While this film tackles a huge issue in the history of race relations in America, it's also a remarkably involving true story about a couple tenaciously holding on to each other in the middle of a storm of oppression. By taking such a personal approach, writer-director Jeff Nichols grounds the movie in authenticity, eliciting fine performances from the entire cast, with especially notable turns from Ruth Negga and Joel Edgerton.
It's 1958, and cross-racial marriage is illegal in Virginia. So Richard Loving (Edgerton) takes his pregnant black girlfriend Mildred (Negga) across the state line to Washington D.C. to get married. When they return to the family farm, they're immediately arrested and exiled to Washington, where they start a family. But Mildred longs to raise their three children back in their rural hometown, with their extended families around them. When Richard consults a civil-liberties lawyer (Nick Kroll), he finds that there may be some legal hope for them if they are willing to take on the system. This requires the help of a constitutional expert (Jon Bass) and the tenacity to stand up to a century of ingrained prejudice.
The film is written and directed with a sharp attention to detail, which means including some facts that are rather messy. This sometimes leaves scenes feeling unfinished, but the point is that real life isn't as tidy as it is in the movies. This also means that the film never tries to build a melodramatic sense of momentum, remaining intimate and somewhat reticent, echoing Richard and Mildred's personalities. Many of the biggest scenes take place off camera, while we are instead watching these steely, softspoken people who changed American law by quietly remaining true to their love for each other. Both Negga and Edgerton deliver subtle, wrenching performances as everyday people who express their strong views mainly in telling glances and touches that say more than words ever could.
Continue reading: Loving Review
With a low budget but a lot of imagination and talent, director Trevorrow and writer Connolly create a deceptively simple comedy that's one of the most entertaining films of the year. It's so cleverly written that every moment of the film is hugely engaging, and it's so perfectly played by its cast that we can't help but fall for the likeable, flawed characters.
Set in Washington state, the story centres on Darius (Plaza), a sardonic Seattle magazine intern whose life derailed when she was 14, after her mother's death. So her interest is piqued when she hears about a classified ad asking for an assistant on a time travel mission ("Bring your own weapons. Safety not guaranteed"). She accompanies arrogant journalist Jeff (Johnson) and fellow intern Arnau (Soni) to a seaside town to write up the story for the magazine, but once they track down the ad's author Kenneth (Duplass), nothing goes as expected.
Each of these three magazine reporters has a full-bodied story, expertly set within the larger investigation of whether Kenneth is nuts or not. All of these characters are caught between their past and the present, exploring who they once were, who they are and who they want to be, which makes them easy to identify with even as they do some amusingly silly things. And the filmmakers cleverly refuse to play into our expectations, keeping us guessing about where the movie is heading. So each scene bristles with possibility, and each twist and turn of the plot and side-plots is both thrilling and hilarious.
Continue reading: Safety Not Guaranteed Review
Burt and Verona (Krasinski and Rudolph) are a sparky couple looking forward to the birth of their first child. But when Burt's nutty parents (O'Hara and Daniels) announce that they're suddenly moving to Belgium, Burt and Verona realise that nothing is holding them in Colorado. So they hit the road, visiting friends and siblings in Arizona, Wisconsin, Montreal and Miami. In each place, they see things they want for their own family home, but everyone they visit is full of surprises.
Continue reading: Away We Go Review
Rose (Adams) is a single mother struggling to make ends meet as a cleaner.
She's dating a married man (Zahn), and knows she shouldn't. And she wants to put her son Oscar (Spevack) into a better school but needs money for that. So she launches her own crime-scene clean-up business, drafting her slacker sister Norah (Blunt) to work with her. Meanwhile, their father (Arkin) tries to make some cash through a series of get-rich-quick schemes, drafting Oscar as his partner.
Continue reading: Sunshine Cleaning Review
It is also the screenwriting debut of the wildly post-modern novelist Dave Eggers and his wife Vendela Vida, novelist and co-founder of literary zine The Believer. Being the recent parents of two children, there's certainly a self-reflexive quality to their script, which tells of the travels of a pair of expecting parents attempting to find a proper home for their awaited progeny.
Continue reading: Away We Go Review
Adams, especially, commands attention as she dials down her natural sunniness, her chirpy voice slightly deflated and her smiles a little more forced. Rose has a shabby apartment, an eight-year-old son, and a job with a maid service to pay for both. She also has motel-room trysts with a local cop (Steve Zahn), who suggests, offhand, that she might parlay her maid skills into a crime-scene clean-up business. In need of money to send her son to private school, Rose seizes on the idea, and drags Norah along with her.
Continue reading: Sunshine Cleaning Review
And now, here's Little Miss Sunshine. You're not quite sure what you're in for during the Sundance-touting trailer as you see snippets of a family dinner. You know they are going to be quirky, based on their remarks and the quick cuts. You also know the acting will be dependable because of the stellar cast, including Greg Kinnear, Toni Collette, and Alan Arkin. Plus, it's got a cute girl with glasses you know you're going to cheer on because the title is based on her.
Continue reading: Little Miss Sunshine Review
The 32-year-old director Ramin Bahrani caught my eye two years ago when his debut film Man Push Cart opened in the New Directors/New Films Festival here in New York City. Cart was based in New York, specifically Manhattan; Shop is also immersed in New York, specifically Willet's Point in Queens. The Country Club sodas, the subway-car sales-pitches, the grapefruit glow of the street lights, the flavored-ice vendors: They should print the movie tickets on MetroCards and be done with it.
Continue reading: Chop Shop Review
Yes, Charlize Theron uglied herself up for Monster and Halle Berry went working-class for Monster's Ball. But Sherrybaby isn't Monster Mommy; it's a quiet, painful little portrait with little of the inherent sympathy (or showier ugliness) of those other roles. More to the point, while Theron and Berry rocked the Oscar-friendly reverse-makeover, Gyllenhaal looks more or less as she usually does: moony face, sad eyes, feathery voice. The only physical transformation involves a blond dye-job, trashy heels, and a lot more screen time for her breasts.
Continue reading: Sherrybaby Review
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