Creating a believably “lived-in world” is both a necessity for accomplished animation and a critical cliche. That phrase has to be up there with “dream-like” and “too on-the-nose” in someone’s list of Things Critics Need To Stop Trotting Out. Yet it’s true: Disney’s Zootopia, the Mouse House’s best feature in years, looks and feels entirely lived-in.
With his expression of thoughtful weariness and a face that inevitably brings to mind the word “hangdog,” Vincent Lindon owns every moment of Stéphane Brizé’s recession-era morality play The Measure of a Man (La loi du marché). As protagonist Thierry Taugourdeau, Lindon, who won Best Actor at Cannes and a César for his performance, is expertly nuanced in the role, frequently silent but always comprehensible, a downtrodden Everyman.
Winner of the 2015 Golden Lion in Venice, Lorenzo Vigas’ From Afar (Desde allá) is the slowest of slow burns. A story of distance, proximity, and perspective, it teases out the hidden meanings behind character surfaces in ways that either prove thrilling or excruciating, depending on your tolerance for long stretches of silence and similar arthouse trappings.
Resolutely dour and shot in various shades of washed-out grey, John Hillcoat’s adaptation of Cormac McCarthy isn’t a very cheerful affair. But the atmosphere Hillcoat and DP Javier Aguirresarobe create in The Road, shooting on location and intercut with flashbacks to a brighter world, is entirely appropriate to the post-apocalyptic narrative.
Netflix released nothing this week. Nothing. Garbage. Sorry.
Well, ok. Apart from No Country For Old Men, which I already informed you about, there is something called The Curse of Sleeping Beauty, The Last Heist (starring Henry Rollins, of State of Alert), and God’s Club, a movie about how public schools won’t allow clubs about God because they are Godless institutions, starring everyone’s least favorite Baldwin, Stephen.
Blending elements of Bollywood musicals, melodrama, and moments of jarring realism, Leena Yadav’s deeply feminist Parched explores the struggles and solidarity of four women in a rural Indian village. It’s a world of brightly colored joy and patriarchal despair in equal measure, and Yadav draws excellent performances from her three primary characters.
“Well, I ain’t talkin’ philosophies, I’m talkin’ cars,” says the local sheriff in Dirty Mary, Crazy Larry, a 1974 chase movie that was all-but-forgotten until predictable super-fan Quentin Tarantino started peppering his films with references to it.
The sheriff is referring to his own department’s need for vehicles, but out of context it could stand in as the film’s tagline.
James White, currently streaming on Netflix, announces its focus right away, in its title. Probably, prospective audiences might rightfully imagine, this will be a film about a guy called “James White”. There’s something vaguely old-fashioned about it, Victorian. Not even “The Sorrows of James White” or “The Continuing Adventures of James White.”