Bruno shares a family dinner with his loving parents (Vera Farmiga and David Thewlis) and his older sister Gretel (Amber Beattie). With their sparkling British Masterpiece Theatre accents, the family appears as well-scrubbed paragons of British banality. (Even Richard Johnson, that great bastion of British nobility from the epics of the 1960s, is exhumed to appear as the family's Grandpa.) So it comes as a shock when Thewlis dons a German commandant's uniform for a going-away party and Herman quietly reveals that the Dad has been reassigned, taking the family with him. As Dad remarks, "Home is where the family is." In this case, however, home is Auschwitz and Dad is the new camp commandant, who will be supervising the mass exterminations.
Continue reading: The Boy In The Striped Pajamas Review
Hurt, as usual, pulls out all the stops on his vaguely pathetic, vaguely lovable role -- a stuffy gent who becomes inexplicably obsessed. The beginning of the film traces De'Ath's introduction into modern life, necessities generated so he can expose himself to Ronnie's work via VHS. He freeze-frames a locker room scene, listens intently for cheeseball lines like, "You're nothing but a skid mark on the underpants of life!" Finally he opts to move to Long Island in the hopes of encountering Ronnie face to face (along the way he rather humorously learns the difficulties of trying to get around suburban America by foot).
Continue reading: Love And Death On Long Island Review
However her latest film, "Yes," is a failed experiment.Joan Allen plays an Irish-born woman stuck in a loveless, childless marriageto a philandering husband (Sam Neill). She meets a Lebanese cook (SimonAbkarian) who was once a surgeon in Beirut, and begins a love affair. Writtenentirely in verse, "Yes" requires the actors to suffer throughlong passages of blathering talk, and the scenes routinely dry out longbefore they end.
Potter attempts to add layers to the film by hinting atpolitical paranoia and showing scenes through surveillance cameras, butthe verse angle nullifies these attempts. The superb Allen is capable ofextremes: from icy control to dropping her emotional guard, yet she cannotmake this film's rhythms work.
Shirley Henderson, playing a maid who observes the actionand breaks the fourth wall by speaking directly to the camera, shows justhow the film might have played. With her silky, slithering delivery, sheplays with the words like a snake might toy with a mouse.
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