While this film has some bracingly strong observations on the nature of long-term professional and personal relationships, it also feels somewhat theatrical in the way its story develops. It's as if everything happens for an important reason, as ordained by the screenwriters. Fortunately, these terrific actors bring out riveting layers of meaning in their characters.
The title refers to the Fugue String Quartet, which has been at the peak of the classical music scene for 25 years. But their fragile balance is shaken when cellist Peter (Walken) is diagnosed with Parkinson's. Second violinist Robert (Hoffman) starts wondering if maybe he should be playing first chair, but he's feeling unsupported by his wife Juliette (Keener), who plays viola. Meanwhile, first violinist Daniel (Ivanir) wants to keep things as they are, although his lessons with Robert and Juliette's prodigy daughter Alex (Poots) are taking an unexpected turn into something steamy. Can the quartet's bond survive all of this?
All four actors underplay their roles perfectly, letting us see the internal workings of their relationships through their own private ambitions. Hoffman, Keener and Ivanir have especially dark edges to play with in every scene, even if their long-repressed issues make the film sometimes feel soapy. Walken is simply wonderful in a rare non-kooky role as a man facing a very difficult future with humour and emotion. On the other hand, Poots kind of gets lost in the shuffle, never really making much of her thinly written role.
Continue reading: A Late Quartet Review
A quartet made up of first violinist Daniel, second violinist Robert, his wife and viola player Juliette and cellist Peter faces an uncertain future when Peter informs them of his recent diagnosis of Parkinsons disease which has resulting in him wishing to leave the quartet with immediate effect following their first show of the season. Him being the most talented of the four musicians, their musical cohesion is now under threat and it makes Robert consider what he wants for his future in the group. He expresses his feelings to Juliette and Daniel that he no longer wishes to play second violin exclusively, but perfectionist Daniel believes him to be insufficient for the role and Juliette tries to remind him that he must foremost consider the solidity of the quartet as a whole. Their disagreements cause a rift in the group, particularly in Robert and Juliette's marriage; Robert finds himself becoming more and more interested in a young dancer who he meets while jogging and Juliette and Daniel's relationship be
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The only thing more puzzling than this scenario is the fact that this movie, Vanya on 42nd Street, is a fabulous film. "Uncle Vanya" is the play in question, a tragicomic tale of family members plagued by broken hearts, lost youth, and missed opportunities. The film's premise is that "Uncle Vanya" is being performed by a small theatrical group, and the film simply captures the last rehearsal of the play before the costumes arrive.
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Probably this is because the story, which concerns an unsuccessful troupe of English Shakespearean actors in post-colonial India, is semi-autobiographical. Several of the actors, most of whom are somehow related (Felicity Kendal is the daughter of Geoffrey Kendal and Laura Liddell in life as well as on screen), were actually members of an English-Indian theatrical troupe who toured India in the 1960s. The film is most interesting as a tour of India when it was still in some ways a British country.
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An obviously self-indulgent indie project from Nisha Ganatra, who directs, produces, writes, and stars, our heroine Reena finds herself acting as a surrogate mother for her infertile older sister, who is married to a bit of a schlub of a white guy. But what will Reena's girlfriend Lisa (Hennessy) think? You can probably fill in the rest of the movie on your own.
Continue reading: Chutney Popcorn Review
After nearly thirty years since his first solo record Mark Lanegan has just released one of his very best and there's not many artists who can claim...