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Ah, Paris. Ah, Juliette Binoche. If you need a dash of the Continent — romantic, inscrutable, ardent — you probably cannot ever go wrong with a flick set in the City of Light and starring one of the most luminous actresses ever to grace the arthouse screen.
It’s hard to know sometimes whether the Coen Brothers are… well, not pulling our collective leg. Bbut are they actually *daring* us, with each new film, to keep coming along with them?
Will there be a bigger disappointment for me this year than Spike Jonze’s *Where the Wild Things Are*? Gosh, I hope not: I’m not sure my heart could take it.
It had me at *kaboom,* this thorny moral conundrum of a film, and then it lost me when it threw out all the tricksy pointedness in favor of thoughtless, counterproductive badassery.
Someone once said that perfect movies are boring and only flawed movies intriguing, and then along comes a movie like An Education, about which the number of things that are absolutely perfect is impossible to measure… and it’s thrilling and captivating anyway.
Maybe it’s pointless to complain about the shocking lack of elegance to an instantly forgettable bit of multiplex fluff like *Couples Retreat.* It’s like complaining about the food at Applebee’s…
It’s rare that a film — especially a studio film — does this: goes so far in a direction you weren’t even expecting it would go in at all that the shock of it is doubled.
Kinda sorta Shaun of the Dead done up American style, so instead of cricket bats as weapons and jokes about tea, it’s shotguns as anti-zombie devices and a quest to find the last Twinkie.
I always knew Drew Barrymore could be this cool: her directorial debut is a simultaneously sweet and kickass story about one girl’s finding her bliss, a movie that works within Hollywood conventions of storytelling to handily demonstrate that just because a tale is familiar doesn’t mean it can’t be fresh and funny and edgy, too.
It’s hard to believe we haven’t seen Clive Owen in a movie like this one before.
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