Secret Agent Gal Movie Reviews

The Way: Martin Sheen and Emilio Estevez heal heartbreak - 5 stars

Martin Sheen and Emilio Estevez heal a father’s heart and find wholeness in the sensitive drama The Way. Set along the Way of St. James (Camino de Santiago) from France to Spain, the film is directed by Sheen’s son Estevez, who appears as a ghostly muse.

The most powerful movie is sometimes the simplest. Sheen’s deep, rousing performance and Estevez’s minimalist, mood-centered direction fill The Way with meaning. Cinematographer Juanmi Azpiroz captures action along the breathtaking pilgrimage route.

Daniel (Estevez) has died in a freak accident in the Pyrenees, known for unpredictable weather. He was nearly 40 when he decided to postpone doctoral studies and walk the 500-mile-long trek.

Tom Avery (Sheen) just lost his wife a year ago, so losing his son is devastating. The conservative ophthalmologist travels from Ventura, California to identify Daniel and have him cremated.

The Way is the best father-son drama I've seen in years. It's nothing less than a healing for the male heart.

With Daniel’s backpack and provisions, Tom decides to complete his son’s journey. He will walk to the cathedral where the Apostle James is said to be buried. Local police warn him about the dangers. Tom is stoic. He has nothing to lose.

Sheen’s intensity and talent are mesmerizing. A winner of Emmy and Golden Globe awards, he’s played presidents and generals, fathers and coaches. Sheen evokes manhood with strength and sensitivity.

Tom scatters Daniel’s ashes at especially beautiful vistas. He remembers how his son pissed him off. “You don’t choose a life, Dad. You live one,” Daniel once told him. Tom speaks little, but you can feel his brokenness.

Tom sees Daniel wherever he goes. The son becomes father to the man. Tom appreciates the wordless visits. Still peace eludes him.

Empty but determined, Tom surrenders. Three travelers gravitate around the angry American. Numbness gives way to fury for the grieving dad.

Deborah Kara Unger plays Sarah, a sharp-tongued Canadian who wants to quit smoking. Yorick von Wageningen plays Joost, a friendly Dutchman who’s desperate to lose weight but loves regional cuisine. James Nesbitt is engaging as Jack, a bombastic Irishman with writer’s block who begins to chronicle Tom’s story.

His companions irk him, but Tom discovers himself by being around the others. Each traveler has wounds to heal. Finally Tom empathizes. He begins to understand why the journey was so important to Daniel.

Each must resolve personal issues and find truth. Gently insistent spiritual undertones never become overbearing. An encounter with a young gypsy thief (Omar Munoz) and his father (Antonio Gil) is especially moving.

A sense of community grows among the four and extends to others who walk. With references to cell phones, The Way also meditates on how disconnected we have become in the information age.

The Way allowed Sheen and Estevez to explore their Spanish culture and Catholic religion together. Charlie Sheen, the star’s other son, battled publicly with drug addiction as this film was made. The mystical bond between fathers and sons is tempered by real life frustration in this vision quest. 

Estevez has directed a dozen television shows and films. He starred in The Breakfast Club and Young Guns. Estevez and Sheen have made other movies together, including The War at Home and Bobby. 

The Way is a memorable exploration of manhood, heart and healing. Nature’s fearsome beauty unleashes a majestic resolution.

If you like The Way, you might enjoy:  The Music Never Stopped; In a Better World; Beginners; Thor.

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The Way    2010  /  NR  /  1 hour, 55 min

Cast Overview: Emilio Estevez, Martin Sheen, Deborah Kara Unger, Yorick van Wageningen, James Nesbitt

Director:  Emilio Estevez

Genre:  Drama, Independent

Restless: death haunts young lovers - 2.5 stars

Death lurks while two teens fall in love in Restless, Gus Van Sant’s Harold and Maude inspired drama. Mia Wasikowska (The Kids Are All Right; Jane Eyre) and Henry Hopper (Dennis Hopper’s son) star.

The opening is intriguing. Enoch (Hopper) is a glum high school dropout who wears black and crashes funerals. He grieves vicariously for his mom and dad who died in a car accident. Enoch survived. He likes to remind others that he was “dead for three minutes” and awoke from a coma.

Annabel (Mia Wasikowska) is an optimist who talks to her hero Charlie Darwin. A winsome sprite with a brain tumor, she has three months to live. Annabel admires birds and beetles, and dubs herself a naturalist. She has transcended anger, living in acceptance and humor.

The two meet at a memorial service. Enoch rebuffs her, but Annabel persists. She recognizes a kindred soul. “Seen any good funerals lately?” is a conversation starter for these two.

I like odd movies, and really wanted to like Restless. Sentimental and trite, it tries too hard with swells of loud music and distracting flourishes (Annabel’s vintage wardrobe is endless). Talented Wasikowska has her moments, but Hopper struggles as morose Enoch.

The movie lingers in a graveyard of clever banter. The action falls flat even with a flurry of bucket list antics. Annabel accepts death as a friend, making light of the inevitable. Enoch is more obsessive.

They must race to fall in love. Their relationship is believable and painfully finite. With no future, they must live in the moment. Death is their silent partner.

Henry helps Annabel make the most of her last days. Scene after scene is artfully framed. Annabel looks healthy and radiant throughout. Restless is a felt experience. A valuable dramatic experiment, it falls short with one note whimsy.

What does work is the ghost. Enoch’s friend Hiroshi (Ryo Kase) was a kamikaze pilot in World War II. Still dressed in his jacket and flight cap, he pops by for witty conversation or a game of Battleship. Hiroshi lends a playful, quasi-fantasy quality here with comic relief. His character suggests that life and death are one, an ongoing continuum.

As Enoch’s mentor, Hiroshi isn’t afraid to talk sense to him. They get into a fist fight, providing welcome conflict. Something keeps the pilot hanging around, which is revealed at the movie’s end.

Restless lacks the nuance and power of Van Sant’s Elephant, Paranoid Park and Milk. This film avoids exploring the mystery of death and the meaning of existence.

A chalk-on-asphalt drawing of two fallen teens holding hands is the tipoff. Restless draws a happy face on death.

Other movies you might enjoy:  50/50; Love & Other Drugs.

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Restless     2011  /  PG-13  /  1 hour, 33 min

Cast Overview:  Henry Hopper, Mia Wasikowska, Ryo Kase, Schuyler Fisk, Jane Adams, Chin Han, Lusia Strus

Director:  Gus Van Sant

Genre:  Drama, Fantasy

Missing Pieces: Mark Boone Junior kidnaps his way to love ****

 

Kidnapping meets romance in the indie psychological drama Missing Pieces. Director Kenton Bartlett’s feature debut asks big questions and answers them with mind-bending originality. I want to feel something real. I want to feel happy. Why is this happening? It's now streaming online.

Missing Pieces investigates the brink of wholeness. Impressively crafted on a low budget, it’s a tale of dissolution and survival, a sly mix of Criminal Minds and the spiritual genre.

Mark Boone Junior (Memento; Batman Begins; Sons of Anarchy) is fascinating as David Lindale, a man whose life implodes after a head injury. With his mind and emotions fractured, he poignantly struggles to win back his exasperated ex-girlfriend Delia Greenly (Melora Walters). Soon his actions take a disturbing turn.

David seems gentle, but we don’t know what he’s capable of. Recovering from an accident, he has stopped taking his medication. While making his rounds as a delivery man, David meets Maggie Anderson (Taylor Engel) and Daylen Gordon (Daniel Hassel). With the sure insight of a damaged human being, he immediately recognizes that the two are missing pieces of their lives, too.

Using sparse, strong dialogue, Bartlett (who also wrote and produced the film) weaves in excerpts from a self-help tape. These represent David’s efforts to heal and to reclaim his life. The effect succeeds with preachy truisms like, “The only way to be happy is right here in this moment.” Loneliness becomes tangible.

David devises a plan: observe love. The world becomes his laboratory. If he can isolate two people and provide them with the right questions and instructions, can he reproduce the formula for happiness and love? Boone Junior reveals the monster within all of us.

Constant cuts to different lives and characters obscure the narrative. The logistics behind David’s grand experiment stretch belief. The harrowing journey runs a bit too long. Still this is a film worth seeing for its rich storytelling, challenging and original premise, and compassionate vision.

 

A turning point is reached when David realizes, “I need to give more.” He approaches Delia again.

Boone Junior creates an arresting portrait of despair and hope that anchors the film. Walters (Boogie Nights; Magnolia; Big Love) convinces as an aggravated woman who knows when it’s time to give up. Engel and Hassel debut with fine performances as Maggie and Daylen discover themselves and each other under extreme conditions.

Cinematographer Jonathan Arturo uses the camera in a full, free way that captures small, personal worlds in the context of sweeping, natural landscapes. Longing, fear and anger are evoked with a beautiful, understated color palette. Several scenes come to life like Andrew Wyeth paintings. Filmed primarily in Birmingham, Alabama, Missing Pieces was also shot in Colorado, South Dakota and Utah.                 

Richey Rynkowski (orchestrator assistant on Black Swan) creates original music that resonates and adds dimensionality.

Missing Pieces is a cry from the depths, a demand for answers from a seemingly indifferent Universe, a creepy trek towards self-actualization and love.

 If you like Missing Pieces, you might enjoy:  The Ledge; The Perfect Host; The Tree of Life.

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Missing Pieces     2011  /  NR /  1 hour, 57 min.

Cast Overview:  Mark Boone Jr., Melora Walters, Daniel Hassel, Taylor Engel

Director:  Kenton Bartlett

Genre:  Indie, Psychological Drama, Suspense

The Tree of Life *****

 

A family drama interpreted spiritually and artistically, The Tree of Life is a sweeping tale from the beginning to the end of time. Terrence Malick’s epic masterpiece won the Palme d’Or, top prize at the 2011 Cannes Film Festival.

“It is only with the heart that one can see rightly,” wrote Antoine de Saint-Exupery. To fully appreciate Malick’s fifth feature, we must experience it with the heart.

A mother asks why her son is dead, who God is, and why we are here at all. Set in 1950's Texas, the film is all yearning, exploring, imploring. It’s a stark contrast to the loud, violent fare filling modern multiplexes.

After Mrs. O’Brien (Jessica Chastain) receives news of her 19-year-old son’s death, Malick returns us to our cosmic origins. Galaxies form. Earth develops. A couple meets. A child is born. Hundreds of beautifully composed images shape a quiet, elegant whole. Upheavals, universal and personal, take on a stately grace. The soundscape is lyrical. Even protozoa and dinosaurs demonstrate gentle intelligence.

Malick's sparse dialogue and interior monologues accompany these scenes like poetry. Lush cinematography by Emmanuel Lubezki and the orchestral score by Alexandre Desplat are a revelation.

 

Mrs. O’Brien teaches her sons two ways through life. The way of grace accepts being slighted, forgotten, disliked, insulted or injured. The way of nature (i.e., the way of the ego) dominates others, pleases itself and dwells in unhappiness. “Love is smiling through all things,” she says.

The Tree of Life shows the relationship of young Jack (Hunter McCracken in a stirring debut) and his strict, sometimes unhinged father (Brad Pitt in an Oscar-worthy dramatic performance). 

Pitt reveals a complex go-getter in the aerospace industry, a stern father who is an avid fan of Brahms. Yet O’Brien can’t reconcile the strains of a concerto with his family assembled around the dinner table. His sons never show him enough respect or measure up to his machismo.

Young Jack has begun breaking windows, stealing and tormenting small animals. “I’m as bad as you are,” Jack tells his father. Grace touches him one day and he experiences a change of heart. Jack apologizes to the brother (Laramie Eppler) he has hurt. He is kind to a neighborhood boy scarred in a house fire.

“The only way to be happy is to love. Unless you love, your life will flash by.” As Jack’s mother, Chastain is grace personified. She evokes a woman so gentle that a butterfly lands on her outstretched hand. When she disinfects a child’s cut and blows on it, we can feel her cool breath.  

 

Childhood innocence is gradually worn by the rules of society. “It takes fierce will to get ahead in this world,” Jack’s father tells him. The boy is forbidden to cross the invisible property line of a neighbor’s yard.

Sean Penn plays Jack as an angry, disillusioned man still grappling with his difficult father. Every year he lights a candle to commemorate his “true, kind” brother. Best Actor Penn delivers strong supporting work as he looks to the celestial skyscrapers of Houston for solace. They are a kind of postmodern church for Jack.

An asteroid strikes, causing massive tsunamis. Jack wanders a beach afterwards, filled with awe and wonder. It is a new beginning.

If we are open to it, The Tree of Life imparts a direct, mystical encounter between God and humans. Malick uses Christian references as the family attends church in Waco, Texas. The tree of life is an ancient symbol of heaven and earth in many religions.

The director continues his fascination with nature and the manmade world. The fields and forests of Jack’s childhood are a respite from searing inner conflicts. A universal perspective helps Jack heal years later. 

Douglas Trumbull’s special effects are natural and imaginative, resonant with the film’s ordered harmony. Superb editing is accomplished by Hank Corwin, Jay Rabinowitz, Daniel Rezende, Billy Weber and Mark Yoshikawa. 

Malick makes films with great care and thought. After studying philosophy at Harvard, he directed four films over four decades, The New World, The Thin Red Line, Days of Heaven and Badlands.

"He is working within a Hollywood system, but in a unique and personal way, much the same as Kubrick did," according to Hannah Patterson, author of The Cinema of Terrence Malick: Poetic Visions of America. "There is that level of mystery that comes from not doing interviews and not being in the public eye,” she said. Malick allows his films to speak for themselves.

Three years in the making, The Tree of Life is the director’s most epic and spiritual film to date. It reveals civilization as an experiment, a tiny shard of all that is.

Malick’s newest project stars Ben Affleck, Rachel McAdams, Javier Bardem and Rachel Weisz. It is scheduled for release in 2012.

 If you like The Tree of Life, you might enjoy: Of Gods and Men; I Am; 127 Hours.

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The Tree of Life     2011  /  PG-13  /  2 hours, 18 min

Cast Overview:  Brad Pitt, Sean Penn, Jessica Chastain, Fiona Shaw, Irene Bedard, Jessica Fuselier, Hunter McCracken, Laramie Eppler, Tye Sheridan 

Director:  Terrence Malick

Genre:  Drama, Indie, Period Piece

 
 

Happy *****

 

Oscar-nominated director Roko Belic’s film shares insights from psychology, neuroscience, and multicultural wisdom to discover the keys to deep and lasting joy in the documentary Happy.

Belic, who shared a 1999 Oscar nomination with his brother Adrian for the musical documentary Genghis Blues, asks why the United States, one of the wealthiest nations in the world, ranks low in happiness.  He traveled to 14 countries, interviewing positive and optimistic individuals both rich and poor.

Happiness is 50% genetic, 40% intentional, and only 10% circumstance, according to scientists. This contradicts the widespread belief that attaining wealth and material things guarantees delight. Once our basic human needs are met, researchers say, $50K and $5 million look very much the same to our brains.

Adversity can kick start happiness, giving our brains the biochemical contrast needed to create new, better realities, according to scientists. Melissa Moody recounts her comeback from despair following a truck accident. While recovering from multiple reconstructive facial surgeries, long-buried memories of childhood abuse resurfaced. Her husband left her. She contemplated suicide. Moody hung on for the sake of her children. Today she says she has reached a more centered, happy place. She helps others with physical rehabilitation. She met and married someone new.

The happiest countries promote community. Denmark offers co-housing groups where families share chores and rewards. Anne Bechsgaard, a divorced mother, says she rebounded from depression after moving into co-housing. She and her children enjoy many friends and caring neighbors there. Communal dining has lightened her workload. Bechsgaard cooks supper and cleans up afterwards only twice a month.

 
 
A rickshaw driver living in the slums of Kolkata, India, Manoj Singh exudes happiness through arduous work days in extreme heat and monsoons. His family and neighbors are key, he says.

Bhutan’s government now weighs Gross National Happiness as well as Gross National Product, according to government official Dasho Kinley Dorji. For example, flooding a valley for a new dam would bring economic benefits, but would not be feasible because many would be displaced, and places of worship would be destroyed. The Gross National Happiness experiment is relatively new and results are forthcoming, we are told.  

Andy Wimmer, a former West German banker, volunteers at Mother Theresa’s Home for the Dying in Calcutta, India. As he moves about the hospice room filled with the destitute, he helps them eat and clean themselves. He feels deep peace knowing he is doing “something more” with his life.

 “It’s the values we have that are the biggest indicator of our happiness,” Belic learns. Intrinsic goals such as compassion, friendship and contributing to one’s community are much more conducive to happiness than extrinsic goals like money, power and social standing, he discovered.

Connectedness, generosity, play, flow, health and longevity are parts of the puzzle. New twists on traditional approaches are offered. “Nature is good medicine,” we’re reminded. Exercising in novel ways increases the brain’s dopamine levels most effectively, say neuroscientists. Choosing a new running or walking route can accomplish this.

Among the experts featured are “Dr. Happiness” Ed Diener, who has studied happiness in America for over 35 years, and Richard Davidson, a neuroscientist at the University of Wisconsin-Madison who studies meditation’s effects on individual happiness.

Not for cynics, this decidedly upbeat exploration will appeal most to those who yearn for genuine contentment, and to others who are already happy to some degree.

Like his producer Tom Shadyac (who directed blockbusters such as Bruce Almighty and, more recently, the documentary I Am), Belic sold his home and moved to a trailer on the beach in Malibu. He enjoys surfing and a sense of community, he told Paste Magazine. “Within the first two weeks of moving here, I met more people than I did in 10 years of having a house in the suburbs of San Francisco.”

Happy is narrated by Marci Shimoff, author of Chicken Soup for the Woman’s Soul.

If you like Happy, you might enjoy:  I Am; 2012: Time for Change; Thrive.

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Happy     2011  /  G  /  1 hour, 18 min

Cast Overview:  Ed Diener, Daniel Gilbert, Gregory Burns, Read Montague, The Dalai Lama, Matthieu Ricard, Mihaly Csikszentmihalyi, Nic Marks, Richard Davidson, Sonja Lyubomirsky, Tim Kasser, Andy Wimmer, Chikanobu Okamura, Anne Bechsgaard and family, Hiroko Uchino, Kundo Bo and family, Manoj Singh and family, Melissa Moody, Michael Pritchard, Ronaldo Fadul, Roy Blanchard and Family

Director:  Roko Belic

Genre:  Documentary

 

I Am ****

 

 

Director Tom Shadyac quests for life meaning in the documentary I Am, a visual feast where he interviews authors, thinkers, scientists and spiritual leaders.

Grateful, enthusiastic and funny, the director of Bruce Almighty, Patch Adams, The Nutty Professor and Ace Ventura: Pet Detective begins by recalling his 2007 cycling accident. Suffering from Post Concussion Syndrome, he was isolated for months with painful sensitivity to light and sound.

Shadyac calls this his dark night of the soul, a life turning point. The resulting depression left him only one place to go – within. He began to consider: What’s wrong with our world? What can we do about it? Suddenly, Shadyac’s pain and symptoms began to fade. With renewed clarity and purpose, he returns to filmmaking.

Among the notables in I Am (most have never heard of Ace Ventura) are Bishop Desmond Tutu; author and MIT linguist Noam Chomsky, and the late historian Howard Zinn.  Tutu addresses being, while the other two address doing. 

“I depend utterly on other human beings to be human,” says Tutu.  Chomsky chides America for the post-911 mantra: shop. Zinn reminds us that “everyday acts, small acts build over time” to create change. “Every word you utter has an effect.” Images from the civil rights and anti-Apartheid movements are shown.

We are powerful, according to I Am. Historic shifts are the direct result of a collective change of heart and mind. When writer G.K. Chesterton was invited to pen an essay about the world’s ills, he famously replied: “Dear Sirs, I Am.” Power and responsibility lie within. 

Shadyac walks his talk. He takes us on a tour of his former 17,000-square-foot Pasadena mansion and private jet. He sold both, and now lives in a mobile home in northern Malibu. He bikes to work whenever possible, teaching at Pepperdine University.  He also began the I AM Project which includes a non-profit foundation.

I Am presents us with many cool ideas. Competition and consumerism are seen as forms of mental illness. “Greed is good” isn’t. When Native Americans shared their bounty communally, they didn’t experience poverty or homelessness. “What is an economy for? How much is enough?” asks author David Suzuki.

Humanity’s biggest problem may be its separation from the natural world that sustains us. Suzuki says that “all life is our biological kin.” Most of our genes are identical to those of animals, he reveals. Coleman Barks, who wrote The Essential Rumi, believes that “You couldn’t possibly go to war if ‘the beloved’ was everyone.”

Wacky experiments provide good photo ops, but don’t prove anything and won’t placate left-brained viewers. Shadyac and a dish of yogurt are connected via electrodes. His positive or negative thoughts affect the living cultures immediately. Another experiment seems to indicate that his mind knows which picture will appear a few seconds before it is shown.

 

Shadyac seeks scientific validation here even though contemporary science is based on the idea of separation. Scientific “solutions,” like economic ones, have contributed to our problems. We do learn that Charles Darwin used the word “love” 95 times in The Descent of Man, and the phrase “survival of the fittest” only twice.

The Institute of HeartMath has determined that the heart guides the brain and generates an electromagnetic field beyond the physical body. We are programmed to love and cooperate, Institute studies have found.

Shadyac meets with his dad Richard Shadyac Sr., former CEO of the fundraising division of St. Jude’s Children’s Hospital. The elder Shadyac, who passed away in 2009, regretted that the love evident during Sunday services seems to evaporate when people return to everyday life.

The film missteps occasionally. Cooperation in the natural world is called “democracy,” for example. Brief flashes of horrific animal experiments and human violence are shown, along with scenes of compassion, to elicit our instinctive, compassionate responses.

Love and cooperation are key, the filmmaker discovers. Caution: this path gets radical. “Love your enemies,” said Jesus Christ. “Liberate damaged human beings by following the path of love,” said Martin Luther King.

I Am succeeds in rousing our compassion and empathy. That’s quite an achievement.

If you like I Am, you might enjoy:  Happy; 2012: Time for Change; Thrive.

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I Am     2010  /  NR /  1 hour, 16 min

Cast Overview:  Tom Shadyac, Bishop Desmond Tutu, Noam Chomsky, Howard Zinn, Lynne McTaggart, Marc Ian Barasch, Coleman Barks, David Suzuki

Director:  Tom Shadyac

Genre:  Documentary

 

In a Better World *****

 

 

A father becomes a peacemaker in the Oscar- and Golden Globe-winning drama In a Better World.

Danish filmmaker Susanne Bier explores violence, courage and responsibility in this rich, mature drama, her tenth feature. She’s known for complex, well made films including Open Hearts (2002), Brothers (2004) and After the Wedding (2006).

Mikael Persbrandt (Everlasting Moments) stars as Anton, a surgeon working in a Kenyan field hospital. While he treats refugees, he’s interrupted by bloody emergencies as a local thug, Big Man, butchers pregnant women for sport.

Anton struggles to rescue his marriage to Marianne (Trine Dyrholm), also a doctor, who lives in Denmark with their two sons. Often away from home, Anton spends quality time whenever possible with 10-year-old Elias (Markus Rygaard), a gentle boy who wears braces.

Elias is viciously bullied at school by Sofus (Simon Maagaard Holm) and his followers, who make anti-Swedish comments. School officials misread the dangerous situation and seem unable to take effective action. Anton urges his son to ignore Sofus. Fighting would accomplish nothing except to lower him to the bully’s level, he says.

Elias is befriended by Christian (William Johnk Nielsen), a quiet, intense boy who moves to the area after his mother dies of cancer. Christian advises Elias to fight back so others won’t dare pick on him.

Christian corners Sofus in a school bathroom one day, beating him with a bicycle pump and holding a knife to his throat. Horrified Elias looks on. Police are called, but charges are dropped when they are unable to find the knife.

It’s attack or be attacked, Christian tells his father Claus (Ulrich Thomsen). He accuses the man of wanting his mother to die. Claus tries to explain his complex emotions during his wife’s painful decline.

 

At the park one day, Anton breaks up a fight between a boy and his youngest son as Elias and Christian watch.   Suddenly Anton is insulted and slapped by the boy’s father Lars (Kim Bodnia).

Anton walks away and attempts to forgive. He swims off his anger later in the cold lake of his summer home. Elias asks his dad why he is such a wimp. Anton next tries to craft a teachable moment, revisiting Lars with the boys.  He speaks out and is slapped again.

Christian builds a pipe bomb using internet instructions, planning to blow up Lars’ van. Outwardly calm and serious, he urges Elias to accompany him. The explosion will happen early Sunday and no one will be hurt, he promises. Reluctantly, Elias agrees.

Back in Kenya, Big Man has been seriously wounded and is brought to the hospital.  The warlord orders Anton to save his leg, and offers him a bribe. The surgeon treats him because he must. When villagers take matters into their own hands, Anton is a helpless witness.

A flawed man struggling to live his truth, Anton chooses peace and surrenders the satisfaction of being right. He can’t change the world, but he can be present and loving. In a Better World suggests that all children belong to us.

Bier skillfully manages many story elements to craft a majestic film. Morton Soborg provides stunning camerawork. Screenwriter Anders Thomas Jensen, composer Johan Soderqvist and editor Pernille Bech Christensen lend their talents.

If you like In a Better World, you might enjoy:  Win Win; The Kids Are All Right; Precious.

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In a Better World     2010  /  R  /     1 hour, 53 min

Cast Overview:  Mikael Persbrandt, Trine Dyrholm, Ulrich Thomsen, Markus Rygaard, William Johnk Nielsen, Bodil Jorgensen, Elsebeth Steentoft, Martin Buch, Anette Stovlebaek, Kim Bodnia

Director:  Susanne Bier

Genre:  Drama, Thriller, World Cinema

Language:  Danish and Swedish with English subtitles

 

 

Jane Eyre *****

 

Mia Wasikowska updates classic heroine Jane Eyre with passion and aplomb in Cary Fukunaga’s remake of the Charlotte Bronte novel. 

This is Wasikowska’s breakout role. Her talent and screen presence have attracted notice lately in The Kids Are All Right, In Treatment and Alice in Wonderland.

The Australian-born actor lends intelligent yearning to “poor, obscure” Jane. Gazing out a window at horizons she may never cross, she conveys inner strength and a vast spirit despite her humble circumstances as a governess.

Delightfully sassy with impertinent wit, Jane speaks out to her cruel aunt Mrs. Reed (Sally Hawkins) and to heartless headmaster Mr. Brocklehurst (Simon McBurney).  Amelia Clarkson plays young Jane.

Wasikowska does Bronte proud, revealing an advocate for women’s rights before such ideas had a name. This Jane stands in time alongside the heroine rendered by Samantha Morton (1997), Charlotte Gainsbourg (1996) and Joan Fontaine (1944).

Michael Fassbender embodies pain and sarcasm as Edward Rochester. What comes through is the character’s loneliness. One senses the isolation of Jane, Mr. Rochester and Mrs. Fairfax (Judi Dench), each turning to the other to meet their needs in some way.

Rochester’s stealthy handling of the madwoman in the attic bristles even while Fassbender reveals a sympathetic, conflicted man.

Jamie Bell plays pious and ultimately domineering St. John Rivers. Holliday Grainger and Tamzin Merchant shine as the supportive, nurturing Rivers sisters.

Jane Eyre fans will enjoy this film while remembering the over-the-top frenzy of Rochesters past (Orson Welles in 1944; Ciaran Hinds in 1997). They might miss more screen time for the violent madwoman (played briefly by Valentina Cervia), and a more dramatized fire scene in the master’s bedroom.

Chronology is confused with early cross-cutting. In the stirring opening, Jane flees Thornfield and is rescued by St. John Rivers. Next we see a brief review of her orphan days at the family’s Gateshead estate, and later at the Lowood Institution. 

Fukunaga (Sin Nombre) finally settles the tale into its natural dramatic arc with Jane’s arrival at Thornfield and her tutelage of Mr. Rochester’s charge Adele (Romy Settbon Moore).

Spare, powerful writing by Moira Buffini and impassioned delivery give Jane Eyre its ringing, memorable lines. “Children, I exhort you to with hold the hand of friendship to Jane Eyre.” “Mr. Rochester’s visits are always unexpected.” “You transfix me, quite.”

Cinematographer Adriano Goldman captures action in beautiful shades of pewter, contrasted with bright outdoor vistas.

 

Judi Dench is masterful as Mrs. Fairfax, opinionated, warm and manipulative. As head housekeeper, she rivals her master (and distant relative) Mr. Rochester even while pooh-poohing her status.

We see less merrymaking by elite Blanche Ingram (Imogen Poots) and her entourage. Poots adds interest with a Blanche who is more threatened by Jane from the start.

The heroine receives an inheritance, adding more power late in the drama.  A return to Edward would not be Jane’s only option. 

The final reunion scene lacks the outward fire of previous Jane Eyre films, yet it leaves much to the imagination in quiet beauty.

If you like Jane Eyre, you might enjoy: The Young Victoria; The Kids Are All Right; Red Riding Hood.

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Jane Eyre     2011  /  PG-13  /  2 hours, 1 min

Cast Overview: Mia Wasikowska, Michael Fassbender, Jamie Bell, Amelia Clarkson, Sally Hawkins, Freya Parks, Holliday Grainger, Tamzin Merchant, Imogen Poots, Valentina Cervi, Judi Dench

Director:  Cary Joji Fukunaga

Genre:  Drama, Romance, Period Piece, Drama Based on the Book

Of Gods and Men *****

 
 

Seven French monks face death as civil war sweeps through a mountain village in Of Gods and Men.

Xavier Beauvois directs the true life drama which won Best Film at the Cesar Awards (France’s Oscars) and the Grand Jury Prize at Cannes 2010.

The Trappist monks offer compassionate service in the rural Algerian highlands. They raise crops and sell honey. Elderly Brother Luc (Cesar winner Michael Lonsdale) gives medical care to the poor.  When a child’s shoes are worn, he provides a new pair.

Extremists slit the throats of Croatian highway workers one day. Villagers run to tell the brothers. Tensions rise between Islamist insurgents and a corrupt government. France’s colonization of Algeria, years after the country regained independence, still rankles. Foreigners are not trusted.  

In this can’t-look-away film, Beauvois focuses on the inner and outer lives of the monks, who were kidnapped during the 1996 civil war and later executed.  No group admitted to the slayings.

Love and devotion are genuine. Cinematographer Caroline Champetier (also a Cesar winner) captures the monks’ emotion, movement and conversation close up in the beautiful, meditative mountains. The film was made in Morocco.

As violence spreads, the government orders the monks to leave the country. The men debate their fate. They have long accepted their Islamic brothers and sisters.

The monks are radicals too, believing that reconciliation is possible. Daily service, prayer and devotion fill their days. The community’s prior Christian (Lambert Wilson) reads both the Koran and the Bible.

Ego is almost completely subdued among the brothers.  Chatter doesn’t fill their dinner hour. Instead, they listen to scripture readings as they eat in silence.

Wilson told The New York Times that the actors went on retreat in the French Alps to prepare for their roles. "We spent a few days observing the monks, eating in silence with the other people who were going on the retreat, and then we started singing. And that was really the best preparation. We learned Gregorian chanting. We learned liturgical singing as a group. This is really what got this group of French actors together."

Known for his performances in the Matrix trilogy, Wilson usually plays romantic and lighthearted characters.

After a terse showdown with Christian on Christmas evening, a terrorist leader designates the abbey as protected. To Beauvois’ credit he transcends stereotypes.

When a wounded jihadist is brought in, Luc treats him as he would anyone else.  The act of charity must be kept secret or the group risks government retaliation.  

Each monk must decide whether to stay or leave.  Christophe (Olivier Rabourdin) struggles with fear and anger more than the rest. 

The men don’t want to be martyrs, they decide. But where else will they go when they are so needed here?  “It is mad to stay, like it is mad to become a monk,” says Christian.

 

 

In one of the best scenes, the group stands during morning prayer and sings loudly as a military helicopter hovers overhead, filling the monastery with a terrifying racket.

Towards the end, Luc breaks out two bottles of wine for dinner.  Wordlessly, he plays a tape of Tchaikovsky’s Swan Lake.  The monks smile, tears glistening. The music swells as does their passion to follow Christ in selfless service.

Of Gods and Men is worth seeing twice for its nuance.  It is the best movie exploration yet of silent devotion in a complex world. Beauvois, who co-wrote the script, captures simple sanctity and dramatic tension. Films covering similar territory include Silent Light, Into Great Silence and Hadewijch.

The film is loosely based on The Monks of Tibhirine by John Kiser.

If you like Of Gods and Men, you might enjoy:  Get Low; 127 Hours; The King’s Speech.

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Of Gods and Men   2010  /  PG-13  /  2 hours

Cast:  Lambert Wilson, Michael Lonsdale, Olivier Rabourdin, Philippe Laudenbach, Jacques Herlin, Loic Pichon, Jean-Marie Laudenbach

Director:  Xavier Beauvois

Genre:  Drama, Historical Drama, Foreign Film, True Stories, Movie Based on the Book

Languages:  French and Arabic with English subtitles

 

 

The Company Men ****

 

The upper crust marches on in The Company Men, an exploration of life after downsizing and enterprise revisited in the new global economy.

Three men lose their six-figure jobs at conglomerate GTX in order to boost its stock price prior to a merger. Ben Affleck plays Bobby, a VP of Sales; Tommy Lee Jones plays Gene, a conflicted division chief, and Chris Cooper is Phil, a lifetime company man who began as a welder in its now-idle shipyard.  Of the three, Cooper has been given the most moving role to play, and his performance is stellar.

When Bobby loses his Porsche and his son returns his Game Boy, it’s tough to muster much sympathy for the characters at first.  Months later, Bobby discovers that there are no jobs available and his severance pay is running out. His top notch sales skills don't matter. He keeps searching via an outplacement firm touting rah-rah career strategies. 

Bobby discovers the willingness to recreate himself and act boldly in a crisis. "You are what you do" takes on a whole new meaning in crisis. Bobby and Gene find and reaffirm their innate human value, redefining self-respect.

Bobby’s family digs in as his wife Maggie (feisty Rosemarie DeWitt) returns to part-time nursing and puts their pricey home on the market.  He must swallow his pride and accept a construction job from his irritating brother-in-law Jack (Kevin Costner). As a gruff, funny wise guy, Costner brings a refreshing middle class perspective into the film.

Phil struggles the most as an outplacement counselor advises him to dye his hair and to remove “anything pre-1990” from his resume.  Something is gained but much is lost in this strategy of erasing one’s past to appear younger.

Phil is devastated that he is unable to meet his daughter’s next tuition payment at Brown. In a poignant scene, he shouts and throws rocks at the glittering windows of corporate headquarters in the middle of the night.  Cooper highlights the dilemma of older Americans who still have much to contribute in an environment that does not value them.

Gene fills the emptiness of his existence in an affair with human resources downsizer Sally Wilcox (gutsy, sexy Maria Bello). He seems genuinely concerned about the hundreds who have been downsized, and has lost any feeling for his materialistic wife and their antique-filled mansion.

 

The cold villains of The Company Men are CEO James Salinger (Craig T. Nelson) who rakes in $22 million for himself as he shops for sleek new corporate offices; and Bello’s Wilcox, a suave executioner who claims she feels guilty while she chops heads.

The Company Men doesn’t cover much new ground. George Clooney’s unforgettable performance in Up in the Air had more depth as his downsizing launched him on a powerful inward search.

Another disappointment is The Company Men’s choppy editing.  Director John Wells was executive producer for The West Wing and ER.

The film brings up a few clichés. Bobby discovers the gifts of quality time with his son as they shoot hoops on the driveway.  “You have me,” Maggie reminds her despairing husband.  Bobby admits that he’s relieved to be free of constant corporate fears and pressures.

As Gene and Bobby walk through a rusty, deserted shipyard, Gene begins to smell new opportunity. Success will mean starting all over again.

If you liked The Company Men, you might enjoy Up in the Air; Wall Street: Money Never Sleeps; Casino Jack.

The Company Men  2010  /  R  /  1 hour, 44 min

Cast Overview:  Ben Affleck, Kevin Costner, Tommy Lee Jones, Chris Cooper, Craig T. Nelson, Maria Bello, Rosemarie DeWitt, John Doman, Tonye Patano, Cady Huffman

Director:  John Wells

Genres:  Drama, Indie Drama