Sterritt **** A wealthy businessman, a beautiful maid who stays just outside his reach, and a background of revolutionary rumblings are among the ingredients of this 1977 masterpiece. Cinema's greatest surrealist is at the peak of his powers in the last movie of his unparalleled career, telling a deliciously dreamlike tale with the ease and wit of a master stylist who knows how to entertain us, unsettle us, and astonish us at the same time. His most celebrated gambit here is having the servant Conchita played by two different actresses, not to reveal different sides of her personality, but to discombobulate the notion that personalities can be comprehended in the first place. This is a classic in the fullest sense. In French with English subtitles
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Staff ** Don't go to this martial arts movie expecting "Crouching Tiger, Hidden Dragon." There's none of that movie's nuanced acting or genteel violence on display in this tale about a Chinese policeman (Li) framed for murder while on assignment in Paris. Stylish production values and inventive choreography fail to paper up the cavernous cracks in the story, but Li's karate chops are impressive as he somehow takes on more bad guys than Rambo did in three movies. By Stephen Humphries
Staff 1/2 The original Scary movie was a rather smart, funny riff on horror movies, in the "Naked Gun" vein. Well that vein has apparently run dry, for all this sequel can offer is lots of cliches and bathroom humor. You won't laugh and you won't be scared, but you may be embarrassed for the teenagers trapped in an archetypical haunted house for a weekend with Tim Curry. By Alex Kaloostian
Matt Reeves' American remake of the widely praised Swedish kid-vampire movie Let the Right One In -- its title now shortened to Let Me In -- is not a bad movie, as modern vampire movies go. It's not unintelligent, crass or hokey. Nor is it a big fancy expensive gory-glossy-teen-romance like Twilight, or a mindless travesty like Vampires Suck. Let Me In's delicate portrayal of childhood angst, its more sensitive tale of an outsider romance between two alienated 12-year-olds -- culled by Reeves from the original film made in 2008 by novelist-screenwriter John Ajvide Lindquist and director Tomas Alfredson -- has been cited for its moody lyricism and its respect for its audience's intelligence, and praised by many critics as a good, maybe great, genre piece.
Army of Crime is one of those movies that take history -- in this case, the saga of the French Resistance in World War II -- and make it come blisteringly alive. The film also shines a light on a great contemporary French filmmaker who, apart from festivals and art-houses, has been somewhat ignored and neglected here in the U.S.: Robert Guediguian.
As a portrait of political warfare, Army of Crime seems to me more powerful and moving than Olivier Assayas' often excellent Carlos, and not just because the Resistance fighters were mostly good guys and Carlos a bad one. By showing men like Missak, who didn't fight and kill out of predisposition or temperament (as Carlos seemingly did), but out of genuine idealism, the movie steeps us in the dramatic contradictions, and deep tragedy, of war. The imminence of death constantly cues the drama here, and Guediguian presents the horror of daily life under the Nazis with both sensitivity and with the appalled gaze of a man of peace and optimism gazing at a (past) world of war, blood and terror. In French, with English subtitles. (Extras: interviews with Guediguian and Ledoyen.)
Parents need to know that Underworld Awakening is the fourth movie in the "vampires vs. lycans" (werewolves) series and the third to star Kate Beckinsale. It focuses more on fighting and violence than scares, but -- like the previous films -- it's accurately rated "R." There's lots of combat, including hand-to-hand fights, shooting, stabbing, slicing, bombs and explosions, and spurting blood. Throats are ripped out, and a young vampire/lycan girl is shown trying to slice her wrists (the cuts heal immediately). There's less sexuality here than in the last two movies; although one scene shows the main character naked, her body is totally obscured by steam. Language is very infrequent but includes at least three uses of "f--k" and one "s--t." 2ff7e9595c
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