Of Horses and Men (2013)

Directed by: Benedikt Erlingsson
Country: Iceland

Movie Review: “Of Horses and Men” is a pretty damn amazing comedy-drama written and directed by Icelandic newcomer, Benedikt Erlingsson, who counted with the experienced filmmaker Fridrik Thor Fridriksson (“Childrem of Nature”, “Mamma Gogo”) as producer, as well as Bergstein Bjorgulfsson (“Jar City”, “The Deep”) as cinematographer.  Short in duration (only 81 min.) but sufficiently intense in what intends to depict, the film is a collection of little stories (segments), confronting life and death in the most diverse ways, and putting face to face the animal and human natures, all with a bittersweet feel that grabs us since the very beginning. Occasionally, its well-observed images can be very painful to watch, however we always have the beauty of the Icelandic landscapes to calm us down afterwards. Each segment starts with a big close-up of a horse’s eye in which its owner is reflected in it. A lot of memorable scenes still persist in my head long after watching the movie. Among them, a stallion mounting a mare with its master on its back, a drunken man riding his horse into the freezing sea to buy vodka from a Russian boat, or a man sacrificing a horse to survive the bitter cold of the night. Exquisite and strange, the powerful “Of Horses and Men” is a feast not only for the eyes but also for the soul, according to the substance and spirit of its wonderful little tales. The throbbing folk soundtrack reinforces Erlingsson as the maestro of a well-orchestrated arthouse film.

Frank (2014)

Directed by: Lenny Abrahamson
Country: USA

Movie Review: American independent filmmaker Lenny Abrahamson (“What Richard Did”) picks up a plot written by Jon Ronson and Peter Straughan, and creates an offbeat exercise populated with weirdness, mental illness, and indie rock. The writers sought inspiration in Frank Sidebottom, comic persona of the deceased English musician and comedian, Chris Sievey. Jon Burroughs (Domhnall Gleeson) is a keyboardist and songwriter who is trying to come out of his shell, looking forward to play with someone or be contacted by some band. After some letdowns, an invitation comes from a band whose eccentric leader, Frank (Michael Fassbender), hides himself behind a large fake head, triggering curiosity and fascinating everybody in many ways. Delicate mental conditions seem to be a problem in the band, which isolates itself in a forest to record the first album. Not only Frank is a good character to be studied here. Weird behaviors and out-of-control situations are depicted, while Jon struggles to turn the band famous through social media. A good opportunity to make a public appearance arises in a respectable venue, but will the band be prepared to play decently with so many internal/personal conflicts? Amusing and visually polished, the film takes us to its very own psychedelic world. As Jon says in the film, the objective in joining the band is to push him into the furthest corners of himself. Despite some inspiring moments, I didn’t feel it all the time, since Abrahamson’s endeavor to captivate us results fine, but the film becomes memorable not for its story but for its extreme weirdness and distorted sounds.

God Help the Girl (2014)

Directed by: Stuart Murdoch
Country: UK

Movie Review: The lead singer of the Scottish indie pop band ‘Belle & Sebastian’, Stuart Murdoch, makes his directorial debut with “God Help the Girl”, a musical drama written by himself, starring Emily Browning, Olly Alexander and Hannah Murray. Murdoch already had contributed for the soundtrack of several movies including “(500) Days of Summer” and “Juno”. The story turns around Eve (Browning), an anorectic teenager with aptitude for songwriting, who escapes the hospital facility where she was being treated to go to a concert in Glasgow. She easily becomes friends with guitarist/songwriter James (Alexander) who in turn, introduces her to Cassie (Murray), his music student. The three become good friends and the possibility of forming a pop band starts to take shape. Meanwhile, Eve starts a relationship with Anton (Pierre Boulanger), the selfish singer of a successful rock band, making James jealous. Lumbering and focusing on irrelevant details, “God Help the Girl” was quite monotonous along the way, never hauling articulated emotions from its characters to gain our sympathy. I just couldn’t be entertained with a story whose depicted problems never seemed to be real problems in my eyes. Even the sweet songs became pretty boring after a short time. Flaccid and far from innovative, Mudoch’s drama aimed a feel-good posture that annoys more than it is cool. Its ambition felt short, and God, help Murdoch in his next move because this one wasn’t so considerable.

Frontera (2014)

Directed by: Michael Berry
Country: USA

Movie Review: Michael Berry directs and co-writes with the former art department coordinator, Louis Moulinet, the drama about immigration “Frontera”, his debut feature. The story focuses on Miguel Rodriguez (Michael Peña) who illegally crosses the Mexico/US border, searching for work and better life conditions, all with his new future baby in mind. He agrees to take Jose (Michael Ray Escamilla) with him, the disrespectful son of his father-in-law’s friend. Already in American territory, and guiltless, they will be involved in the accidental death of a woman on horseback who approached them to give them water and blankets. The innocent Miguel will be arrested and considered the man to blame, triggering the wrath of the woman’s husband, Roy (Ed Harris), a former Arizona sheriff who starts an investigation by himself. Meanwhile, Miguel’s wife, Paulina (Eva Longoria) pays a man to cross the border and join her husband, but ends up hostage. I was expecting other intensity from “Frontera”, a film whose conclusions came quickly and flavorless. Instead of elaborate or effusive, this ‘western’ drama is rather melancholic, derivative and drab, never presenting highlights along the way and opting for a continuous pace that only gives the sensation of being accelerated through the score, fetched from the old TV series. The performances remained in the shadow of a plot that got me impatient and dry, just like the incredible desert landscapes along the border.

The Longest Week (2014)

Directed by: Peter Glanz
Country: USA

Movie Review: Using a relaxing flow, cordial narrative, and a cool score that includes piano jazz, swinging reeds, and violins playing Bach, “The Longest Week” is a friendly comedy that borrows the mood of Woody Allen’s stories and throws some personal touch in the way it is approached by debutant director Peter Glanz. The main character of this comedy-drama is the wealthy skirt-chaser Conrad Valmont (Jason Bateman) whose parents abandoned him since he was a kid to travel around the world, leaving him the luxurious Manhattan Hotel. Certain day he was told that his divorcing parents have disinherited him. Conrad astutely hides this detail from his best friend, Dylan Tate (Billy Crudrup), an artist who shows interest in his friend Beatrice (Olivia Wilde), an editorial model who already had caught Conrad’s eye. It seems that not even his analyst can do anything to avoid love and impoverishment, but a natural competition between the two friends will spike the film. I was able to follow the well-composed images with interest and the light humor always seemed unforced and with a perfect timing. The surprising conclusion of this tale also deserves some points, making “The Longest Week” a twisted rom-com that comes packed with graciousness and a good disposition when addresses the differences between sympathy and love, and being hopelessly romantic and romantically hopeless. Even considering its presumptuous airs ‘a lá Française’ and the too much obvious influences already mentioned before, “The Longest Week” still has something charming to deliver.

God's Pocket (2014)

Directed by: John Slattery
Country: USA

Movie Review: The lives of a group of inhabitants from a neighborhood called God’s Pocket are depicted in the debut film from the actor-turned-director, John Slattery, who co-wrote with Alex Metcalf, based on Pete Dexter’s 1983 novel. Even with a set of magnificent actors, such as Philip Seymour Hoffman, John Turturro, Richard Jenkins, Eddie Marsan, and Christina Hendricks, “God’s Pocket” stubbornly varies between impenetrable and dull moments, becoming a shallow exercise on crime and a dispassionate attempt of giving shape to its miserable characters. The story follows Mickey (Hoffman) who tries to deal with the death of his racist stepson in his own way. By burying his body, he tries to hide the news from everybody without success. This is just another problem to add to his marital worries and future debts. Richard Shellburn (Jenkins), a newspaper journalist is the one who investigates the case and keeps writing about the reputation of the people. The film never attains what pretended, and for most of the time remains protracted, uneventful, and throwing out dispensable dialogues. All of a sudden, in one or two occasions, there are burst of gratuitous violence that just worsens the contrived, sometimes impenetrable, and non-atmospheric story. It’s basically a sum of unpleasant episodes that are vaguely connected, and for which I couldn’t feel many positive things. Surprising? Yes, but in a negative way. The quality of these actors was wasted, and that was the biggest surprise for me, since I expected much more from this frustrating American drama.

The Two Faces of January (2014)

Directed by: Hossein Amini
Country: UK / others

Movie Review: “The Two Faces of January” is the debut feature-film from Iranian-English Hossein Amini, most known as a screenwriter, with works such as “Drive”, “Snow White and the Huntsman”, and “The Wings of the Dove”. This thriller was adapted from Particia Highsmith’s 1962 novel of the same name. Viggo Mortensen stars as Chester MacFarland, a con artist who ends up involving himself in an accidental murder of an intimidatory man when he was on vacations in Athens in the company of his wife, Collette (Kirsten Dunst). A tour guide and scammer named Rydal (Oscar Isaac), who followed Chester due to his semblances with his father, will help him to get rid of the body and get new passports through the black market. On the run, the trio tries to escape the Greek authorities, but the relationship between the two men deteriorates along the time, mainly for two reasons: different opinions on how to handle the situation, and jealousy since Rydal and Collette dangerously admit to nurture a special admiration for each other. I was supposed to be seduced by the way this thriller was conceived, but the truth is that the film never bestowed what it promised, not even in its final part where we have a bit more agitation and suspense. It didn’t take me beyond my expectations, and there’s absolutely nothing here we haven’t seen before. In its pretty familiar tones, we can feel a sense of tragic that was never enough to hold my attention. Solid in the technical aspects, the half-hearted “The Two Faces of January” lacked power in depicting the fatal crossed paths of these two men.

Life of Crime (2013)

Directed by: Daniel Schechter
Country: USA

Movie Review: The third feature film from Daniel Schechter (“Supporting Characters”), “Life of Crime”, was adapted from Elmore Leonard’s novel “The Switch”, and despite having nothing really new to offer, it entertains most of the time. Everything starts when two well-informed swindlers, Louis (John Hawkes) and Ordell (Mos Def), target Mickey Dawson (Jennifer Aniston), the wife of a wealthy man, kidnapping her in order to ask for a million dollars ransom. While the operation occurs, Frank Dawson (Tim Robbins), the selfish husband, is in Bahamas with his lover Melanie (Isla Fisher) who thwarts the plan by picking up all the phone calls and saying that Frank is not there with her. Meanwhile, Mickey is made hostage and placed in the house of a stinky Nazi follower called Richard (Mark Boone Junior). The story gets really messy as it moves forward, and some characters change positions driven by a determination for revenge, or even fear, as it occurred to Marshall (Will Forte), a friend of the Dawson family who has a crush on Mickey and was caught in the middle of the kidnapping scene. Schechter’s direction was minimally competent without standing out, leading “Life of Crime” to lose some energy and control in its final part. A few ludicrous moments, regular pace, and a cool atmosphere, so characteristic of the majority of the heist movies, makes us distracted from the usual aspects that hamper the films of this genre from being totally gratifying. They’re there, but the performances made me tolerate them.

The Rover (2014)

Directed by: David Michod
Country: Australia / USA

Movie Review: Set 10 years after a global collapse, in a desolated arid town in Australia, “The Rover”, is a natural follow-up to David Michod’s amazing debut feature, “Animal Kingdom”. The austere, dark tones and aggressive scenes are pretty familiar, composing the irrational story filled with irrational characters, but in terms of plot it turned out to be a bit disconnected. Eric (Guy Pierce) is the man we follow; solitary, mournful and with violent past, he goes after three men who stole his car after a failed robbery attempt. The search along the torrid Australian landscape takes him to weird places with even weirder people. Unable to know their whereabouts, he has the fortune of bumping into Rey (Robert Pattinson), the wounded brother of one of the fugitives, remorselessly left behind by his companions. This awkward young man revealed not to be so bad natured and a bond of trust is established between the two. Despite the imminent danger that could be felt, some of the contemplative shots along with occasional action, lacked the expression needed to make “The Rover” a riveting experience. I wasn’t totally immune to its blend of dark crime and drama, in the same way that I wasn’t completely convinced of its unlikely relationship of trust and post-apocalyptic story. Only in the final moments, emotionally intense, I was able to be alert and get my eyes wide open for what was going on. I would say that this finale almost saves the film, however, I felt I needed something more.

The Congress (2013)

Directed by: Ari Folman
Country: Israel / others

Movie Review: Israeli filmmaker Ari Folman (“Waltz with Bashir”) blends drama, sci-fi, and animation in “The Congress”, an adaptation of the novel ‘The Futurological Congress’ by Stanislaw Lem (“Solaris”). In this story of dual worlds, Robin Wright plays herself as an aging actress who deals with several difficulties in her professional career but still believes in her performing capacities. She is reluctant to accept being part of a new technological program set up by Miramount Studios, represented by the ambitious Jeff Green (Danny Huston), that offers her the last performance of her life -  a digitally scanning to obtain her image rights for a computer-character. Dedicated to her son Aaron, who needs medical attention, Robin will be convinced by Al (Harvey Keitel), her agent and the father of her children, to embark in the program. Twenty years later she was turned into the star of a widespread TV show called ‘Rebel Robot Robin – Street Fighter, and decides to enter in the animated world of showbiz created by Miramount. But inhabiting an artificial world of dreams and wanna-be’s, doesn’t bring the peace she needs since her main concern is not knowing about her son, left to the cares of his specialist, Dr. Barker (Paul Giamatti). Conceptually challenging and gorgeously designed, “The Congress” is both a complex and sophisticated creation that worked out much better than “The Zero Theorem” or the lame “Transcendence”. Michal Englert’s cinematography was significant, while the Israel-based production company Bridgit Folman Films Gang was responsible for the animation. Concerning the great cast, definitely no computer-characters are needed for them.

Sin City: A Dame to Kill For (2014)

Directed by: Frank Miller, Robert Rodriguez
Country: USA

Movie Review: Frank Miller, the author of the graphic novels, and filmmaker Robert Rodriguez gather again for the sequel of the much-appreciated “Sin City” from 2005. The sumptuous visuals make part of this new adventure, but it doesn’t cover up the plot’s deficiencies and an unchangeable mood that has its benefits at the first glance, losing strength in the final parts. A lot of frustration can be seen in Sin City’s characters, ending up in a spiral of violence and revenge. The film is a combination of uneven little stories that sometimes fail to cause a beneficial impact. The luckiest gambler, Johnny, decides to teach a poker lesson to his estranged father, the powerful Senator Roarke, whose evilness is feared in the city. He doesn’t mind to risk his life but at least will be remembered as the man who defeated Roarke, twice. Private detective Dwight McCarthy is tempted by his manipulative former lover, Eva, who is only moved by material possessions and thirst of power. Fortunately he will get the help of his buddy beast fighter, Marv, and another former lover, Gail. In the last segment Nancy Callahan tries to cope with the death of John Hartigan, now turned into a ghost unable to calm her down. She will try to avenge his death by killing Roarke with Marv’s help. Despite the positive threatening aura hovering every scene, the far-fetched action never satisfied me completely. The problem of “Sin City: a Dame to Kill For” was giving us the same atmosphere and visuals of the original, without putting much effort in the stories or causing surprise with its characters. I still think it can be entertaining; however what we get is clearly style over substance.

War Story (2014)

Directed by: Mark Jackson
Country: USA

Movie Review: I really don’t know what American filmmaker Mark Jackson was thinking when he wrote, conjointly with Kristin Gore, his sophomore feature film “War Story”, a depressing drama executed in stodgy tones that drags itself along 90 minutes. The story follows Lee (Catherine Keener), a war-traumatized American photojournalist who returns to Sicily and tries to help Hafsia (Hafsia Herzi), a young refugee woman she had met in Libya in frightful circumstances. The latter is pregnant and desperately wants an abortion, so many times refused by the Italian medical services. She also intends to leave for France where she thinks she will have better opportunities. At the same time, Lee also contacts her former lover and mentor, Albert (Ben Kingsley). The beginning still sparked some curiosity, when I was trying to figure out Lee’s inconclusive behaviors. Was she sick? Was she a voyeur? What was she doing in Italy and how wrecked her life was? But this search only lasted 15 minutes, since my patience faded away with the slow cadence and excessive meditative atmosphere. The story somberly presents us racial prejudices, infinite sadness, and the misery of two persons who are trying to start again and gain confidence to go on. Mark Jackson’s directorial choices were questionable, like when he opted for a distant long shot of a conversation between Lee and Albert, which after a while becomes boring. In a film where I never cared about the fate of its characters, only Keener’s performance was noteworthy.

Soulmate (2013)

Directed by: Axelle Carolyn
Country: UK

Movie Review: Belgian actress-turned-director Axelle Carolyn brings us a mystery tale, involving humans and ghosts, which effectively catches the eye but heavily disappoints as a story. Audrey tries to cope with the death of her husband and finds a secluded cottage in rural Wales to recover from a suicide attempt. At night, she starts to hear unusual noises and witnessing unexplainable occurrences that lead her to conclude that there is a presence in the cottage. She resorts to the only people she know in the nearest village, Theresa and her husband, who evasively try to convinced her that there are no ghosts and the problem could be just in her head. Actually, the ghost of the former owner of the cottage, Douglas Talbot, starts to appear in a human form and talk to her. A beautiful friendship begins when they find several pains in common, but the melodramatic tones and boring conversation never awoke me from its melancholy, and not even the pale face of the ghost was sufficient to stir the insipid developments. What caught my attention were the beautiful shadowy images and autumnal atmosphere outdoors, sometimes well combined with the score of violins and cellos. A nearly perfect atmosphere that became worthless, given the dull story and failed attempts to create humor, thrills, seduction or anything else. Anna Walton’s performance was far from authentic, but nothing compared to the lousy presence of the unconvincing ghost. “Soulmate” lacked intensity, and was nothing more than a naive exercise on horror/thriller that doesn’t take us to any part of this world or the other.

Love is Strange (2014)

Directed by: Ira Sachs
Country: USA / France

Movie Review: If “Keep the Lights On” from two years ago had already given a considerable boost in Ira Sachs’ directorial career, “Love is Strange”, co-written with Mauricio Zacharias, has the merit of being a near-perfect drama that takes into a higher dimension. John Lithgow and Alfred Molina are amazing as a gay couple who are together for almost forty years. They go through several financial problems after one of them has been fired right after getting married. This setback forces them to sell their beautiful apartment located in one of the best areas of New York city, and live temporarily apart with friends and family, while looking for a new place. The two men will have different experiences: George (Molina) stays with two gay cops who live in the lower floor and constantly give parties all night long, while Ben (Lithgow) goes to his nephew’s in Brooklyn, affecting deeply the professional life of his nephew’s wife, Kate (Marisa Tomei), as well as the private life of their teen son, Elliott. The film feels incredibly real and was conceived with superior cleverness. There’s so much sensitivity in every interaction without resorting to sentimental tricks, and every relationship is crafted with such confidence by the actors, that “Love is Strange” becomes one of the most accomplished and comprehensible dramas of the year. It depicts complexity in a simple way, and how people are vulnerable to abrupt changes in their lives. Funny, straightforward, involving at all occasions, tragic, and finally rewarding, we stand before a mature, modern narrative in which love is the only factor that is not in question.

On My Way (2013)

Directed by: Emmanuelle Bercot
Country: France

Movie Review: Celebrated French actress, Catherine Deneuve, stars in “On My Way”, a road movie that depicts complicated relationships within a family. Emmanuelle Bercot who has a parallel career as actress and hadn’t directed a feature film since 2005, co-wrote and directed. With self-confidence and a certain charm, Deneuve gives life to the discontented widow and former beauty queen, Bettie (Deneuve), a woman in her 60’s who is struggling with several financial problems in the restaurant she owns, and feels broken-hearted with an unrequited love for Ettiene, a married man. In the verge of a breakdown, the only thing that calms her down is a cigarette, a good motive to talk with some strangers or hang out in pubs where she might have some occasional adventures. She will start to see other meaning in her life after accept a request of her estranged daughter, Muriel (Camille), to drive her grandson, Charly (Nemo Schiffman), to his paternal grandfather. With a conveniently nostalgic score, grandson and grandmother will get to know each other better, while the problems seem to slowly vanish during the slow-burning and many times tedious developments of the trip. After the storm of the first two thirds, comes the calm, and everything ends up in perfection, with everybody around the table, singing and enjoying the company of one another. The restaurant might be lost but the family was retrieved. Bercot’s direction was acceptable, using a non-static camera in several occasions, but the plot didn’t touch me a bit, and "On My Way" was just another instantly forgettable super chewed drama.

The 100-Year-Old Man Who Climbed Out The Window and Disappeared (2013)

Directed by: Felix Herngren
Country: Sweden

Movie Review: The Swedish comedy “The 100-Year-Old Man…” is a feel-good movie adapted from Jonas Jonasson’s best-selling novel. The third feature film directed by the actor Felix Herngren, wins points with the jokes and dark humor but also loses some with the absurd number of coincidences of a scatterbrained plot. We follow Allan Karlsson in the day he turns 100 and decided to run away from the nursing home where he lives, involving himself in a dangerous adventure with an international gang, in the company of his recent friends. Simultaneously, we dive into Allan’s rich past to know he was discouraged as a child to think about the problems of the world. Orphan since an early age, he lived all his life as a bon-vivant, drinking, eating, and exploding whatever he could – a passion that took him worldwide, allowing him to have amiable relations with several top personalities such as Franco during the Spanish civil war, Truman during the Manhattan project, the French government for which he worked as a spy, and even Stalin who gave him a hard time in a Siberian gulag. Very bold and athletic for his age, the forgetful Allan evinces a political ingenuity, insensibility regarding the others, and an unawareness of danger that is really funny. This adventurous and eventful comedy knew exactly where it wanted to go, but I believe that with a little more cleverness in the screenwriting, and suppressing some strained aspects, it would have become less messy and more distinctive. Even with all its faults, it still provides a few good laughs, entertaining us with its inconceivable life story.

The One I Love (2014)

Directed by: Charlie McDowell
Country: USA

Movie Review: It’s weird when you watch a movie whose ideas are immediately identified from other movies. That’s exactly what happened with Charlie McDowell’s debut feature film, “The One I Love”, a supernatural romantic comedy that explored the same ideas of parallel realities used in “Coherence”, but using them in a totally different approach, waiving the thrills and threats in favor of romance and some mild humor. In one scene towards the end, it also reminded me the Austrian drama “The Wall”, when Duplass’ character bumped into an invisible wall when tried to escape his other ‘self’. I know it’s confusing but allow me to explain. Ethan (Mark Duplass) and Sophie (Elisabeth Moss), in a marital crisis, are advised by their therapist to spend a weekend in a vacation house. The first night started well: a romantic dinner, relaxing conversation, and they even smoked a joint smoked to facilitate their interaction. But they made an intriguing discovery, realizing that another Ethan and Sophie live nearby, in a different reality that can interact with theirs. A strange dance of dual realities starts, along with a constant search for what is or what is not ‘real’, most of the time using a volatile unfolding in Justin Lader's script. The fact of the other ‘selves’ have been accepted easily, turned the film into a bland exercise that becomes a bit messy in terms of feelings by the end. The humor wasn’t so clever as I expected, and for me “The One I Love” wasn’t particularly surprising or satisfying. The performances by Duplass, who also produces, and Moss, were crucial to make it stand in the limits of watchable.

Finding Vivian Maier (2013)

Directed by: John Maloof, Charlie Siskel
Country: USA

Movie Review: Fascinating documentary about Vivian Maier, a mysterious street photographer, housekeeper, and nanny, whose work was discovered only a couple years prior her death in 2009, when co-director John Maloof acquired the most part of her negatives and other belongings in an auction. After being refused by MoMA, it was thanks to Chicago Cultural Centre that Maier’s work gained the deserved reputation and success. Daughter of a French mother and an Austrian father, Vivian was born in New York, never revealing anything about her past along the years that she worked for several families in Chicago. While some of her employers and their children defined her as an extremely reserved person who evinced an intriguing behavior and made up things about herself, famous street photographers such as Joel Meyerowitz and documentary photographer icon, Mary Ellen Mark, evaluated her sharp eye and outstanding work where the sense of humor, tragedy and life, combined in perfection. I was amazed by how she was able to collect so many things along the years, including piles of newspapers, and dragging them inside of suitcases to wherever she went. Maloof and Charlie Siskel were capable to increase my curiosity and suspicion about Vivian’s traumatic past, structuring the documentary in a clear way and leaving notions of bizarreness and darkness in the air. “Finding Vivian Maier”, as the title implies, was a wonderful discovery for me, both for Vivian’s shadowy life and superb capture of reality.

Waar (2013)

Directed by: Bilal Lashari
Country: Pakistan

Movie Review: “Waar” is a Pakistani action thriller, result of the ideas from two debutants, filmmaker/cinematographer Bilal Lashari and screenwriter/producer Hassan Waqas Rana, and that’s noticeable along its two hours. The film is episodically divided, and despite a handful of good-looking images, it's disconnected, showing a lot of failed aspects. Spoken in a mixed language of Urdu and English, the film is also a frustrating blend of Bollywood sentimentality and Lollywood action. The story follows Major Mujtaba, a retired Pakistan army officer who is practically forced to defend his country from a serious terrorist threat. Used to work in the shadow, Mujtaba still struggles with the loss of his family, but eventually accepts to join the field operation leader, Ehtesham, and intelligence agent, Javeria, to dismantle the terrorist group and avoid a national catastrophe. The recurrent flashbacks didn’t work, and “Waar” simply didn’t intrigue me, nor catch my attention, nor surprised me, defrauding my expectations created when I realized this was a massive local success in its country of origin. The final physical fight was more trivial than invigorating, while Amir Munawar’s score was annoying and invasive. All the clichés can be found there – the lost, suffering heroes; the evil enemies; the same old words; the awaited conclusions… I believe this local crowd-pleaser will continue to be a cult film for many, but I couldn’t help being unexcited with the pointless counter-terrorism presented by Lashari and Rana.

Jealousy (2013)

Directed by: Philippe Garrel
Country: France

Movie Review: French filmmaker Philippe Garrel, continues his stories about lovers, encounters, and irregular relationships in “Jealousy”, a drama shot in a balanced black-and-white and starring Louis Garrel, his son and frequent first choice, and Anna Mouglalis. The script was inspired on Philippe’s father, the actor Maurice Garrel. By comparison, and leaving the very unique “Le Revelateur” aside, I would say that “Jealousy” is better than his last couple works, “Frontier of the Dawn” and “A Burning Hot Summer”, but less interesting in concept than “Regular Lovers” or “J’entends Plus la Guitarre”. The film starts with a separation between the struggling actor, Louis (Garrel), and Clothilde, the mother of his daughter. In the next sequence of images, Louis looks very happy near his new girlfriend, the jobless and emotionally inconstant actress, Claudia (Mouglalis). Their attachment seems quite solid but the truth is that both of them flirt with others. While he resists to his theater colleague, Lucie, and other conquests, she is decided to get a job and a bright, spacious new apartment. With that in mind, she gets closer to a man who promises her everything she wants, leading to a painful rupture with Louis that almost ends up tragically. In gorgeously languid tones, them and us, never know where the lies end and the truth begin, a suspended state that keeps us wanting more, even after the end, where we glimpse that only family and theater can make Louis move on with his life. “Jealousy” conveys a constant sadness and doesn’t reinvent the formula, representing a very plausible slice of real life without losing the charm along the way.