Review: Lincoln (2012)Steven Spielberg’s masterful Lincoln might more accurately have been called The 13th Amendment — and while the choice of the more marketable title is easy to understand, the more crucial decision to limit the scope of the film to the last few months of Lincoln’s life, and to focus less on Lincoln himself than on the political machinations of bringing about his most enduring legal legacy, must have been harder to make.
Review: Argo (2012)The fact-based premise is almost enough to sell Argo by itself. Argo opens and closes as a tense political spy caper, but it’s also an affectionate send-up of the movie-making process. The old advice to writers to “write what you know” is applicable to movies about movies, from Singin’ in the Rain to The Artist, and few subjects inspire Hollywood — or appeal to movie fans and film critics — more reliably than Hollywood itself.
Review: For Greater Glory (2012)For Greater Glory tells a story of religious freedom and oppression that is far too little known, and that would be important and worthwhile at any time, but is strikingly apropos in our cultural moment.
Review: War Horse (2011)In War Horse Spielberg harkens back to an earlier cinematic age, creating something more like a Golden Age Hollywood epic than any film I’ve seen in years, the one other notable example being Baz Luhrmann’s Australia.
Review: J. Edgar (2011)The life and work of J. Edgar Hoover offers grist for a dozen different movies or more, and Clint Eastwood’s J. Edgar wants to be all of them at once. It’s the sort of staidly respectable, competently directed biopic that gives a bad name to competently directed biopics, and possibly to respectability.
Review: The Help (2011)Based on Kathryn Stockett’s best-selling 2009 novel, The Help is largely about the daily humiliations and injustices to which black maids and nannies working in white homes were subject, and the invisibility of these humiliations to their white employers, until, in this fictional account, their stories are told, first in secret and then in public.
Post: There Be Dragons [video]If you don’t have 30 seconds to spare, here’s a spoiler: There aren’t really any dragons.
Review: There Be Dragons (2011)As played by English actor Charlie Cox (Stardust), Josemaría emerges as a likable, dedicated, virtuous young man much loved by his circle of friends, the first generation of Opus Dei. There are a few evocative scenes, such as the impression that a barefoot friar’s tracks in the snow make on the young Josemaría. Yet despite a line or two about Opus Dei spreading to other countries, there’s little sense of Escrivá himself as a figure of any particular note.
Review: The Conspirator (2010)Credibly researched by screenwriter James Solomon and beautifully filmed by Newton Thomas Sigel (The Usual Suspects, Three Kings, Valkryie), it’s a rare historical drama that credibly captures a sense of another era while allowing its characters to breathe and talk and argue like men and women living in the present tense.
Review: Of Gods and Men (2010)Xavier Beauvois’ sublime Of Gods and Men is that almost unheard-of film that you do not judge—it judges you. To one degree or another it defies every attempt to put it in a box, to reduce its challenge to a political or pious ideological stance to be affirmed or critiqued.
Review: Open City (1945)Developed in Rome during the Nazi occupation, shot in the Eternal City shortly after the Nazi withdrawal, Roberto Rossellini’s Rome Open City stunned audiences the world over who saw in it an unmediated authenticity more evocative of the documentary quality of wartime newsreels than of the artificiality of earlier, more conventional WWII dramas.
Review: The Train (1964)How do you weigh the cultural heritage of a nation against the value of human life? That’s the subtext of The Train, a wholly persuasive, intelligent thiller crisply directed by John Frankenheimer (The Manchurian Candidate) with documentary-like realism and emphasis on action and problem-solving.
Review: In the Shadow of the Moon (2007)Man’s own shadow, as much as the moon’s, lies across In the Shadow of the Moon, David Sington’s moving documentary of the U.S. Apollo program. An eloquent testament to the grandeur of creation as well as man’s unique place in it, In the Shadow of the Moon offers a remarkable look at the history and technology of the Apollo program, but an even more extraordinary glimpse of the men who lived it and made it happen.
Review: World Trade Center (2006)Where Paul Greengrass’s brilliant United 93 crafted a documentary-like anatomy of events without presuming to get inside people’s heads or explain actions or motivations, World Trade Center is a more conventional Hollywood film, with dramatic dialogue, characters following clearly plotted arcs, and a swelling soundtrack to reinforce the mood.
Review: United 93 (2006)Whatever monument is eventually built at Ground Zero or anywhere else, United 93 is as fitting and worthy a memorial to the victims and heroes of September 11 as one could hope for.
Review: Apollo 13 (1995)In an age when we rely on computerized directions and GPS devices to drive to the next town, it seems an almost mythic scenario: brilliant men calculating outer-space trajectories on the fly with pencils and slide rules, keeping life and limb together literally with duct tape, flying to the moon and back simply because they could.
Review: Judgment at Nuremberg (1961)Downbeat, intelligent, and compelling, the film is brilliantly constructed and acted, bringing lucid, forceful moral argumentation as well as emotional sympathy to both sides without tipping its hand until the powerful climax. Tribunal justice Dan Hayward (Spencer Tracy) is the ideal foil for the film’s rhetoric: a self-deprecating, folksy American circuit court judge with no ax to grind and a winsome appreciation for his own obscurity, knowing he’s sitting in judgment of defendants no one else wanted to judge.
The Ninth Day, a fact-inspired film about a priest in a Nazi concentration camp who is briefly released, goes back over five decades to Schlöndorff’s film-club days at a Jesuit boarding school, where he first encountered Carl Dreyer’s silent masterpiece, The Passion of Joan of Arc.
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