Art, life, past, present merge in meditative 'Museum Hours'
If you've ever been to the venerable Kunsthistorisches Museum in Vienna, you're in for a nostalgic treat with the film, Museum Hours. But you need not have ever been to Vienna to be drawn into the odd, languid spell cast by this Austrian-American co-production. Anyone who has ever haunted any Old World museum with a rich collection of Late Middle Ages and Renaissance paintings may find herself strangely beguiled by this meditation on art and life, past and present, and the many ways and places in which they intersect.
Tatou shines as pre-feminist desperate housewife in 'Thèrése'
Audrey Tatou continues to grow in complexity onscreen. In the handsome and elegantly mounted period drama, Thèrése, the former Amelie gamine stars as a young woman entangled in bourgeois dynastic obligations in the southwest French countryside in the 1920s. It's a part that calls for brisk intelligence, but not much warmth, quiet desperation, and a soupçon of cold fury, and Tatou plays every note with striking precision.
'Closed Circuit' an informative, unsurprising look at political skullduggery
The current buzzword "transparency" is what everyone is supposed to be striving for these days. In national and local politics, in corporate operations, in academic policies, in any public arena whose business impacts public life, the idea of transparency is embraced as a magic wand against the kind of skullduggery best carried out in secret.
Rapturous outlaw romance ‘Ain't Them Bodies Saints’ looks great, less filling
From the Terrence Malick school of evocative visual splendor comes the outlaw romance Ain't Them Bodies Saints. Written and directed by David Lowery, a longtime art house editor and occasional cinematographer whose work has mostly been in short films, Saints is drenched in atmosphere—artfully filtered sunlight, blue moonlight, misty dawns, heat, dust and shadows. Frame for frame, it's often lovely to behold.
Pitch-perfect cast serves ‘Lee Daniels’ The Butler’ very well
So much story to tell, so little time to do it. That’s the modest conundrum—and bittersweet irony—of Lee Daniels’ The Butler. Even with its 132-minute run time, you still may find yourself craving something more—more character development, more understanding of the mindset of some of its key players and more of a sense of real catharsis from its protagonist. Still, there’s only so much you can fit into a film that, for the most part, focuses on 50 years of history as seen through the eyes of a White House butler with remarkable longevity.