling human face to the atrocity. What works here is the fact that several of the French characters are shown to have ambivalence and some remaining humanity, even though the country and its residents were in league with Germany. What is less successful here is the contemporary part of the story – which yields to melodrama, by giving the journalist her own story, problems in her marriage and a miracle pregnancy, and its final scenes where she connects with the son of the subject of her research. This is a grim and difficult movie, but the process of slowly revealing the history and connections across a 70 year period, create a narrative thread that is quite compelling, and show how and why secrets are kept, and how people don’t always know their family in the way they think they do.
*** Celeste & Jesse Forever – a small, indy, romantic drama…that was marketed more as a comedy (given its cast which includes Rashida Jones (the office, parks and rec),and Andy Samberg (Saturday night Live), and a number of other sitcom actors. Rashida Jones is interesting and touching as a woman who doesn’t know what she wants, gets divorced from her best friend Jesse, and yet isn’t ready to move on. She’s quite affecting, and I didn’t realize until after the movie that she also wrote it (with her ex), so the story must hit close to home. Unfortunately, Andy Samberg is nowhere near as accomplished an actor and just seems a bit pathetic and under-energized here, which unbalances the film. Still, its nice to see a small story that deals almost exclusively with the ambivalence in relationships that don’t work out, and yet maintain their attraction … and the complexities of moving forward in life after divorce. But the film is just a bit out of focus in its point of view, tending to ramble a bit despite its 92 minutes, and it makes Los Angeles culture and dating look pretty unappealing.
*** Compliance – a well-made indie with a “based on real events” premise on how far people will follow orders when they come from an authority, the movie echoes the Stanley Milgram experiments of the early 60s – in which people in a psychological study were encouraged to subject another person to electrical shocks and did so because they were told they should do so but the person conducting the experiments. Here, the setting is a fast food restaurant, where the manager receives a call from the police telling her that one of her employees had stolen money from a customer’s purse – and that she should interrogate and eventually strip search her employee. The line of authority from employee to manager to the police sets forward an escalating chain of events. The movie suffers a bit from a “I wouldn’t have done that” incredulity, but nonetheless, someone ‘in the moment’ of the situation acts very differently than they think they would act. Ultimately I think it pushes what happens a bit too far to make it believable, but in its final act the movie at least examines the behavior and provides some context for it. I think this misses its mark just by a bit, but its nonetheless an interesting bit of a ripped-from-real-life suspense.
*** Searching for Suger Man – a ‘too strange to be true’ tale of the Detroit singer /songwriter Rodriguez, whose two albums recorded in the 70s sank to obscurity in the U.S. and yet materialized as the most coveted and influential albums in South Africa. The fact that Rodriguez was a total mystery with no press or information available about him, created rumors of his suicide by various means, and prompted South African musicologists to try to discover the truth about this mystery poet who was, for South Africans, ‘bigger than Elvis”. The documentary is well constructed, and an interesting footnote in musical history – and the fact that its all true must be its source of fascination for the many fans of this film. It is interesting to hear of the circumstances in which a person can become famous, and yet never know it. I’ve certainly never heard of Rodriguez before — though his music is prominently featured in the film. Personally I preferred the film ‘Anvil” which covered some of the same issues — but this is more uplifting since Rodriguez was an artist of integrity and the eventual outcome of the search is genuinely uplifting.

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