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Movie: The Wicker Tree

Release Date: January 27, 2012 (limited)

Studio: Anchor Bay Films

Director: Robin Hardy

Screenwriter: Robin Hardy

Starring: Graham McTavish, Jacqueline Leonard, Henry Garrett, Honeysuckle Weeks, Clive Russell, Sir Christopher Lee, Brittania Nicol

Genre: Horror, Thriller

Official Website: TheWickerTreemovie.com

IMDB Rating: 5.7

Story: In the pantheon of horror films, 1973's "The Wicker Man" occupies a unique place. While well-reviewed at the time, it wasn't a commercial success, perhaps because, despite the appearance of Hammer horror alum Christopher Lee, it was a much folksier, more naturalistic approach to horror. Years later, defunct genre publication Cinefantastique described the film as "the 'Citizen Kane' of horror films," and ever since the movie has reached the rarified air of being a horror film that even movie snobs take very seriously. (There was, of course, the ill-fated 2006 remake that replaced the original's healthy suspicion of paganism with flat-out misogyny. Oh, and Nicolas Cage covered in bees.) So it makes a certain amount of sense why original writer/director Robin Hardy would return to "The Wicker Man" well with "The Wicker Tree," even though it's only tenuously connected to the original film, sharing more of a thematic link more than anything else, and none of the first film's visual sophistication or uneasy sense of dread.

The set-up for "The Wicker Tree," based on Hardy's novel "Cowboys for Christ," is intriguing enough, following a pair of born again Christian missionaries, Beth (Brittania Nicol) and Steve (Henry Garrett), as they travel to Scotland to spread the word of God. In an interesting subplot that's never really explored, Beth was once a Britney Spears-style pop tart, before finding her faith (the internal tug-of-war between her formerly sexual self and her current chasteness is barely touched upon). After being dazzled by Beth's concert at a local church, the couple (who wear matching purity rings) are picked up by Sir Lachlan Morrison (Graham McTavish) and Delia Morrison (Jacqueline Leonardas) to come preach in their small village community of Tressock.

Anyone with an even passing familiarity with the original "The Wicker Man" will know where this is going and, quite honestly, you'd think that Beth and Steve, no matter how Christian and trusting they are, might have started to get the heebie-jeebies as well, especially when the local villagers openly talk about their allegiance to the ancient goddess Sulis and their elaborate preparation for the pagan celebration of May Day. Somehow, no matter how good Beth's gospel songs are, there's no turning these heathens.

For a while, at least, "The Wicker Tree" manages to be quite fun and bouncy, as it hops from one absurd sub-plot to the next. None of these subplots, mind you, add up to anything besides contributing to the overall sensation of out-there weirdness, but they are fun nonetheless. There's the subplot about how a local nuclear reactor (run, no less, by the community's leader Sir Morrison) has led to all of the women being infertile, a situation the locals believe can be undone, of course, by crazy mystical hoo-ha. There's the detective who is posing as a local police officer to gain information on the group (in a distant echo of the original 'Wicker Man' plot). And there's Lolly (Honeysuckle Weeks), a free-spirited (i.e. frequently nude) member of the cult who tempts Steve and actually feels kind of guilty when things become all evil towards the end. Oh yeah and "The Wicker Tree" is pretty much a musical, full of both honky-tonk Christian ditties and more traditional chants from the cult (but, no, nothing tops "Willow's Song" from the original and not just because this one doesn't feature a very naked Britt Ekland).

The original "Wicker Man" has left a profound impact on British cinema, referenced everywhere from Edgar Wright's action movie send-up "Hot Fuzz" to next week's brilliantly bizarre horror film "Kill List," and yet "The Wicker Tree," armed with the chief creative force from the first film, can't evoke that original film in any real way. The basic story beats are similar but wonky and overtly familiar, and for some reason when the real horror starts (around the time Steve is designated to become the Laddie, a local tradition where the villagers chase a single chosen man), Hardy chooses to pull back. Instead of having the atrocity shoved in our face (as he should), he instead elliptically cuts around the event, in a way that is both unsatisfying for the audience and artistically unsound. There was no way that "The Wicker Tree" was going to live up to "The Wicker Man," and while Hardy and various cast and crew members have said there is no connection, well, if there wasn't an intended link it probably wouldn't have such a similar title.

Part of the problem is the cast – Graham McTavish has none of the devilish charisma or otherworldly forcefulness of Christopher Lee's Lord Summerisle. (And, in truth, Lee was intended to play the Sir Morrison part before being sidelined by an injury and reduced to appearing in an odd flashback for no good reason). Sir Morrison's speeches don't come across as seductive; they're just bad – flat and hammy at the same time. Nicol and Garrett, too, aren't convincing enough as the Texas youngsters. The satire in "The Wicker Tree" is fairly broad but there's no excuse for them to be quite so cartoonish or phony.

While "The Wicker Tree" is respectably strange (how many pagan horror musicals are out there right now?), it fails to capture the moody tension of the original, while offering nothing in the way of visual sophistication or stylization. (From a visual standpoint this thing doesn't even deserve to be on British television, next to handsome productions like "Downton Abbey" or "Sherlock"). Hardy is clearly interested in the collision of celestial Christianity and earthy paganism, from both a dramatic and comedic standpoint, but in "The Wicker Tree" the satire is a bit too out-there and the horror not quite intense enough. "The Wicker Tree" almost skates by because it's so fucking weird, but that only goes so far. In the end, it needed to be something more. Anything more, really. The "Citizen Kane" of horror film sequels, it's not. But at least it's free of Nicolas Cage and bees.

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Movie: Declaration of War

Release Date: January 27, 2012 (limited)

Studio: IFC Films

Director: Valérie Donzelli

Screenwriter: Valérie Donzelli, Jérémie Elkaïm

Starring: Valérie Donzelli, Jérémie Elkaïm

Genre: Drama, Romance

Official Website: ifcfilms.com/films/declaration-of-war

IMDB Rating: 7.2

Story: War, by its very nature, doesn't give you weekends or nights off. There may be time between assaults, but the momentary cease-fires are unpredictable at best. So it is in "Declaration of War," a vibrant and heartfelt French film that captures the mood and the memories of young parents who found themselves in the trenches fighting for the life of their child.

Though the names have been changed, this is a very personal story for the very personal filmmaker Valérie Donzelli, who directs, co-writes and costars with Jérémie Elkaïm. It is a fictionalized version of the real-life battles they waged against the cancer that threatened their infant son Gabriel and how that time tore at their relationship.

This might have been too dreadfully sad if Donzelli weren't involved, but there is a sort of effervescence to her work that sweeps you up. As with her first film, 2009's "The Queen of Hearts," which turned her struggle with depression into a dramatic musical comedy, this too has a whimsical touch and a song. It doesn't mean she doesn't take things seriously, just that she chooses not to cut so deep as to lose sight of the amusements and ironies that surface in even the darkest times.

The film is told in flashbacks so that you know that the baby survived, which actually allows you to experience their wartime without that shadow of fear that it will all end badly. For the couple, it is love at first sight at a packed party, when Romeo (Elkaïm) and Juliette (Donzelli) lock eyes across a crowded room, a moment broken only by her laugh and his smile when the peanut he tosses in her direction lands in her mouth. They are beautiful and playful, so entranced with each other it seems as if nothing can penetrate their world, including adulthood.

Then Adam arrives, and nothing goes as they expected. He cries for hours on end, and soon whatever they thought they had with each other is harder to find, with 18-month-old César Desseix as young Adam a born heartbreaker with old soul eyes (Gabriel plays Adam at 8). With this, the story settles into the grim rituals that come with any disease, the round of doctors before you know exactly what fate has dealt you, the way complaints about a crying baby are dismissed. It takes months before anyone really listens, and when the diagnosis comes, it is deadly. Time slows and life is lived in hospitals.

The filmmaker is clearly interested in exploring how crisis changes us, what it demands and how we react. The different ways in which Romeo and Juliette cope with Adam's situation, the frictions that arise with their families, the way in which relative strangers feel compelled to weigh in, is mined here in often unexpected, and comical, ways.

Though it's tempting to think that there is little acting involved because the film hues so closely to Donzelli and Elkaïm's experience, that would be unfair to the lovely performances they deliver. If anything, when something hits so close to home, it requires a measure of control to find the right balance for the character within that moment, and they do. This is a self-referential but not a self-indulgent film.

The tone is a result of the kind of freedom the filmmaker encourages -- at times it's as if she's told director of photography Sébastien Buchmann, "just have fun with it." There is a mix of dialogue and voice-over narration -- someone else occasionally chiming in to offer an opinion or an assessment.

The line between real and surreal is often crossed, perhaps never better than after getting bad news Juliette turns to walk away, alone, dejected, until something breaks and she starts running down the hospital corridor. The film speeds up too, capturing the movement in frenetic ways so that you sense the frustration and the fight vibrating through every frame.

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Movie: In Darkness

Release Date: February 10, 2012 (NY, LA)

Studio: Sony Pictures Classics

Director: Agnieszka Holland

Screenwriter: David F. Shamoon

Starring: Robert Wieckiewicz, Benno Fürmann, Maria Schrader, Herbert Knaup

Genre: Drama

Official Website: sonyclassics.com/indarkness

IMDB Rating: 7.1

Story: "In Darkness" is a pitiless glimpse into the inferno, into hell not only on earth but below it. Based on a true story, it takes you into the sewers of the Polish city of Lvov during World War II, a place where a group of Jews lived for more than a year under circumstances that are almost unimaginable.

But, as directed by the veteran Agnieszka Holland, "In Darkness" is not a typical Holocaust film. For one thing, even more than in her 1990 film "Europa, Europa," Holland's directing style is cool, almost dispassionate. It's as though she's insisting that, as detailed in David Shamoon's effective script, these horrific events should speak for themselves without special pleading, if they are to speak at all. And for another, the film's focus is not on the Jews but on the anti-Semitic, Catholic Pole who becomes their unlooked-for savior and lifeline.

Not only did Leopold Socha (top Polish actor Robert Wieckiewicz) look unsympathetically on Jews, he was hardly a model citizen. An inspector in Lvov's sewers by day, by night he was a burglar, hiding his loot in the underground system and returning to his wife Wanda (Kinga Preis) and their daughter like nothing had happened.

Though he was contemptuous of the Germans and hated their invasion and occupation, Socha initially felt that what was happening to the Jews had nothing to do with him. There is a nightmare moment early in the film where he watches German soldiers herding a terrified group of naked Jewish women through a forest on the run as if it was all going on in another universe.

If Socha stands out as the protagonist from the start, the Jews he ends up saving are, perhaps intentionally, harder to tell apart at first, a situation that parallels the undifferentiated way Socha himself tends to view them.

Sensing that a liquidation of the Lvov ghetto is imminent, the Jews investigate the sewers as a potential hiding place, which is where they literally run into Socha, who tells them, truthfully as it turns out, that no one knows this underground world as well as he does.

Socha agrees to help the Jews find a hiding place, but for a steep price. He'll take their money now, he tells his assistant, and then think about turning them in to the Germans for a reward when the cash runs out. For their part, the demanding Jews can barely hide their contempt for this man: "Never trust a Polack" is about the mildest thing they say.

Gradually, however, Socha — and viewers — are able to tell the Jews apart. We meet Mundek (Benno Furmann), the confidence man who is their de facto leader, and Klara (Agnieszka Grochowska), who worries about her errant sister. We meet Yanek (Marcin Bosak), who has furtive sex with girlfriend Chaja (Julia Kijowska) with his wife and child nearby, and the cultured Ignacy (Herbert Knaup), who still believes speaking German is the mark of an educated man and whose young daughter ended up writing a memoir, "The Girl in the Green Sweater," about the family's sewer experience.

Helping make "In Darkness" so realistic and so involving is Holland's decision, apparently taken against the advice of the screenwriter and the producers, to tell this story in all its multiple original languages. Having characters often not understanding each other as they speak Polish, Yiddish, German and Ukrainian underlines the fraught complexity of Poland's ethnic situation and points out, for instance, the way the Germans used Ukrainians like Socha's friend Bortnik (Michal Zurawski) to do the dirtiest of their dirty work.

"In Darkness" is also honest enough to show how the enmities and conflicts that existed among the Jews aboveground were carried into the sewer and worsened by that desperate environment. In a world where everyone was looking for an angle, hoping to survive the nightmare and maybe even turn other people's misery into a tidy profit, the fact that a fragile humanity survived at all is little short of a miracle.

Though Holland is best known for her European features, she did direct several episodes of HBO's landmark "The Wire," and the kind of visceral but controlled skill she displayed there serves her well here. Working with cinematographer Jolanta Dylewska, production designer Erwin Prib and editor Michal Czarnecki, Holland so successfully re-creates that alien subterranean world that Krystyna Chiger, the "Green Sweater" author who survived the ordeal, told the New York Times that the film "was so realistic that I felt I am back in the sewer and am smelling it."

Holland, interestingly enough, dedicates "In Darkness" twice. At the film's beginning, she singles out Marek Edelman, the Jewish leader of the legendary Warsaw Ghetto rebellion. At the end, mention goes to the more than 6,000 Poles, more than any other nationality, who are recognized as Righteous Gentiles by the Israeli government for having risked their lives to save Jews. "In Darkness" shows us how extraordinarily fraught that choice was.

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Movie: Albert Nobbs

Release Date: January 27, 2012

Studio: Roadside Attractions

Director: Rodrigo Garcia

Screenwriter: Glenn Close

Starring: Glenn Close, Mia Wasikowska, Aaron Johnson, Brendan Gleeson, Janet McTeer, Jonathan Rhys Meyers, Pauline Collins, Brenda Fricker

Genre: Drama

Official Website: facebook.com/AlbertNobbs

IMDB Rating: 6.6

Story: Here, I’m once again straying from the critical pack; it must be that kind of year. The response to Albert Nobbs critically is pretty dismal, for what it is. For me the film — a longtime passion project of Glenn Close, who originated the lead role in a 1982 stage adaptation — has its flaws, but still resonated deeply without being manipulative. Close delivers a spot-on portrayal of Albert Nobbs, a woman hiding from her gender in Victorian-era Ireland by living as a man and working as a butler. Enter Hubert Page (Janet McTeer, who holds her own with Glenn Close and then some), another woman living as a man, whose very existence causes Albert to question the belief that his life must always be a solitary one. Here now, is a woman acting as a man, but doing so brashly, freely. Where Albert’s gender-switch has bound him into a life in hiding, Hubert hides right out in the open, having taken a jolly wife and made a home and a life with her.

Albert’s fortuitous meeting with Hubert and the subsequent revelation that Hubert is also a woman living as a man opens Albert’s mind to possibilities he’d never dared to even dream. A life where he could own a little tobacco shop, with rooms upstairs for living, with a cozy parlor kept by a charming wife where customers could gather to socialize — this, now, is exactly the life Albert’s been dreaming of through decades of button-lipped, demeaning service to the snooty, demanding asses of the upper classes, through countless evenings of saving coins under the floorboards. The woman Albert targets as his potential bride, the much younger, feisty maid Helen (Mia Wasikowska, also quite good here), though, has dreams of her own – dreams of a better life in America, free of the class restrictions that bind her so tightly in Ireland – and she’s tied her hopes and her heart to rakish, handsome, Joe Macken (Aaron Johnson) to get her there.

Joe encourages Helen to “step out” with Albert in the hopes that his lady love might persuade Albert to part with enough money to get them to America. Helen is reluctant but willingly allows Albert to spend hard-saved money on her, buying her sweets and baubles. And it’s heartbreaking to see the faintest glimmer of hope light fire in Albert’s constrained soul, as he grandly builds castles in the sky as substantive as soap bubbles. He looks at Helen and sees a potential friend, a life companion, a pretty wife at the counter to bring in the customers; she looks at him and sees only a weird, effeminate, little man she can never be attracted to, and she sees Albert’s dream of a little shop and apartment as an extension of the cage society has put around her by virtue of her birth. Further, Albert’s bland version of masculinity and sexuality holds no excitement for randy Helen, whose view of manhood has in turn been shaped by her own exposure to what constitutes gender identity – all sex and sweat, muscle and drink, abuse and apology. Helen’s view of what constitutes a “man” is so defined by the societal expectation of her class that she cannot see past Albert’s asexual exterior to see the safety and potential of the life he offers her. And even when she’s in trouble up to her eyebrows, she cannot see that Joe is not who she wants him to be, until it’s too late.

The whole thing is a very literary study in gender identity as a social construct, an exploration of what defines us as “male” and “female” beyond our genitalia. The success of both Albert and Hubert in surviving in their Victorian world as men is based solely on the exterior attributes that allow them to fit in as such. Hubert survives by adopting a swagger and bravado, and by working in a physically demanding manual labor job. Albert has survived by becoming a master chameleon, blending into the background, never speaking loudly or obtrusively, never giving anyone cause to look twice at him, never offering an opinion. Nightly, he counts his tips and adds them to his ledger, hides his treasure under the floorboards, saving up for a future he cannot yet fully imagine for himself.

All those things aside, though, direction by Rodrigo Garcia is a little uneven and obtuse, the story meanders here and there, and there’s a cleanness to Garcia’s depiction of life in Victorian-era Ireland that feels more problematic to me than anything else in the film.

The Victorian period, to me, is about the contrast between what we see on the surface and what lies beneath, and as such there was much to explore symbolically through a realistically unsanitary Victorian environment that would have better represented the inner turmoil of Albert Nobbs, who himself is hiding beneath the surface something very different from what he reveals to the world. Garcia’s Victorian Ireland is scrubbed just a little too clean – there should be rodents in the kitchen, maids dumping out pots of shit and piss from upper-class customers, dirt on the floors, dirt beneath fingernails, always in need of scrubbing; you should be able to smell the body odor and underlying layer of filth beneath the finery and brocade wallpaper here, but even when a typhoid epidemic rages through the hotel, it’s a very clean sort of epidemic. Actually, having seen Andrea Arnold’s take on Wuthering Heights at Toronto this year, I’d have liked to have seen what she would have done with this world and this material.

A good deal of the critical set seem turned off by Close’s buttoned-down performance, which is a little surprising to me considering that this is a story about a woman living as a man who’s completely shut herself down emotionally and disconnected from the rest of humanity. Close doesn’t hit you over the head with the depth of Albert’s soul-pain; the most important things in this film are not the things shown you in the film, but what those things imply. The emotions and inner turmoil of Albert Nobbs, the movie — much like Albert Nobbs, the character — are buried, camouflaged, like Nobbs himself, into the surroundings. But this is a smart and richly layered film, and if you take your time with it, pay attention to all the subtle nuances, and allow it to flow over you, it’s an emotionally rewarding, tragic tale.

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Movie: One for the Money

Release Date: January 27, 2012

Studio: Lionsgate

Director: Julie Ann Robinson

Screenwriter: Stacy Sherman, Karen Ray, Liz Brixius

Starring: Katherine Heigl, Jason O'Mara, Daniel Sunjata, John Leguiziamo, Debbie Reynolds, Debra Monk

Genre: Action, Comedy

Official Website: facebook.com/oneforthemoneymovie

IMDB Rating: N/A

Story: Desperate for some fast cash, Stephanie (Heigl) turns to her last resort: convincing her sleazy cousin to give her a job at his bail bonding company…as a recovery agent. True, she doesn’t even own a pair of handcuffs and her weapon of choice is pepper spray, but that doesn’t stop Stephanie from taking on Vinny’s biggest bail-jumper: former vice cop and murder suspect Joe Morelli (Jason O’Mara) – yup, the same sexy, irresistible Joe Morelli who seduced and dumped her back in high school.

Nabbing Morelli would be satisfying payback – and a hefty payday – but as Stephanie learns the ins and outs of becoming a recovery agent from Ranger (Daniel Sunjata), a hunky colleague who’s the best in the business, she also realizes the case against Morelli isn’t airtight. Add to the mix her meddling family, a potentially homicidal boxer, witnesses who keep dying and the problem of all those flying sparks when she finds Morelli himself…well, suddenly Stephanie’s new job isn’t nearly as easy as she thought.

Author Janet Evanovich’s popular “born-and-bred Jersey girl [with] plenty of attitude,” Stephanie Plum, was reportedly inspired in part by Robert De Niro’s hard-living bounty hunter character from Midnight Run. So, based on that description, one might envision an actress like, say, Marisa Tomei being recruited to play the heroine in the new adaptation of Evanovich’s Plum novel, One for the Money, right?

Instead, Lionsgate went with Katherine Heigl for the part of Miss Plum - and judging by the One for the Money trailer, this film isn’t going to win over anyone who wasn’t already a fan of the former Grey’s Anatomy startlet.

One for the Money looks to be an action-rom-com in the vein of the Heigl-starring Killers. It was directed by Julie Anne Robinson (The Last Song) and co-scripted by writers such as Kirsten Smith (The Ugly Truth) and Liz Brixius (Nurse Jackie). Based on that collective filmography, you probably already have an inkling of what sort of comical tone the Evanovich adaptation is going for.

Give Heigl credit… she only drops her (thankfully) underplayed Jersey accent a handful of times in this One for the Money trailer. Faint praise, we know.

On a kinder note: it is actually kind of refreshing to see the actress playing a character besides the beautiful, but undeniably uptight career-driven gal type (see: every other Heigl role). O’Mara (Terra Nova, Life on Mars) and Sunjata (Rescue Me, Grey’s Anatomy) both look to be having a bit of fun as Heigl’s respective bad guy/good guy love interests in One for the Money - though it’s almost shocking to see Debbie Reynolds playing the “wacky” elderly matriarch here. Those parts are generally reserved for Betty White nowadays, right? Moving on…

Whether or not One for the Money will be as broad a mix of “hip” comedy and action as is indicated in this early theatrical preview - that remains to be seen. However, if a film that includes “quirky” hookers, nudist senile old men, grandmas shooting turkeys, and more than its fair share of rom-com clichés - mixed with the occasional action set piece - doesn’t sound like your thing… well, you probably weren’t even remotely interested in this movie to begin with.

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Movie: The Grey

Release Date: January 27, 2012

Studio: Open Road Films

Director: Joe Carnahan

Screenwriter: Joe Carnahan, Ian Mackenzie Jeffers

Starring: Liam Neeson, Frank Grillo, Dermot Mulroney, Dallas Roberts, Joe Anderson, James Badge Dale, Nonso Anozie

Genre: Thriller

Official Website: facebook.com/TheGreyMovie

IMDB Rating: N/A

Story: Love might bring a man to his knees, but in this gruelling horror thriller Mother Nature aims to finish the job. In the freezing clutches of the Alaskan wilderness a pack of hungry wolves smell weakness in a group of stranded oil rig workers led by Ottway, a man quietly mourning the loss of his other half.

Liam Neeson makes a savagely deep impression in that role, perhaps because of the baggage he brings from his real life. In any case, it's his need for direction - both literally and figuratively - that gives the film its pulse and it's a pity that director Joe Carnahan doesn't trust this completely, instead loading him down with clichéd flashbacks. Still, Neeson somehow rises above.

At first, the fleeting images of his beloved create a haunting atmosphere as Ottway calmly steps out from a hangar, drops to his knees and tastes the barrel of his rifle. He doesn't do it, but a short while later his death wish looks set to be granted as the plane carrying him and his co-workers hits turbulence.

Even at this early stage Ottway is a recognisable outsider of the group; he is as quiet as they are rowdy, eerily still amid the panic. Carnahan produces a brilliantly visceral crash scene, giving him a rude awakening from a dream. But he makes a few too many leaps when it comes to Ottway's psychology. When he opens his eyes, his mind is changed: he suddenly wants to live.

It may be because Ottway is a born leader with an instinctive sense of responsibility. As a professional hunter for the company, he has skills the other survivors lack. They gravitate towards him in the chaos, hypnotised by the way he lulls a fatally injured man into eternal rest. And he's sure to have the same effect on those watching from the safety of their cinema seats.

He has the men hiking to the treeline after the wolves show up to spill more blood in the night. These beasts seem to tease their prey by flitting in and out of the shadows and are at their most frightening when they go completely unseen, because the creature effects are average at best. Carnahan uses fast edits too, taking a leaf out of Spielberg's book (re. Jaws), though he creates more shock than awe.

After making it into the mountains the group is whittled down to Ottway, family man Talget (Dermot Mulroney), Henrick (Dallas Roberts) and Frank Grillo as loudmouth ex-con Diaz. Ottway's developing relationship with Diaz is the most interesting to watch, tapping into Carnahan's apparent fascination with manly honour as evidenced in previous films (the best of which remains his second feature Narc). Mulroney scores easy points with anecdotes about his kid and Roberts hangs on apparently just to make up the numbers.

But they all serve to make Ottway appear less solitary than before and, of course, the campfire is the perfect place for him to start opening up about his past. What he says, though, is always less interesting than how he behaves and Carnahan risks undermining that with yet more flashbacks, even dredging up memories of dad. The moral of the story is literally spelled out: don't give up. Go down fighting. If only Carnahan wasn't so ham-fisted...

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Movie: Ultrasuede: In Search of Halston

Release Date: January 20, 2012

Studio: Tribeca Film

Director: Whitney Sudler-Smith

Screenwriter: Not Available

Starring: Liza Minnelli, Anjelica Huston, André Leon Talley, Bob Colacello, Pat Cleveland, Billy Joel, Ralph Rucci, Naeem Khan, Amy Fine Collins, Cathy Horyn, Harold Koda, Patrick McMullan, Christopher Makos, Stephen Burrows

Genre: Documentary

Official Website: TribecaFilm.com/Ultrasuede

IMDB Rating: 5.8

Story: In the New York of the 1970s, the fashion designer Halston was the epitome of a certain kind of cool. Being in his presence, whether at Studio 54, where he frequently held court, or at one of his famed parties, was proof of arrival. Director Whitney Sudler-Smith was born too late to bask in Halston’s reflected glow, but he admired him from afar, and his documentary Ultrasuede seems primarily like an attempt to close the distance between them. Growing up, Smith relates, he thought Halston—born Ray Halston Fenwick in Des Moines, Iowa—“was the coolest,” which sets the tone for the movie’s googly-eyed viewpoint. A frequent onscreen presence, coiffed in what he accurately calls “a series of unfortunate haircuts,” Smith frequently assures his subjects that their conversation will be “painless,” a sycophantic approach that gains him plenty of access, but precious little insight.

Beginning with Halston’s close friend and confidante, Liza Minnelli, and running through a roster that includes André Leon Talley, Diane Von Fürstenberg, and onetime Halston model Anjelica Huston, the movie records plenty of admiration for Halston’s sleek, minimalist style. He began as a milliner, designing the pillbox hat Jackie Kennedy wore to her husband’s inauguration, and retained a craftsman’s appreciation for the inherent qualities of different fabric. Designer Ralph Rucci recalls with awe how Halston threw a bolt of cloth on the floor and cut out a seamless wrap dress by hand, without the aid of a pattern or sketch. Although his life was associated with excess, from sex and drugs to his six-figure orchid habit, Halston’s clothes were characterized by elegant simplicity. As Rucci fondly recalls, “Nobody looked tasteful anymore.”

Disregarding Minnelli’s advice to “fuck the gossip,” Smith eagerly tracks down tales of coke binges and indiscriminate sex, even when it takes him far afield. Nile Rodgers of Chic recalls how the band’s hit “Le Freak” grew out of an angry late-night jam after the band was refused entrance to Studio 54, a nifty anecdote that has zero to do with the movie’s ostensible subject. Halston’s assistant, Naeem Khan, recalls a Valentine’s Day bash at which the nude waitresses had their pubic hair dyed red and shaved into hearts, but due to sloppiness or sleight-of-hand, it’s unclear whether the party was Halston’s. Smith fluffs the end of Halston’s career as well, when the designer loaned his imprimatur to so many corporate entities that he eventually lost the rights to his own name: Was it simply a drug-addled cash grab, or did he genuinely believe he was democratizing fashion? Ultrasuede doesn’t answer that question, or endless others, but at least Smith has proof that he spent ample time with the beautiful people.

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Movie: Carol Channing: Larger Than Life

Release Date: January 20, 2012

Studio: Entertainment One

Director: Dori Berinstein

Screenwriter: Dori Berinstein, Adam Zucker

Starring: Carol Channing, Harry Kullijian, Lily Tomlin, Chita Rivera, Barbara Walters, Tyne Daly, Debbie Reynolds, Phyllis Diller, Loni Anderson, JoAnne Worley, Bruce Vilanch

Genre: Documentary, Music

Official Website: CarolChanningmovie.com

IMDB Rating: N/A

Story: Carol Channing is such an endearing, sharp, funny personality that director Dori Berinstein could easily have just thrown her camera on a tripod, have the 90-year-old musical theater legend spin anecdotes for an hour and a half, and had a great documentary. Thankfully, what she made is even better. Sure, Channing still tells those stories about her life and stage career in

her paradoxically inimitable-yet-oft-imitated style. But there are also heartfelt testimonies from fellow actors and personalities, most legends in their own right, about how talented and genuine she is.

From Hello, Dolly composer Jerry Herman to Debbie Reynolds to Chita Rivera to a professional Carol Channing impersonator, the film paints an affectionate portrait of a performer who so loves and embodies musical comedy, that if it hadn’t existed before she did, surely her elemental talent would have summoned and created it for her out of pixie dust, brass, feathers, plywood, and of course, diamonds.

As Hollywood banter writer Bruce Vilanch says to a crowd of fans at a live moderated interview, most who love the lady will likely already know almost all there is to know about her. But for Channing buffs and the uninitiated alike, there’s still plenty to hoot about, such as stories of her first screen kiss with a certain huge Hollywood leading man, awkwardly choreographed down to the exact arm positioning, or footage of the supposedly dumb blonde hilariously lapsing into a Haitian corn-shucking ditty on an old talk show.

While many things about Channing are certainly large, some of the most affective and telling parts of the doc are actually in small moments. Recalling a story from her youth, she mentions someone named Bobby Shmaltz, and in the next breath gives an aside of, “Oh, you don’t know him,” seemingly speaking to the off-camera interviewer and forgetting she’s in front of a virtual audience. Or does she forget? In that one instant, we can see how effortlessly, through behavior, she keeps herself off the pedestal of celebrity and draws anyone into her sphere with the congeniality of an old friend. It’s easy to see how everyone from chorus boys to presidents is enamored by her.

And then there’s husband Harry Kullijian, Carol’s childhood sweetheart, reunited in marriage after 70-odd years apart. In the film, the two travel to various functions and revisit some of the important sites of their early courtship in San Francisco. Simply put, the two are ridiculously adorable and clearly overjoyed to be together again after all this time. Tragically, Kullijian passed just a few weeks ago in December, which likely happened too late to be noted in the film, and far too soon at any rate. All the more luck, then, that we have this small but moving document of the couple so we can share some of their spark for just a little bit.

Carol Channing: Larger than Life is like a warm cinematic hug from Shubert Alley, not to be missed by anyone with even the remotest passing interest in Channing or Broadway history.

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Movie: The Front Line

Release Date: January 20, 2012 (limited)

Studio: Well Go USA

Director: Hun Jang

Screenwriter: Sang-yeon Park

Starring: Ko Soo, Shin Ha-Kyun, Kim Ok-Bin, Ryoo Seung-Ryong, Lee Je-Hoon, Ko Chang-Seok, Ryu Seung-Soo

Genre: Drama

Official Website: TheFrontlinemovie-us.com

IMDB Rating: 6.9

Story: Jang Hun’s pulpy military thriller The Front Line is set during the waning days of the Korean War, as the commanders know they’re about to hammer out a truce, but the grunts in the field are still shooting at each other, under orders to seize as much territory as possible, for added leverage at the bargaining table. Shin Ha-Kyun plays a lieutenant sent to the Aerok Hills to file a report on a ragtag company where discipline is slack, and where an officer has recently turned up dead with a South Korean bullet in his brain, possibly at the hand of a rumored North Korean mole. When Shin arrives, he finds war orphans milling about, a baby-faced CO shooting up morphine, and soldiers wearing North Korean uniforms over their own to keep warm. In short, the lines between ally and enemy have long since been blurred, and these men are now fighting to survive long enough to see the peace they’ve been promised for years.

Though The Front Line won awards at home and is South Korea’s official Oscar candidate, it’s hardly a prestige picture. Jang and screenwriter Park Sang-Yeon (who also wrote the novel on which Park Chan-Wook’s 2000 hit Joint Security Area was based) are perfectly content to work in the language of war-movie clichés, reducing characters to types: the angel-faced kid, the pudgy joker, the embittered veteran, the ambitious careerist, and so on. And Jang’s command of the visual grammar of the old-fashioned combat sequence is in sync with Park’s corny dialogue and stock conflicts. The Front Line’s action sequences aren’t pitched as gritty you-are-there realism; they’re about sniper bullets zipping through the frosty air, and tracking shots that defy geometry to make it look as though soldiers are running up a perpendicular mountain.

But just because the script and direction of The Front Line are more over-the-top than the average awards-bait doesn’t mean the movie is a trifle. Jang and Park keep returning to a meaningful central image: a box buried in a trench in a plot of land that each side periodically re-takes. The men pass messages and share booze via the box, creating their own off-the-books cease-fire. The action in The Front Line is bloody and tense, but the movie also reduces war to its simplest terms, defining it in terms of the reluctant soldiers who know that only accidents of birth and location determined which side of the battlefield they inhabit.

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Movie: Crazy Horse

Release Date: January 18, 2012 (NY)

Studio: Zipporah Films

Director: Frederick Wiseman

Screenwriter: Not Available

Starring: Daizy Blu , Philippe Decouflé , Philippe Katerine

Genre: Documentary

Official Website: Not Available

IMDB Rating: 6.7

Story: In “Crazy Horse,” Frederick Wiseman, our greatest documentarian, turns his sights on the world’s most famous exotic dance club. Located in Paris beneath Avenue George V and billed as “the best chic nude show in the world,” Crazy Horse, or “Le Crazy” as it is sometimes known, has been packing them in since its founding in 1951.

Although Wiseman has made stunning documentaries with titles like “Hospital,” “Welfare,” Juvenile Court,” “High School,” “Basic Training,” and “Law and Order,” he has also ranged far beyond the gravitas of these subjects with such performance-oriented films as “Ballet” and “La Danse – Le ballet de l’Opéra de Paris.”

Wiseman’s movies are often discussed in terms of how they comprehend institutional environments. What his films are really about are the ways in which those institutions distend the bodies and souls of those who reside within them. In the case of “Crazy Horse,” all that distending is, at the least, highly photogenic. This film is minor Wiseman, but, on a technical level, it’s as snazzy as anything he’s ever done and lots of fun. It puts you not only backstage at the club but also in the front row. Watching the film, you half expect a waiter to set up a table before you and lay out the champagne.

Wiseman, who now lives part-time in Paris, gives us both the presentations of the dance numbers and the step-by-step preparations leading up to them. We don’t, however, hear much from the dancers themselves, and this is regrettable if only because it reinforces the notion that these women are essentially bodies in motion. Wiseman can be forgiven for thinking so, since these bodies certainly fill the camera frame. He and his regular cinematographer John Davey shoot the numbers in much the same way as they are designed and choreographed – as chichi abstractions, come-hither fantasias.

Wiseman sees in these women, most of whom are apparently from Russia and Eastern Europe, a level of artistry, or at least of artistic commitment, that is all of a piece with, say, the Paris ballet dancers. What he admires about them, aside from the obvious, is their exuberant desire to please and their artful, not vulgar, way of expressing that desire. By neglecting to delve as deeply into their offstage lives as he does the lives of the show’s choreographer (Philippe Decouflé) and artistic director (Ali Mahdavi, unidentified by name), Wiseman may be betraying his own enswooned relationship to these women. He wants to preserve their mysteriousness.

And yet, en masse, their personalities do come through, no more so than in the backstage scene where we see the women giggling helplessly at a blooper reel of famous Russian ballet dancers flubbing their moves. In some ways, the film’s most revelatory sequence comes when we see women auditioning for the company. By not coming on as creatures of fantasy, what these women may lose in mysteriousness they gain in humanity.

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Movie: Miss Bala

Release Date: January 20, 2012 (NY, LA)

Studio: 20th Century Fox

Director: Gerardo Naranjo

Screenwriter: Gerardo Naranjo, Mauricio Katz

Starring: Stephanie Sigman, Irene Azuela, Miguel Couturier, Gabriel Heads, Noe Hernandez, James Russo, Jose Yenque

Genre: Action, Drama

Official Website: MissBala.com

IMDB Rating: 7.1

Story: What happens when being in the right place at the right time is also the wrong place at the wrong time? When what saves you could ultimately destroy you? That's the terrifying minefield that the terrific "Miss Bala" navigates in a modern-day Mexico where beauty pageants, politics, police, power and a billion-dollar drug business mingle to deadly effect.

Directed with great verve by Gerardo Naranjo, and the country's Oscar entry in the foreign language category, the film takes on the bloody running turf wars of the narcotics trade from street level. It is seen through the eyes of Laura Guerrero (Stephanie Sigman), an impoverished young beauty whose dreams and whose life are about to become part of the collateral damage. There is a larger message to be found here, but it never derails the taut vintage thriller that's been constructed.

The film begins on edge with cinematographer Mátyás Erdély shooting in the uneasy half-light just before night gives way to day. The shadows don't hide that Laura's house is in deep decline, as is the family inside. Her hopes are plastered on the wall around her bedroom mirror, glossy magazine cutouts of stylish models who exist in a world she can't even imagine. Despite a worried father and an anxious brother, she is soon off to meet a friend in the city to make a run at that distant dream.

Written by Naranjo and Mauricio Katz, the film unfolds over the next three days as local girls gather to compete in Baja's state beauty pageant, with its promises of fame and money. What the film captures so effectively is the cultural reality of Mexico's ubiquitous underclass instead — the beauty contest a callous cattle call of nervous hopefuls in cheap dresses and forced smiles.

At a nightclub the first night, where some of its well-connected patrons might "help" on the pageant front, Laura gets caught in the crossfire of a gang shootout, with the terrified girl surviving but seeing too much and, worse, being seen. The filmmakers use Laura's desperate bid to survive to make Mexico's drug crises punishingly personal. Bit by bit, her confidence is eroded, her instincts questioned, beginning with the pageant director who snipes that her hands look like a maid's and ending again and again with the poisonous Lino (Noe Hernandez), the local drug honcho she keeps crossing.

The narrative is unflinching in its tone, and despite the death spiral Laura seems to be on, her predicament is never played for pity. The visual style is equally direct. In the past, the director has tended to experiment, playing with everything from French New Wave to noir, his debut with 2006's "Drama/Mex" included. But here Naranjo keeps the focus tight, the pace fast and the desperation high. By doing so, he has created a film that balances its extremes with its nuance. Bodies, ripped open by machine guns, pile up in gruesome numbers as blood streaks and pools on the sidewalks, bedrooms and dance clubs around Baja. Well executed and riveting, the action is nevertheless what you'd expect a drug war would generate.

The nuance, however, is another story. Hernandez ("Sin Nombre") wears Lino's ruthlessness with the ease of the farm worker clothes he fancies, his occasional flash of humanity delivered with such indifference it hurts. And in a haunting performance, Sigman disappears completely inside Laura's skin, taking her from tentative hope to absolute fear with barely the blink of an always wary eye. Watching her face telegraph helplessness and resignation as she is transformed from an innocent into a mule, money taped to her waist like dynamite — and just as deadly if she's caught — is as unnerving as it is mesmerizing.

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Movie: The Flowers of War

Release Date: January 20, 2012 (limited)

Studio: Wrekin Hill Entertainment

Director: Zhang Yimou

Screenwriter: Heng Liu

Starring: Christian Bale, Zhang Xinyi, Huang Tianyuan, Tong Dawei, Atsuro Watabe, Shigeo Kobayashi, Cao Kefan

Genre: Drama

Official Website: TheFlowersofWarmovie.com

IMDB Rating: 7.5

Story: "The Flowers of War," a melodramatic tale of unlikely heroism set during the Japanese invasion of Nanking, is affecting at times but finally feels overblown and heavy-handed.

It's a disappointment from director Zhang Yimou ("Ju Dou," "Raise the Red Lantern").

Much of the film – an epic project that's reportedly the most expensive Chinese movie ever made – takes place inside a large Catholic church in the weeks after Nanking's fall on Dec. 13, 1937, a period of wide- scale killing and rape that killed 200,000 Chinese. (That's the number cited in the film; the death toll is disputed.)

A dozen convent girls are hiding in the church, watched over by a young male ward (Huang Tianyuan). A reprobate American mortician (Christian Bale) arrives, and sticks around to drink up the church's wine supply and pocket whatever cash he can put his hands on. Also seeking refuge are a dozen or so rambunctious and colorfully clad hookers, including one (Ni Ni) who speaks fairly good English.

The Bale character and the prostitutes are mostly played for robust humor – a somewhat risky strategy – until the sanctuary is invaded by Japanese troops aiming to violate the young virgins (the hookers avoid notice, a little too easily, by hiding in the basement). Bale's mortician has dressed up as a priest, mainly as a lark, but shows unexpected mettle in trying to protect the girls.

Despite assurances of protection from a top Japanese officer, it's soon clear that students are to be sacrificed to the animal lusts of the occupiers. But there's a remote chance that an escape for the girls might be engineered.

There are moments of genuine emotion here, and Zhang powerfully underlines the horrors of this dreadful moment in history, but much of what happens feels cooked up, some of it plain silly. The characters' rising to the moral occasion should be deeply moving but isn't really justified dramatically. It seems more like the triumph of sentimental movie conventions.

The transformation of Bale's character is entirely predictable, and the monumental act of self-sacrifice at the climax strains credibility.

And there are dialogue clunkers. The film's grand emotions and a handful of sequences – Zhang is an undeniable talent – can't overcome these flaws.

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Movie: Red Tails

Release Date: January 20, 2012

Studio: 20th Century Fox, Lucasfilm

Director: Anthony Hemingway

Screenwriter: John Ridley

Starring: Cuba Gooding Jr., Terrence Howard, Bryan Cranston, Nate Parker, David Oyelowo, Tristan Wilds, Cliff Smith, Kevin Phillips, Rick Otto, Lee Tergesen, Andre Royo, Ne-Yo, Elijah Kelley,

Official Website: RedTails2012.com

IMDB Rating: N/A

Story: The story of the Tuskegee Airmen is one that every American should know, and deserving of a great film; unfortunately, this isn’t it. If one were scoring good intentions it would get an A for effort, simply for bringing a portion of this vast saga to theater screens. But the screenplay resembles an earnest junior high school play; that isn’t worthy of the subject or the people behind this endeavor.

Red Tails has been a pet project of George Lucas’ for many years, and as one would expect it is technically flawless. The aerial action, including multiple dogfights and perilous missions over Italy and Germany, is executed with breathtaking precision—all the more amazing when one learns that virtually everything was created by computer wizards, including the interiors of the cockpits that house the leading actors! The “effects” are invisible, and these scenes give the movie moments of great energy and excitement. Such startling realism wouldn’t have been possible even a decade ago.

It’s a shame that the same effort wasn’t lavished on the script, credited to John Ridley and Aaron McGruder. It’s actually reminiscent of a corny Hollywood movie made during the era it depicts, the 1940s, and as such, may play best to youthful audiences who might not recognize its many clichés and shopworn characters. (Wait till you see how the Germans are portrayed!) The film is bolstered by extremely likable performances from the actors who play the key pilots, David Oyelowo, Nate Parker, Ne-Yo, Tristan Wilds, and Michael B. Jordan. Their lively interaction, on the ground and in the air, keeps the film from becoming just a stale history lesson. In the showiest role, as a cocky flyer who won’t listen to orders—and who courts an Italian girl during his off-hours—Oyelowo has the best opportunity to score with moviegoers.

The two best-known members of the cast are saddled with cardboard characters. Cuba Gooding, Jr. plays the calm, pipe-smoking major who oversees day-to-day operations at the squadron’s Italian air base. Terrence Howard is even more one-dimensional as the colonel who battles for respect and recognition with the top Army brass, some of whom cannot disguise their racist attitudes. His part consists almost exclusively of speeches, rather than dialogue.

I would not hesitate to take young people to see this film, if it exposes them to this remarkable piece of American history for the first time. (With a PG-13 rating they will hear an occasional four-letter word.) One could also check out the 1995 HBO movie The Tuskegee Airmen, which boasted a top-notch cast led by Laurence Fishburne, Andre Braugher, Malcolm Jamal-Warner, Courtney B. Vance, Mekhi Phifer, and the very same Cuba Gooding, Jr. But I can’t abandon my critical faculties and recommend Red Tails as a genuinely good movie.

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Movie: Coriolanus

Release Date: January 20, 2012 (limited)

Studio: The Weinstein Company

Director: Ralph Fiennes

Screenwriter: John Logan

Starring: Ralph Fiennes, Gerard Butler, Vanessa Redgrave, Brian Cox, Jessica Chastain, James Nesbitt

Genre: Drama, Thriller

Official Website: WeinsteinCo.com

IMDB Rating: 7.4

Story: I don’t know what Shakespeare purists will make of Coriolanus, but as cinematic storytelling it’s awfully impressive: a muscular, contemporary reading of the play, deftly abridged and adapted by the prolific John Logan, who also wrote Hugo and Rango this year. The primary hero, on screen and off, is Ralph Fiennes, who not only makes a formidable directing debut but delivers a ferocious (and commanding) performance in the leading role.

Although the wardrobe is modern, and the film was shot in Serbia, the setting is ancient Rome, where a fearsome warrior named Caius Martius returns from battle, having vanquished his sworn enemy Aufidius. He is awarded the name Coriolanus and hailed as a hero, but the rabble in the streets don’t share that view—as he denied them sustenance during wartime—and he has wily enemies within the Roman congress who plot his downfall.

One need not comprehend every utterance or speech to understand the unfolding plot: the machinations are as clear as vivid, bloody battle scenes. (It may take a little time to understand every turn of the plot, but they all reveal themselves.) Bold performances by Vanessa Redgrave, as Coriolanus’ mother, Gerard Butler, as Aufidius, Brian Cox, as a political peacemaker, and James Nesbitt and Paul Jesson, as the schemers out to sabotage Coriolanus, support Fiennes’ towering work. Shakespeare’s words flow from him like a mountain stream; the words are meaningful but the delivery seems effortless. (Jessica Chastain is also good, as the warrior’s wife, but her screen time is relatively brief.)

Coriolanus isn’t light entertainment, but its relevance, and resonance, may come as a surprise to viewers who don’t normally seek out the works of the Bard. The first-time director and his cinematographer, Barry Ackroyd, imbue the film with incredible energy and power. Like Coriolanus, Fiennes is a force to be reckoned with.

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