The Look of Silence screams for justice
Joshua Oppenheimer's sequel to The Act of Killing wanted to provide an emotional and moral coda to the original as it sought remorse in the eyes of the guilty, but in every beautiful saturated frame, The Look of Silence finds only the blank face of denial
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Movie review: Jimmy’s Hall proves haunting
Ken Loach cozies up to the kitchen sink in Jimmy's Hall, a crisply lensed take on a fuzzy chapter in Irish history scarred by friction between communists and the Catholic Church
Amy Winehouse documentary delivers shivers
Asif Kapadia allows his camera to become an emotional confessional to his subjects in the profoundly moving Amy, a documentary portrait of another musical luminary prematurely darkened by a deep love deficit
Movie review: Madame Bovary doesn’t measure up
The latest film adaptation of Flaubert's classic novel presents a petulant heroine who seems to be seeking distraction rather than romance, writes Jay Stone
By Jay Stone
Poor old Emma Bovary: lost in dreams of love, dead of grief, adapted into a lot of movies that — like the men who abandoned her — never quite measured up. The latest screen version (and the first directed by a woman) presents Gustave Flaubert’s tragic story as a drama about a woman who is not so much seduced by notions of romanticism as given to adultery and materialism because there’s not much else to do. You suspect that had the Internet been invented in 19th Century France, this Emma would have been content with video games and Amazon.
She’s played by Mia Wasikowska, who can project strength (in Tracks) or exotic abandon (Only Lovers Left Alive) or even lush yearning (Jane Eyre). Here though, under the direction of Sophia Barthes, she’s not much more than a petulant ...
Magic Mike XXL has man-candy but no mojo
Steven Soderbergh's dark horse is turned into a gelding at the hands of director Gregory Jacobs, who squeezes his manly talent too hard, and turns off the ladies with crass crotch grabs and dull conversation, writes Katherine Monk
