Before a hero can rise, he must suffer a fall, and fall the Dark Knight quite spectacularly did the last time around, taking the rap for crimes he didn't commit, marking himself as a vigilante pariah and even letting Heath Ledger steal the reviews. No way that's happening in this last installment. A comic-book tale that has gotten darker than anyone thought possible is now careening toward a burst of light — possibly a nuclear blast — at the end of the tunnel.
Hara-Kiri: Death of a Samurai is set in an era in which some underemployed warriors would bluff their willingness to commit ritual suicide, hoping for money or employment from wealthy families who didn't want to deal with the mess. Hanshiro's (Ebizo Ichikawa) own bluff in the film, however, goes deeper.
Credit Tribeca Film
Hanshiro and Miho (Hikari Mitsushima) in one of the many flashbacks that director Takashi Miike uses to unfold the plot in Hara-Kiri: Death of a Samurai.
Japanese cinematic extremist Takashi Miike is known for movies that go too far — often because they can't figure out where else to go. So it was revealing when last year's 13 Assassins, a remake of a 1963 samurai adventure, demonstrated a traditionalist streak in Miike's tastes. But that movie is a crystal-meth freakout compared with the director's latest effort, the stately Hara-Kiri: Death of a Samurai.
Pascale (Daniel Auteuil) with his sister Nathalie (Marie-Anne Chazel, right) and daughter Patricia (Astrid Berges-Frisbey), who, to his dismay, becomes pregnant in The Well-Digger's Daughter. The film is a remake of Marcel Pagnol's 1940 movie.
Credit Kino Lorber
Felipe (Kad Merad) tries in vain to win Patricia away from the son of a prosperous shopkeeper.
At 62, the actor Daniel Auteuil is French film royalty, a Renaissance man equally at home in comedy, drama, thrillers — or, given his perennial air of faintly amused irony, some combination of all three. An off-kilter looker, Auteuil fairly oozes Gallic urbanity, so it's easy to forget that he launched his prolific career playing a conniving rustic in 1986's Jean de Florette and its sequel, Manon of the Spring, both directed by Claude Berri and adapted from novels by the writer-director Marcel Pagnol.
When they outgrew their 26,000-square-foot mansion, David and Jackie Siegel set out to build their dream home, which was to be the biggest in the U.S. The Queen of Versailles looks at what happened when the recession ruined that dream.
Credit Lauren Greenfield / Magnolia Pictures
Jackie with five of her eight children. Thirty years younger than David, Jackie proves to be more than a typical trophy wife in the film.
When director Lauren Greenfield started filming The Queen of Versailles, a documentary about 74-year-old David Siegel, a billionaire timeshare magnate from Orlando, and Jackie, a trophy wife 30 years his junior, they had outgrown their 26,000-square-foot home.
In Grassroots, Seattle music critic Grant Cogswell (Joel David Moore, right) runs for city council with the help of his campaign manager, unemployed journalist Phil Campbell (Jason Biggs). Cogswell and Campbell were real-life campaign partners in Seattle.
Credit Erik Simkins / Samuel Goldwyn Films
Richard McIver (Cedric the Entertainer) is Cogswell's election opponent, portrayed as the advocate for an undesirable status quo.
Maybe we have Frank Capra to thank for the notion that in politics, at least as it plays out in the movies, the little guy is always the good guy. Stephen Gyllenhaal swallows that idea hook, line and sinker in Grassroots, in which an out-of-work Seattle music critic (Joel David Moore) runs for city council without bothering to think the issues through: He assumes he'll automatically change the status quo by donning a polar-bear costume and making an impassioned plea for extending the city's monorail system.