Jarmusch’s vampire flick is ironically his warmest film
Jim Jarmusch’s first film in three years taps a commercial vein—vampires always sell, even given an all-mood, little-plot film, however lambently shot by Yorick Le Saux. Only Lovers Left Alive is an ultimately enrapturing love story, set on the border of gentility and decadence.
Haunted ex-POW confronts past in ‘Railway Man’
Is revenge really sweet? Even when one has been horribly wronged—in a wartime setting, for instance—is an eye-for-an-eye style of vengeance ever really justified? Indeed, can any amount of revenge ever compensate for the original injury? These are issues grappled with in The Railway Man, a handsome and quietly moving drama adapted from the bestselling 1995 nonfiction memoir by Eric Lomax, who, as a young British army officer, survived brutal conditions in a Japanese POW camp during World War II.
Secret photographer’s talent exposed in ‘Finding Vivian Maier’
Talk about a treasure hunt. In 2007, John Maloof, a real estate agent in the Chicago area, bought some miscellaneous boxes at an estate auction across the street, hoping to find some material for a book about his neighborhood. Disappointed not to find anything he could use for his project, Maloof had, instead, stumbled into one of the greatest discoveries in 20th century photography—the previously unknown but amazingly prolific work of amateur street photographer Vivian Maier.
Bear, mouse dare to be friends in charming ‘Ernest and Celestine’
It’s not exactly Romeo and Juliet. It’s not even a romance, although it is a love story about two individuals separated by prejudice who find the courage to form an unshakable bond despite the rules and traditions that keep them apart.
Bible meets sci-fi in Aronofsky’s eco-parable ‘Noah’
Nobody named “God” ever appears in Noah. Darren Aronofsky’s massive drama is obviously inspired by the Bible story, but he handles it as sort of a non-denominational, philosophical disaster movie. Noah and his family retain their familiar names, and there are passing references to Eden, but no specific geography or time frame is ever suggested, while the mostly ravaged and desolate landscape could be either pre- or post-industrial, the ancient past or the distant future. This is the Bible as dystopian sci-fi epic.