Lothaire Bluteau

Lothaire Bluteau

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Urbania Review


Grim
Er... huh? This bizarre updating of After Hours puts Griffin Dunne lookalike Dan Futterman in the body of a gay man dealing with a mysterious tragedy. Over the course of a weekend, he encounters one stranger after another, each of whom relates to him some urban legend (eg. the kidney thief), which we see played out for us in the foreground or background. Based on a play I've never heard of, most of the movie is nonsense, though some of it can be fun. The homosexual content is a stretch, though, and doesn't really fit the rest of the movie.

Black Robe Review


Good
A Jesuit in a black robe travels to remote 1600s Canada, trying to reach a mission to the Huron tribe deep in the wintry Quebec country. Guided by Algonquins and encountering troublesome Iroquois, our hero as the brush which is used to paint a nuanced picture of historical time few people know very much about. Though the film tends to wander in its latter half, the stunning winter sets and excellent score generally transcend its weaknesses.

I Shot Andy Warhol Review


Weak
Perverse (yet true!) biopic of Valerie Solanas (Taylor), a homeless lesbian prostitute feminist militant manhater New Yorker who gave Andy Warhol a copy of her play and then shot him when he wouldn't give it back.

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Bent Review


OK
Croupier's Clive Owen is fantastic in this otherwise lackluster tale of Jews, gays, and Jewish gays imprisoned during the Nazi Holocaust. Based on Martin Sherman's play, the action is drawn-out with not a small amount of pretension, and the film's conclusion is never short of obvious. Other movies have tread similar ground before, just without the pink triangles. Altogether, it's a lackluster flick.

Jesus of Montreal Review


Grim
Father Leclerc (Gilles Pelletier), a forward-thinking priest at a diocese in Montreal, feels that his church's passion play has become tired. In the interest of reinvigorating it, he hires an impassioned, method-like actor named Daniel (Lothaire Bluteau) to shake things up a bit, and Daniel in turn assembles a cast of four others from among his friends and acquaintances. Together - the five quickly become thick as thieves, many of them sharing a cramped apartment - these new apostles re-imagine the Passion, drawing heavily on scientific and sociological, as well as ecclesiastical, sources, and the play becomes a citywide hit. But Father Leclerc now has reservations; haven't the young actors opened up the story of the Passion too radically? Under pressure from his superiors, he cancels the show. Meanwhile the cast members are changing, too; for instance, Mireille (Catherine Wilkening), who previously was doing commercials that emphasized her admittedly terrific ass, realizes that she was only being used, and through Daniel she has begun to realize her potential as a person. The actors all come to feel deeply committed to their creation, in some cases giving up their previous lives to spread the word. Daniel, who of course portrays Jesus, begins to feel that he is in fact undergoing persecution at the hands of the church. And why? His message, which he is anxious for everyone to hear, is after all a peaceful one...

Made in 1989 by French Canadian director Denys Arcand (The Barbarian Invasions), Jesus of Montreal was much honored at the time of its release, receiving the jurors' prize at Cannes and an Oscar nomination for best foreign language film. It's easy to see why. The premise - that a group of young, unconventional actors find themselves at odds with the established church when they investigate Christ's teachings - is a whopper, and Arcand pulls if off with some finesse; he never preaches and he refuses easy ironies. Jesus of Montreal delivers no facile moral lesson, but it never descends into simple church-bashing either. It is, rather, a little bit of both worlds; like The Barbarian Invasions, it's a social comedy, and it invites a little reflection, too.

Continue reading: Jesus of Montreal Review

The Healer Review


OK
Looking to go to bed depressed, moping, and on the verge of suicidal? Look no farther than The Healer, a pedigreed movie with such a dark core than it's no mystery it never merited a theatrical release of any consequence. (The original title, Julie Walking Home, couldn't have helped either.)

Canadian Julie (Miranda Otto) returns home from a trip with her two twin children, only to find husband Henry (William Fichtner) in bed with another woman. Like that, her marriage is ruined. Days later, she discovers her son (Ryan Smith) has cancer. Soon after that, we learn he's allergic to the chemotherapy. Julie just can't catch a break. Julie hears about a faith healer in Poland and decides to take her son there to get some healin'. (Why Poland? Could have something to do with writer/director Agnieszka Holland (Oscar nominated for Europa Europa in 1992), who hails from the country.)

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