Pin It
Submit to Reddit
Favorite

Capsule reviews of films playing the week of March 16 

THE ADJUSTMENT BUREAU One person's religious beliefs is often another person's existentialist theories, and The Adjustment Bureau offers plenty of theological fodder to go around. Because it tinkers with notions involving God and chance and destiny and all that other stuff that's fun to discuss, it might turn off those types of folks who misunderstood Martin Scorsese's brilliant and heartfelt Christian ode, The Last Temptation of Christ. Other viewers, however, might appreciate the movie's ability to question omniscient authority with the proper mix of reverence and reflection. Based on a short story by Philip K. Dick, this stars Matt Damon as aspiring U.S. senator David Norris, who meets promising dancer Elise Sellas (Emily Blunt); the pair are instantly attracted to one another, but David soon learns from the members of a shadowy cabal that they are never meant to be together. But David refuses to accept his fate, leading the mysterious enforcers to resort to strong-arm tactics to contain the situation. The film's notion that true love conquers all would fall flat with the wrong leads, but Damon and Blunt possess a lovely, laid-back chemistry that allows us to believe in their union. Because their casting is so apt, this often feels like a romantic yarn first and a fantasy flick second, with some nifty chase sequences thrown in for good measure. ***

BARNEY'S VERSION Paul Giamatti's excellent performance earned him the Golden Globe for Best Actor in a Musical or Comedy, and he certainly deserved the honor over his embarrassingly weak competition. What isn't so clear, however, is why this film was thrust into the Comedy category in the first place. Certainly, this adaptation of Mordecai Richler's novel has its share of gentle laughs, many of them provided by Dustin Hoffman in an ingratiating turn as the father of Giamatti's Barney Panofsky. But ultimately, this decades-spanning look at the life of an often unpleasant man is more about heartbreak than humor, touching upon such subjects as Alzheimer's, infidelity and even murder. Moving back and forth in time, the film allows us glimpses into what helped turn Barney into a far-from-upstanding individual, even if it doesn't always excuse his behavior (for what it's worth, he's surrounded by equally annoying and/or unscrupulous individuals, played by, among others, Minnie Driver, Scott Speedman and the Twilight series' original Victoria, Rachelle Lefevre). Barney Panofsky is a rich character inhabited by an actor up to the formidable task, although it's worth noting that the Globe win didn't lead to an Oscar nod; instead, its sole nomination was for Best Makeup. It deserved to win over Rick Baker's been-there-done-that work on The Wolfman; frankly, Benicio Del Toro's hirsute countenance is no match for Giamatti's liver spots. ***

BIG MOMMAS: LIKE FATHER, LIKE SON Big Mommas: Like Father, Like Son isn't like Some Like It Hot; instead, it's like every other witless sequel meant to prolong the life cycle of a flailing franchise. Like it or not, the fact remains that there's not much to like here, and it only escapes a bomb rating because it's more irritating than offensive — like an ant crawling across a countertop rather than a roach roosting in the cereal box. The second sequel to the 2000 box office hit Big Momma's House, this finds Martin Lawrence again cast as FBI agent Malcolm Turner, donning the wig and fat suit once more to elude some Russian mobsters. The added, uh, hilarity comes with the notion that Malcolm's stepson Trent (Brandon T. Jackson) must also disguise himself as a female — in his case, a student named Charmaine. Together, Madea — excuse me, Big Momma — and Charmaine head to an all-girls arts school to uncover some evidence that will put away the criminals on their trail. Big Momma gets romantically wooed by a hefty caretaker (Faizon Love) who's into hefty women, Charmaine ogles the young ladies as they strip down to their undies, and everyone involved dutifully collects their paychecks while hoping for better luck the next time out. *1/2

BLACK SWAN Darren Aronofsky's Black Swan is a messy masterpiece. Like Apocalypse Now, Eraserhead and Aronofsky's own Requiem for a Dream, it's one of those films that will force viewers to either reject it outright or allow it to burrow into the brain and remain there for days, weeks, months on end. It's a character study writ large, a juicy melodrama operating at a fever pitch. At its center is Natalie Portman in an astonishing, Oscar-winning performance as Nina Sayers, a ballerina whose director (Vincent Cassel) casts her in the lead role of his production of Swan Lake. But in true All About Eve fashion, just as she replaced an aging star (a knockout bit by Winona Ryder), she fears being usurped by a sexy newcomer (Mila Kunis). Meanwhile, the home situation is equally strained, given the fanatical devotion of her mother (an excellent Barbara Hershey). Is Nina strong enough to withstand myriad challenges, or is she on the verge of cracking up? The answers are there, but the film is complex enough to leave wiggle room for any theories. Examining the process of suffering for one's art in a strikingly unique manner, this psychosexual thriller is by turns frightening, sensual, humorous and tragic. It's a galvanizing picture that's simultaneously elegant and coarse — like its protagonist, it manages to float like a butterfly and sting like a bee. ****

Pin It
Submit to Reddit
Favorite

Comments

Subscribe to this thread:

Add a comment

Creative Loafing encourages a healthy discussion on its website from all sides of the conversation, but we reserve the right to delete any comments that detract from that. Violence, racism and personal attacks that go beyond the pale will not be tolerated.

Search Events

www.flickr.com
items in Creative Loafing Charlotte More in Creative Loafing Charlotte pool

© 2017 Womack Newspapers, Inc.
Powered by Foundation