A Midsummer Night's Dream (2014)

Directed by: Julie Taymor
Country: USA

Movie Review: Julie Taymor’s fondness for staged films is widely known, and the filmmaker makes now her third incursion in Shakespearean territory with the comedy “A Midsummer Night’s Dream”, which was captured in the sequence of her own off-Broadway production play. After the huge visibility obtained with the Broadway's “The Lion King” in 1997, her cinematic career began strongly and confident two years later with the gloomy “Titus”, starring Anthony Hopkins as the title character. After “Frida”, a quaint biopic about the surrealist Mexican painter Frida Kahlo, and “Across the Universe”, a lame musical inspired by the music of The Beatles, she returns to Shakespeare with the “The Tempest”, her weakest film so far. “A Midsummer Night’s Dream”, despite extended in duration and filmed in a real theater with an audience, compensates what the previous film had failed in terms of entertainment and craftsmanship. Dramatized with tenacity and often humor by the great cast, the story is faithful to the original, interconnecting four young Athenian lovers (Hermia, Lysander, Helena, and Demetrius), a troupe of six laborers who are working on a play, and the fairyland characters (king Oberon, queen Titania, and a funny supernatural elflike creature called Puck). In this keen hybrid composition of live theater and cinema, Mrs. Taymor’s direction never loses track of the best moments offered by the settings of Es Devlin and the choreography of Brian Brooks. The score by the Academy awarded, Elliot Goldenthal, is another added value to a film that needs you receptive and in the right mood to fully enjoy it. Moviegoers will be divided, saying that better adaptations of Shakespeare’s plays were made for cinema. Even agreeing with them and considering that theater is not my cup of tea, I must say that I’ve found in this particular version an exquisite appeal that comes mostly from the performances of the cast and the technical implementation.

10,000 Km (2014)

Directed by: Carlos Marques-Marcet
Country: Spain

Movie Review: Natalia Tena and David Verdaguer may have been the only actors in “10,000 Km”, but that reality didn’t undermine the low-budget drama, which is an upfront exercise mounted with earnestness by the debutant director and co-writer, Carlos Marques-Marcet. What seemed to be another inconsequential story of separation that relies on modern technology to survive, ended up evolving into a heartfelt experience where the feelings sprout genuinely intense in the day-to-day of Alex and Sergi, a couple from Barcelona whose love is put to a test when she goes to L.A. for a one-year artistic residency in photography. The challenge of staying apart and still have to make the relationship work, can be followed since ‘Day 1’ when the possibility is considered with mixed feelings amidst their Sunday routines. On one hand they’re happy since it’s an opportunity, taking into account the difficult economic times in Spain, but on the other hand, they know the separation won’t be easy, and a blend of fear and sadness install. The first day without each other – ‘Day 2’, starts enthusiastically with Alex showing her gorgeous house. However, along the way, every day will bring different emotional states and the moods will change accordingly. Sometimes they’re totally in tune with each other: cheerful and optimistic while throwing in witty lines, supportive and understanding, having virtual sex… but other times they’re sulking, arguing, or reconciling from those arguments that mirror their frustrations, the burden of waiting infinitely, and even occasional unjustified jealousy. Some other days are represented through few hasty images that suggest nothing but sleeping, boredom, or anxiety. Having gone through a similar situation with my wife (identically, she came to the US to study photography), I’ve identified myself with so many things here, what ascertains that Mr. Marques-Marcet knows what he’s portraying, crafting this film compellingly through the involving performances from the cohesive pair of actors.

Learning to Drive (2014)

Directed by: Isabel Coixet
Country: USA / UK

Movie Review: “Learning to Drive” expeditiously mixes drama, comedy and romance, relying on the always outstanding Patricia Clarkson and the multifaceted Ben Kingsley in the main roles, to create a feel-good movie, set in NYC, where the ethnic diversity reigns and the work messes so many times with people’s lives. The film marks the return of the Catalonian filmmaker Isabel Coixet, known for her deeply existential dramas such as “My Life Without Me”, “The Secret Life of Words”, and also “Elegy”, which had the participation of this same duo of actors. For this script by Sarah Kernochan based upon an article written for ‘The New Yorker’, she adopts a lighter mood and funnier posture, aspects that, despite bringing a sense of déjà-vu, worked charmingly within the context of the story and its location. The opening scenes are the strongest, establishing the proper foundations for what will come. The insecure literary reviewer, Wendy (Clarkson), jumps into the cab of Darwan Tur (Kingsley), in the middle of a big argument with her husband, Ted, who just expressed his intention to leave her after admitting an affair with a younger student. Unable to cope with the situation and lacking self-confidence, Wendy would never dream to get close to Darwan, a graduated American citizen of Indian descent, who lives in Queens with his undocumented nephew. All happened when she decided to take driving lessons with the acquainted cab driver. From then on, we are presented with some street adventures with Wendy taking the wheel, and also with the arrival from India of Darwan’s future wife, a modest woman sent by his sister, whom he had never met before. The lessons won’t make every problem disappear, but will have a positive effect on their personal lives. The film succeeds in most of its jokes while keeping projecting the NY warmness on its frames. Some situations of the storytelling, however, didn’t feel so new while other aspects, like Wendy’s imaginary encounters and her daughter’s amorous letdown, lacked relevance.

What Happened, Miss Simone? (2015)

Directed by: Liz Garbus
Country: USA

Movie Review: During the last couple of months I had the chance to watch some movies about the life and work of musicians. From documentaries about Kurt Cobain and Amy Winehouse, to fictional films based on real lives, cases of “Love & Mercy” about Brian Wilson, Mia Hansen-Love’s “Eden”, inspired on the life of the filmmaker’s brother, or the not so satisfying “Danny Collins”, which found its basis on the experiences of the folk singer Steve Tilston. Now’s the time for a biographical documentary film about the singer and civil rights activist, Nina Simone, brought to us by the hand of Liz Garbus (“Love, Marilyn”). Pulsing with fierce energy and vibrating with the strong presence, both on and off the stage, of Ms. Simone (born Eunice Waymon), “What Happened, Miss Simone?” was treated in the most traditional way, fact that didn’t obfuscate the power and richness of the artist’s life, which speaks by itself. We can feel the anger and the no-fear attitude of Nina, a former Julliard’s classical pianist, whose concerts became a problem at some point due to the insistent and incisive social-political message. Having gone through racial discrimination, the intractable singer who started playing gigs in bars with a fake name so that her mother couldn’t find out, shows her difficult personality, an aggressive, revolutionary posture, and skills as a singer-pianist-composer. Ms. Simone’s daughter, Lisa Simone Kelly, explains to us why her life was a burden since her mother decided to abdicate of being a caring mom to embrace the artist 24/7. Other friends participate by commenting their own experiences with Nina or aspects of her private life, which includes her marriage with the abuser Andrew Stroud, a former cop who became her manager. Garbus managed to put together the essential pieces (archive footage and interviews) in order to create an exhilarating portrait of a lonely, bipolar musician who once affirmed: ‘I’m not nonviolent’.

Youth (2015)

Directed by: Paolo Sorrentino
Country: Italy / Switzerland / others

Movie Review: The notable Italian director, Paolo Sorrentino, has a more nostalgic come back with “Youth”, an expressionistic and unflappable poetic opus reflecting on life, work, and creativity, aspects that are differently regarded by two aging, lifelong friends who are spending a period of time in a Swiss spa located near the Alps. The retired maestro and composer, Fred Ballinger (Michael Caine), became embittered and apathetic after his beloved wife got sick, having no intention to conduct again. He often enjoys the presence of his best friend and filmmaker, Mick Boyle (Harvey Keitel) who, in turn, is overexcited with a new upcoming film that he intends to turn into a testament of life, the perfect ending for his career. The good friends like to take long walks, during which they talk about past happenings in detail, agreeing they’ve become forgetful. Occasionally, Fred and Mick have the company of a downcast Hollywood actor, Jimmy Tree (Paul Dano), and of Fred’s daughter, Lena (Rachel Weisz) who is trying to cope with the recent separation from Julian, Mick’s son, who has found in the eccentric pop-star, Paloma Faith (herself), his reason to live. Even the Argentine former soccer star, Maradona (Rolly Serrano), is present, attending to his bad shape, which also makes him wonder about the future. Apart from these secondary and yet conspicuous characters, it’s enriching to see how Fred and Mick change significantly when facing two personal challenges: the former received an invitation to play for the queen of England, while the latter gets disappointed when his first-choice actress, Brenda, refuses to participate in his film. Bringing to mind Raul Ruiz’s final work, the observant “Youth” doesn’t exhibit the same catchy sumptuousness as “The Great Beauty”, but still manages to create a salutary harmony when it puts together the diversified score, gentle pace, sturdy photography, and reliable performances. The hearty musical finale doesn’t beat Petzold’s “Phoenix”; anyhow, it’s still worthy of mention.

Jackie and Ryan (2014)

Directed by: Ami Canaan Mann
Country: USA

Movie Review: “Jackie and Ryan”, the third feature film from writer-director Ami Canaan Mann, ends exactly as it starts, leaning on the same soft tones, which are never subjected to a variation along the story. Ben Barnes plays Ryan Brenner, a musician that travels in an open freight car, in winter, heading to Ogden, Utah, to see his long-time fellow, Cowboy, who meanwhile left his wife and little baby to try his luck on the road. Ryan won’t see or play no more with his mate whose story ends tragically, but will experience love when fate leads him to Jackie Lorel, dimly portrayed by Katherine Heigl, a former pop singer whose success a few years back allowed her to buy a valuable condominium in New York. Jackie is far from having a relaxed life. With a little daughter, she’s in the middle of a complicated divorce and struggles with financial problems. The approximation of Ryan, who also gains some inspiration to write his own music, will function as a stimulant for Jackie, now encouraged and determined to resolve her life. Sensitive but too moderate, “Jackie and Ryan” strolls on the edge of banality at the sound of folk melodies, threatening to dive into that obvious abyss. Ultimately, Ms. Canaan Mann wasn’t able to avoid this fatal step since the film remains in its folkie breezes and emotional torpor while trying to fabricate a couple of sweet romantic episodes and resolute moves. The script proved to have something to give, but the approach didn’t reveal a qualified maturity to consistently address the protagonists’ attachment and simultaneously create tension through their economic woes. Moreover, I found Ryan a considerably stronger character than Jackie, which contributed for the unevenness of the whole picture. The filmmaker engenders a happy finale for “Jackie and Ryan”, yet this very American drama fails to find its own melodies.

Amy (2015)

Directed by: Asif Kapadia
Country: UK

Movie Review: Asif Kapadia’s documentary “Amy” about the British singer and songwriter Amy Winehouse is pretty absorbing but not so intense as his 2010’s “Senna” about the Brazilian F1 pilot, Ayrton Senna. In its first part, the film chronicles the ascension of the young artist, so profuse in the unique, eclectic pop-jazz that also finds its ground on soul, rhythm and blues, and reggae. Mr. Kapadia assembles home footage and audio voice recordings of her friends and family to describe how Amy gave the big jump from an unknown teen girl of Southgate, London, to one of the most appreciated singers/composers of our times, attaining the desired fame that, as she predicted, would drive her mad. The second part maintains the methodology, focusing more on the troubles and fall of the vocal talent who reached the glory with only two albums. The ones who were so important in Amy’s life, gave their contribution to the film: from her weak mother, Janis, and opportunist father, Mitch, to her childhood friends, Lauren Gilbert and Juliette Ashby; from her first manager, Nick Shymansky, and her bodyguard, Andrew Morris, to several musicians and producers who accompanied her in studio and on tour. Mandatorily, Kapadia emphasized her problematic relationship with Blake Fielder, who would become her husband and partner on the consumption of heavy drugs. The situation rapidly went out of control and Amy died in 2011 at the age of 27, victim of alcohol poisoning, alone at her home in Camden, London. The film, thoroughly edited by Chris King, comprehends concerts, partnerships (featuring Tony Bennett), prizes, health problems (eating disorders and bulimia), substances abuse, media invasion, depression, unconditional love, and regret for letting friends behind or sorrow for sometimes having been abandoned by some of them. The narrative cohesion was laudable, but the film kind of loses some grip in the last third, in part because, at that time, Amy’s life didn’t have much more to offer than failed rehabs and sad relapses into addiction.

A Second Chance (2014)

Directed by: Susanne Bier
Country: Denmark

Movie Review: Promising were the first scenes of “A Second Chance”, a psychological crime thriller from the Danish filmmaker Susanne Bier, who filmed again in her country after the unexcitable American-French drama “Serena”, which once more gathered the trendy leading actors, Bradley Cooper and Jennifer Lawrence. Unfortunately, the disquieting beginning soon slides into something, not only dark but ghastly, as well as revelatory but also disproportionate and strained. The grim plot, written by Bier’s long-time collaborator Anders Thomas Jensen (“Brothers”, “In a Better World”), is certainly his heaviest, and tells the story of Andreas (Nikolaj Coster-Waldau), a cop who reconnects with a known dangerous psychopath and heroin addict, Tristan (Nikolaj Lie Kaas), whose girlfriend, Sanne (May Andersen), called the police in an attempt to protect herself and their baby who was lying down inside a closet in deplorable conditions. This instance had emotional repercussions in Andreas who ran home to make sure his own little baby and his fatigued, vulnerable wife, Anne (Maria Bonnevie), were ok. At a first glance, everything was fine, but when unexpectedly the baby dies, the couple acts in a very distinct way. She completely freaks out, acting insane, while he maintains an earnest calmness but already with a not less insane plan in his mind: drop off his inanimate baby at the heroin junkies’ and steal theirs, in an attempt to ease the suicidal Anna. The brute Tristan, only thinking about how to avoid being sent to jail again, decides to simulate a kidnapping. Cold, depressing, and quite messy, “A Second Chance” takes the emotions to an extreme that doesn’t make it easy for the viewer to empathize with any of the unbalanced characters. Among the grievous performances, Mrs. Bonnevie stood out, in a screwed up tale that, even before halfway, made me lose hope in its personas. Mrs. Bier delays getting out of the tortuous cinematic paths she keeps embarking lately.

Who Am I (2014)

Directed by: Baran Bo Odar
Country: Germany

Movie Review: Bustling enough to cause some apprehension, but unoriginal in approach and storytelling, “Who Am I” is a German cybernetic thriller directed by Baran Bo Odar whose previous “The Silence” had given positive indications about his filmmaking aptitudes. The film stars Tom Schilling as Benjamin, an uncommunicative young man who, since childhood, has a crush on Marie, and wishes to have superpowers and invisibility. Being an outsider in the real world, he gains some self-respect on the Internet, as he becomes one of the most wanted hackers in Germany. Benjamin, seated on a chair with his hands tied, and bent over a table, tells to the suspended female inspector, Hanne Lindberg, how he was sentenced to 50 hours of community work for breaking into the university servers in order to help Marie. While carrying out this light sentence, he bumps into his dissimilar, Max (Elyas M’Barek), an insubordinate impostor who introduces him to Stefan, the one who can find any bug in any system, and Paul, a hardware expert, with whom they create a computer hacker group baptized as ‘CLAY’ that stands for ‘clowns laughing at you’. Mostly aiming at wealthy corporations and governmental services, which includes the foreign intelligence agency of Germany (BDN), the reserved and yet bright Benjamin will have to fight the most venerated online pirate, MRX, who allegedly belongs to the Russian mafia hacking group known as ‘Fr13nds’ and is implicated in a crime. The film can be described as “The Social Network” meets “The Prestige”, but still using familiar tones and well-worn narrative timbres, setting a bunch of clichéd situations that spin around with consecutive twists and turns without creating a beneficial impact. The score by Michael Kamm often transmits a sensation of more danger than what the film actually gives. I still have faith in Mr. Odar’s films, only this one didn’t work so well for me.

Inside Out (2015)

Directed by: Pete Docter, Ronaldo Del Carmen
Country: USA

Movie Review: Have you ever looked at someone and wonder what is going on inside his head? This is the premise of “Inside Out”, a mind-blowing adventure from Pixar Animated Studios and released by Walt Disney, that takes us on an inventive trip into the mind of the 12-year-old Riley Anderson. Going through a delicate phase after moving from Minnesota to San Francisco with her parents, the responsive Riley struggles with disparate emotional states. These emotions actuate inside her head, each of them exhibiting a cute graphical personification. Joy has a luminous female representation, displaying a modern blue hair and a casual green dress; the melancholic, chubby Sadness shows huge round glasses over a blue face; Fear is an anxious gentleman featuring a thin body and long nose; Disgust is a green lady with no much expression; and finally, Anger is a red man whose head turns into a flaming missile whenever the situation justifies his actions. All of them have access to complex mechanisms in Riley’s mind, place where we can also find islands of personality (honesty, friendship, etc.), golden spheres that represent memories, and the so important core memories. Also fantastic places such as Imaginationland and Dreamland can be reached, and if you want a shortcut to the headquarters, nothing better than call Riley’s childhood imaginary friend Bing Bong, a pink creature that is part elephant, part cat, part something else. It was funny to see how Joy and Sadness had to cooperate to help, and how everyone intervenes when Fear and Anger dominate. The American Oscar-winner, Pete Docter, keeps up the fantastic work both as a writer (“Toy Story”, “Wall.E”) and director of animation (“Monsters Inc.”, “Up”), here assisted by Ronaldo Del Carmen. Lovely design, tactful and intelligible story, and rewarding message make of “Inside Out” the animated feature of the year.

Advantageous (2015)

Directed by: Jennifer Phang
Country: USA

Movie Review: Set in a near future where economic power keeps strangling the chances of happy lives, “Advantageous” tells the story of Gwen (Jacqueline Kim) who opts to sacrifice everything she had built for the sake of her talented 12-year-old daughter, Jules (Samantha Kim). Gwen is an independent single mother who has been the face of a cosmetics company during most of her life. Bad news arrives in many ways: first she acknowledges that her daughter, despite the high intellectual capabilities demonstrated, wasn’t accepted in Arcadia school. Instead, she’s going to Eastern school whose tuition is double. Simultaneously, the company’s chief, Dave Fisher (James Urbaniak), informs her that her contract won’t be renewed and that they’re already looking for a younger candidate to replace her. Deeply concerned with her daughter’s future, a few difficult options will come to Gwen’s mind: call her estranged mother and ask for money; expose the situation to Jules’ father, confronting him for the first time and triggering a family crisis since he’s married to her cousin Lily; and the toughest one, requires her to make permanent changes by adapting her mind into a younger body, a tech operation that also demands enduring pain, take a shot every two hours for a year, and being reminded about everything that’s important. Directed with an advantageous sobriety by Jennifer Phang, this slight sci-fi flows at a consistent pace, impelling us to be supportive with the dedicated mom. The camera moves with confidence and objectivity, pulling out images with a tasteful sense of aesthetics, in a mix of real world, as we know it, and an understated imagined future that conveys mystery at every shot. Mrs. Phang’s approach is comfortable and exquisitely sophisticated while Jacqueline Kim is superb as Gwen, displaying sadness and inner anxiety while weighing the pros and cons of a step that has no turning back.

Glass Chin (2014)

Directed by: Noah Buschel
Country: USA

Movie Review: The term ‘fighter’s chin’ is used in a figurative way to specify the ability of a pugilist to absorb blows in the chin before being knocked down. In this particular sports crime thriller, “Glass Chin” refers to the protagonist, Bud Gordon (Corey Stoll), a former boxing champion who tries to put order in his personal life after being let down by his chin. Still affected, he reacts badly when a homeless guy recognizes him and addresses his weak final fight. On the other hand, Bud feels both support and pressure whenever he returns to his New Jersey’s apartment because his confidante girlfriend, Ellen (Marin Ireland), wants him to find a propitious job. However, Bud spends his days on two very different activities: one of them is noble - training a new promising young boxer called Kid Sunshine; the other is unsafe - working for J.J. (Bill Crudup), a dishonorable restaurateur who hates everything that’s ordinary, like doing the laundry, and dedicates himself to other activities, including criminal ones. Bud is easily framed, right after he starts collecting money from a few terrified debtors under the orders of the ruthless Roberto (Yul Vazquez), J.J.’s devoted disciple, who justifies that his boss likes to own people. Restrained indignation and tremendous courage will intertwine when J.J. requests the adulteration of Kid Sunshine’s next fight. Far from the graciousness of his previous film, a fetching romance entitled “Sparrows Dance”, writer/director Noah Buschel presents us with a crude filmmaking style where the dark images overwhelm us with its objectionable looks. A lukewarm pace and a too ponderous approach didn’t help this quiet crime thriller having real thrills. Similarly, the story lets us down, being equal to other stories that we’ve seen a million times before, never adding that discerning touch that would allow emotions to come out clearly and genuinely. As for the acting, it lacked authenticity in several occasions and only Stoll sparingly seems to fit.

Dope (2015)

Directed by: Rick Fumuyiwa
Country: USA

Movie Review: “Dope” is a diverting juvenile comedy set in the tough L.A. neighborhood of Inglewood. Its first frame defines three possibilities for the word that composes its title and each definition relates somehow to the story of Malcolm (Shameik Moore), a geeky black high-school senior who is introduced to us when he stops pedaling to stare at Nakia (Zoe Kravitz), apparently a girl beyond his reach. Always followed by his also geek friends, Diggy (Kiersey Clemons), who dresses as a boy and doesn’t admit white guys to call her ‘nigga’, and Jib (Tony Revolori), a Latino who is totally accepted as part of the clan, the Harvard-aspirant Malcolm will disregard important school exams and interviews when in possession of a backpack containing dope and a gun, material belonging to Nakia’s dealer boyfriend. Without knowing what to do and chased by other dealers, the three friends end up relying on Will, a white, dope-addict partygoer who suggests selling the stuff online. The scheme is carried out with some risk, like entering the school and avoid being frisked by the complacent security guard. But the real key to success is the indirect help of Lily (Chanel Iman), a wasted, frivolous, wild girl with whom they come across. She triggers the nastiest scene of the film when pukes on Malcolm’s face while jumping naked on top of him. Rousing and well disposed, “Dope” only wasn’t better because of some improbable situations portrayed in the sometimes-shaky script by director Rick Famuyiwa - one of them was the romance between the horny Malcolm and Nakia. While most of the jokes are effective, the supposedly funny scenes aren’t so good after all, with exception of a raucous stealing of a sneaker and the fact that the trio of pals, being devoted to the hip-hop of the 90s, plays a totally different style in their band, creating a deliberate case of absurdness. “Dope” is a teen pleaser, and Mr. Famuyiwa gives a positive step in a directorial career that had been trivial until this release.

Runoff (2014)

Directed by: Kimberly Levin
Country: USA

Movie Review: First time director, Kimberley Levin, presents us a sensitive small-scale drama about a Kentucky farm family that keeps struggling with financial problems, questioning aspects such as human necessity and the morality of some decisions, also sparking impactful ecological considerations. Betty Freeman (Joanne Kelly) is a dedicated beekeeper and caring mother of two sons - the self-assured Finley, who keeps drawing quietly with the goal of attending an art school in New York, and little Sam, who likes to play with his friend near the river despite the warnings of his parents not to do so. She also maintains a stupendous relationship with her husband, Frank (Neal Huff), who administrates antibiotics to the animals in the nearest farms of the region. However, the business became slow due to the unmatchable fierce approach of a concurrent larger corporate named Giga, which gradually is leading the Freeman Farms and other similar small businesses into bankruptcy. In the imminence of losing their property and confronted with Frank’s deteriorating health condition, supposedly due to the use of chemicals, the couple will glimpse a way out when proposed an illegal business made by Scratch (Tom Bower), an old dairy farmer. Compellingly done, deeply felt, and consciously scary, “Runoff” could have put some more thrill in one or other scene. Regardless the quiet posture adopted, which enhances more the inner states of the characters rather than creates real tension, the film presents other aspects to be recognized, like the accomplished performances of Joanne Kelly, Neal Huff, and particularly the young Alex Shaffer as the eldest son, as well as Levin’s thorough filmmaking, so attractive for the eye. This is a promising, eye-opener debut.

She's Lost Control (2014)

Directed by:Directed by: Anja Marquardt
Country: USA

Movie Review: Anja Marquardt’s directorial debut is a slippery, low-budget indie drama, set in New York, which is unable to suppress a painful superficiality of a plot about a sexual surrogate who, in a prohibitive way, falls for a client. About to finish her masters in behavioral psychology, Ronah (Brooke Bloom) is a gentle, self-assured woman who helps men with high levels of anxiety and problems in achieving intimacy in a relationship. When Johnny (Marc Menchaca), a reticent nurse who takes care of his handicapped sister after work, signs the agreement and pays, Ronah was far from imagining she would fall for him after breaking the initial emotional impasse. This situation, besides compromising the trust that was patiently built in their professional relationship, triggers other dangers for her to be closely exposed. Apart from this central topic, Ronah has other concerns such as freezing her eggs for the future, dealing with construction issues at her apartment and the imminence of a lawsuit, and giving all the support she can to her brother while he takes care of their sick mother. The film is sluggish and yet mysterious in a first phase, but after a while it sticks solely with the sluggish. The highly structured images oppose to a series of happenings that are presented in a disorganized and underdeveloped way. Choppily edited by Marquardt and Nick Carew, “She’s Lost Control” seems more a set of collages that slowly lead us to an upsetting ending. Mrs. Marquardt has several narrative constraints to analyze in her premier, regardless the controlled technical routines of her filmmaking style and a droll cinematography by Zack Galler. Even Brooke Bloom seems not to fit quite well, and the depth of the accounts portrayed here was never satisfying.

Shrew's Nest (2014)

Directed by: Juanfer Andres, Esteban Roel
Country: Spain / France

Movie Review: Executive producer, Alex de la Iglésia, presents a psychological horror film, set in ‘50s Spain, about two unstable sisters with a complicated past and present. The film was passionately directed by Juanfer Andrés and Esteban Roel, two newcomers who also co-wrote with Sofia Cuenca based on an original idea by Emma Tusell, editor of the last Spanish cinematic sensation, “The Magical Girl”. Relying on the extraordinary performances by Nadia Santiago and especially Macarena Gomez, the story feels simultaneously familiar and tonally consistent, if occasionally fluctuating in pace. Montse (Gomez) always played the role of a protective mother regarding her younger sister (Santiago), who she calls ‘la Niña’. Both live alone in a comfortable apartment after the death of their mother and the mysterious disappearance of their father 14 years before, during the war. The latter (Luis Tosar), religiously strict and morally judgmental, often visits the subconscious of Montse, a neurotic dressmaker who never goes out due to suffering from agoraphobia. Besides, Montse is a victim of other strange attacks, acting very aggressive and severely punishing her sister who just turned 18 and meets with a boy right under her window. This fact brings about jealousy and fear of loss in Montse who keeps inflicting guilt and embarrassment in the frightened yet courageous girl. Secluded, petty, and haunted by a traumatic past and an overwhelming awe of God, the older sister gains strong hopes of recovering, besides the drops of morphine that a client brings to her, when she literally kidnaps her neighbor, Carlos (Hugo Silva), after he has asked for help with a bump in his head and a broken leg. Even if not totally fresh or devoid of missteps, “Shrew’s Nest” reserves good surprises for the last 30 minutes, time when the gore images assault you, well programmed to enhance the climax. More morbid than creepy, this is a palpable psychological material whose major faults can be easily forgiven.

Manglehorn (2014)

Directed by: David Gordon Green
Country: USA

Movie Review: Al Pacino is A.J. Manglehorn, an aging Texan locksmith who lives embittered in the company of his old cat since he let go the love of his life, Clara, many years ago. Instead, he got married to another woman with whom he had a son, a super-occupied, money-focused businessman. Manglehorn keeps addressing letters of love to Clara, expecting something to happen besides his usual routines, which consist in working, occasionally taking his granddaughter for an ice cream, playing slot machines while listening to the smooth-talk of his friend Gary, and flirting with Dawn (Holly Hunter), a gentle bank teller who is super excited to go out on a date with him. All at once, everything seems to collapse: the cat needs surgery after swallowing a key, Gary no longer has his trust after a ludicrous episode, his son asks him for money to financially rescue his company, and the date with Dawn goes wrong, triggering a soapy scene that sustains a melancholy that kept on growing. I suddenly became somnolent and discouraged, unable to find a way to connect with the characters. This time around, the lucid director, David Gordon Green (“George Washington”, “Joe”), didn’t have the ability to pick out Paul Logan’s primitively faint story and turn it inside out, giving it the right temper to entangle us. Actually, the only vivid things in the film are its colors because the rest lingers indefinitely in shabby tones, now and then interrupted by unreasonable incidents (even a musical one) and incongruous dreamy sequences. Acting in accordance with the title character, who confesses he's losing hope in tomorrow, I also felt the same hopelessness and indifference in relation to “Manglehorn”. Mr. Pacino’s voice was aggravating at times, and even he, so talented and committed, never balanced anger and love in a categorical way.

Eden (2014)

Directed by: Mia Hansen-Love
Country: France

Movie Review: “Eden” is a poignant drama that plausibly evokes the Parisian electronic dance music of the 90’s, being the fourth feature from the creative and always interesting filmmaker Mia Hansen-Love, who co-writes with her DJ brother, Sven, loosely based on his experiences. Félix de Givry responds with resolution to his first main role, playing Paul Vallée, a teenager who gives up finishing his studies to become an established DJ in the Paris underground dance scene, environment that offers him as much drugs and girls as he wants. Adopting the Chicago’s garage style (a blend of house and disco), Paul and his friend Stan form a duo called ‘Cheers’, supported by the depressive Cyril who draws the covers for their records, while other two friends start the acclaimed group ‘Daft Punk’. Regardless being a sensation, the reckless super-hip nightlife boy, unable to control his outgoings, falls into debt and becomes a cocaine addict, ultimately resorting to his mother’s financial help to get back on the right track. Among his numerous girlfriends, which include an American who decides to return to NY and a party-lover bourgeois who wants to spend the money he doesn’t have, there is one that keeps returning over and over – Louise, a flirty girl who never hid her attraction for Paul. However, jealousy, stagnation, and instability frustrate the chances of a more serious commitment. As hypnotic and contagious as the rhythms we listen to, “Eden” evinces an astounding realism, incorporating the characters, images, and music with zest, and ultimately composing a slice of real life whose course takes us from the euphoria of a successful youth to the sadness of its disappearance, together with the awareness that it’s time to grow up and assume responsibilities. By the end, in one of the strongest scenes, Paul, already clean of drugs, looks at a young female DJ with stupefaction and nostalgia. The siblings Hansen-Love assured that the time hops in the narrative work out seamlessly.

Danny Collins (2015)

Directed by: Dan Fogelman
Country: USA

Movie Review: “Danny Collins” starts by saying that what we’re going to watch is ‘kind of based on a true story a little bit’. Dan Fogelman, known for writing screenplays for animated movies (“Bolt”, “Tangled”) and expendable comedies (“Crazy, Stupid, Love”, “Last Vegas”), directs for the first time, inspired by the life of folk singer Steve Tilston and relying on experienced actors such as Al Pacino, Anette Benning and Christopher Plummer, who were joined by Jennifer Garner and Bobby Cannavale. Mr. Pacino plays the title character with geniality, modeling an aging pop-rock singer who was predestinated to be rich and famous, but whose career is stagnant and life has degenerated into a spiral of drugs and alcohol abuse for more than 30 years. Although Collins admires himself, enjoying his popularity, he’s not completely fulfilled. When his best friend and longtime manager, Frank (Plummer), uncovers a letter written many years ago by John Lennon, Danny gets deeply touched and decides to change his way of living. Entrusting his unfaithful young fiancé to her lover, he travels to New Jersey to find Tom (Cannavale), the son he had never met, who pushes him away. However, the support of Tom’s wife and the help he provides to his hyperactive granddaughter by enrolling her in a special school, will bring the opportunity of reconciliation that he was wishing for. Simultaneously, the musician uses his charm and spirited lines to seduce Mary (Benning), the manager of the Hilton hotel where he’s staying, who keeps resisting to his invitation to dinner despite the chemistry that protrudes between them. The direction by Mr. Fogelman wasn’t ideal, transforming the story into a mushy drama that feels flat for most of the time. Nonetheless, he was able to set up one of the greatest humane finales I’ve seen lately. After “Stand Up Guys” and “The Humbling”, “Danny Collins” reinforces the aging theme as a persistent constituent of Al Pacino’s agenda.

Kajaki (2014)

Directed by: Paul Katis
Country: UK / Jordan

Movie Review: Powerful, drastically visceral, and relentlessly tense, is how “Kajaki”, the first fictional feature length from Paul Katis, who also co-produces, can be described. Written by Tom Williams, the plot was based on the true story of Mark Wright, a British soldier who died near the Kajaki dam, located in Afghanistan’s Helmand province, in 2006, after stepping on a mine when he was trying to help harmed soldiers of his small unit. Despite the inspiration for the film has come from Wright, played by David Elliot, the main character here is the platoon’s brave medic, Paul ‘Tug’ Hartley, magnificently embodied by Mark Stanley. The soldiers were sent to a top hill observation post with a view of the dried dam, which revealed to be a treacherous minefield. We have to wait 28 minutes for the first raw scene that opens the hostilities with these occult enemies, silently waiting for someone to activate them and cause destruction. A few days after watching this shocker, several images are still engraved on my mind. The viewers shall be prepared to deal with agonizing frames whose realism conveys the human suffering, frustration, and despair, in a very impressive way. I utterly jumped from my seat at every burst, taken by surprise and completely appalled by the flesh-and-blood that get completely out of control when the morphine is not enough to produce the desirable effects, and when the helicopter that should aid them is not really helping at all, triggering even more tension and consternation. With mutilated young men lying on the ground, in panic, I wanted to cry with them. My indignation increased when, at the end, we are informed about the medals of honor given to these men – what do these medals mean, if these damn wars and operations can make you handicapped for the rest of your life, if not dead? “Kajaki” hits you bluntly, causing turbulent emotional reactions.