Irane (Golshifteh Farahani) is the one who got away from violinist Nasser Ali (Mathieu Amalric) — and her loss consumes the musician in Chicken with Plums, a new film from Marjane Satrapi and Vincent Paronnaud.
Credit Patricia Kahn / Sony Pictures Classics
When he returns to Tehran after his touring days are over, Nasser Ali is pushed by his mother into a marriage with a woman (Maria de Medeiros) he doesn't love.
A parable of art and love, and a political allegory to boot, Chicken with Plums centers on an Iranian musician who wills himself to die. Yet the story that then unfolds, mostly in flashback, could hardly be more vital and engaging.
A matinee idol for the age of HDTVs and "retina displays," Robert Pattinson has a face that seems to require a higher resolution — glossy and ghostly pale, all sleek lines and alabaster skin. As Edward Cullen, the emo vampire in the Twilight saga, Pattinson plays a creature so immaculately inhuman that he literally sparkles in the sunlight. Edward may be over a century old, but Pattinson has become a thoroughly modern, even futuristic teen heartthrob, looking at all times as airbrushed as his many Entertainment Weekly covers.
The monosyllables fly fast and furious in The Expendables 2. It's the joints that are a little creaky, but what would you expect from this sequel to the 2010 blockbuster in which a cadre of aged action stars, led by Sylvester Stallone, gathered to fire guns, blow things up and beat the living daylights out of assorted baddies?
Even if most fans of hand-drawn animation have made peace, to a degree, with digital technology, the pleasures of old-school stop-motion animation are still rare and precious. There's something elemental about watching a movie that's been made by moving small figures around and filming them, frame by frame; even though there's always some digital technology involved in the making of a contemporary stop-motion film, the human touch always sings through the finished product.
Originally published on Fri August 17, 2012 11:53 am
With Love Songs, his 2007 musical, French writer-director Christophe Honore updated such 1960s bonbons as The Umbrellas of Cherbourg for our age of expanded erotic frankness and possibility. Beloved, Honore's second musical, goes even farther, layering death, AIDS and Sept. 11 among the merry melodies.
This stylish film is enormous fun, whirling and warbling across four decades of amour. But it stumbles a few times in its last half-hour and ultimately seems a little too frisky for the graver issues it addresses.