|6:00 & 9:00 each evening|
Rated R; 164 minutes
Dan Mecca, The Film Stage (excerpted)
Writer-director Richard Linklater (Waking Life, the Before trilogy) returns with Boyhood, a film 12 years in the making and worth every minute of the wait.
Shot one week at a time over the course of a decade, Linklater explores the formative years of a young man named Mason, played by Ellar Coltrane. Born into separated parents, played by Patricia Arquette and Ethan Hawke (doing some of the best work in their careers), Mason represents some part of a childhood all of us have known. This is a film of many small moments, all added together to make something quite wonderful.
Arquette is a single mom struggling to pay the rent while Hawke’s dad character is somewhere in Alaska, popping in when it suits him. When Mom makes the decision to move to Houston to save some money and be closer to her own mother, Mason’s older sister Samantha (Lorelei Linklater) throws a temper-tantrum. Mason looks a bit more confused, barely catching a glimpse of his best friend as their car drives away forever. These are the scenes that make up a lifetime.
As Mason grows from young child to budding teenager to young adult, his development seamlessly reflects our own. We watch him study lingerie catalogs with his friends when he’s 12, brag about sexual experiences he hasn’t had at 14 and get his heart broken in the years that follow. Within a two-and-a-half-hour runtime (which soars by), Mason is everything from a cute, precocious child to a long-haired, attitude-riddled teenager. We sympathize with him because we’ve lived with him, as Linklater has, over these last 12 years.
Magic in the Moonlight
|6:30 each evening|
|8:30 each evening|
Magic in the Moonlight
Rated PG-13; 98 minutes
Andrea Chase, Killer Movie Reviews (excerpted)
Woody Allen takes us to 1928, and the French Riviera, where Stanley (Colin Firth) a brilliant, but misanthropic, magician has been brought in to expose Sophie (Emma Stone), a charming medium of purportedly astounding gifts. Stanley is a man of science, but as scientific explanations for Sophie’s gifts dematerialize under his scrutiny, he is forced to confront the fact that he may not know everything, but not necessarily for the worse.
Firth and Stone are perfect foils. No matter how caustic Stanley becomes, Firth is still eminently sympathetic, particularly as he sees his world-view crumbling and he becomes a picture of increasingly desperate bemusement. No matter what Sophie may or may not be up to, she is eminently like-able. It creates a subtle, delicious tension for us in the audience as we are put in the position of wanting them both to be right. Plus, Allen gives them superb dialogue that crackles with wit and sophistication.
Ultimately, and this is where Allen is at his best, Magic in the Moonlight forces us to ponder our own choices about what to believe, and what to dismiss, and what the consequences of those choices might be. It can’t be a coincidence that he has set the action in 1928, when Fascism was on the rise in a world that wasn’t paying attention, and his first scene in Berlin, where decadence was the order of the day as the seeds of the Holocaust were taking root. Take it as a effervescent trifle if you will, but there’s more than just fol-de-rol and tomfoolery going on here.
Not Rated; 94 minutes
In French w/subtitles
Matthew Turner, View London (excerpted)
Beautifully designed and directed by Michel Gondry (Eternal Sunshine of the Spotless Mind), Mood Indigo, adapted from the 1947 cult novel L'écume des Jours, stars Romain Duris and Audrey Tautou. Duris plays Colin, a wealthy inventor who shares a Parisian rooftop apartment with his live-in lawyer/cook Nicolas (Omar Sy) and hangs about with his best friend Chick (Gad Elmaleh). When Chick announces that he has fallen in love, Colin declares that he wants to fall in love too and promptly does so, when he meets the beautiful Chloe (Tautou) at a party.
After a whirlwind romance during which they take a Cloud Tour of Paris (a wonderful sequence), Colin and Chloe are married. However, when Chloe contracts a mysterious illness, a water lily growing in her lung, Colin finds himself approaching bankruptcy as he attempts to cure her.
The plot of the film is essentially Love Story (boy meets girl, girl falls terminally ill), only filtered through the bonkers sensibilities of Gondry. From the opening sequence, Gondry packs in a breathtaking amount of visual effects work that includes papier-mache eels in the taps, a table on roller-skates, food that moves, shoes that run away and a tiny man in a mouse costume that lives in the walls. Mood Indigo is Gondry at his most ‘Gondry-esque,’ a dazzlingly inventive romantic tragedy with breath-taking effects and charming performances.