Romanian ‘Aurora’ mystifies, bores

The Romanian New Wave has yielded its share of stark, clinical masterpieces (“4 Months, 3 Weeks and 2 Days” for one) and also a few loosely metaphysical mind-bogglers (“Police, Adjective” for another). Chalk up Cristi Puiu’s “Aurora” somewhere between the two. It is the latter-day answer to Chantal Akerman’s “Jeanne
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A World Apart

When I entered the office space of Tiffany Shlain at Pier 38, which has the look of a pirate ship refurbished into a tech geek’s dreamland, she was on her iPhone, Bluetooth-in-ear. How apropos of her new documentary “Connected: An Autobiography About Love, Death & Technology,” a rumination on our
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‘The Debt’ reimagines Israeli espionage thriller

The saying goes that those who can’t do teach, and those who can’t teach make Holocaust movies. John Madden, director of such sappy, trophy-swiping schlock as “Shakespeare in Love” (1998) and “Proof” (2005), competently elevates “The Debt” from the constraints of that genre and into another: a dark, rich espionage
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‘Socialisme’ unifies with collective disinterest

Monsieur Godard, qu’est-ce que la big idea? Literally, what is “Film Socialisme” about? Is it an indictment of the blasé bourgeois of the West? Sure. Is it an indictment of the frantic images of contemporary cinema? Yeah. But both of these prove tiresome terrain for Jean-Luc Godard, who has already
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Abstract Adulthood

It has been a long six years since we have seen a feature film from Miranda July, the coyly svelte poster girl of independent cinema. But in the time since her debut feature “Me and You and Everyone We Know” (2005), July has been a busy little bee, toiling away
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‘One Day’ becomes a forgettable and haphazard mess

“One Day,” a tedious and plodding romantic comedy, is the cinematic equivalent of the proverbial kitchen sink.  It incorporates every single romantic comedy cliché — class differences, a dysfunctional family, an ugly duckling, a hopeless promise to preserve “the friendship,” a list of rules to help preserve said friendship and
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‘The Help’ displays an unfocused and shallow effort

With her trademark ginger locks and deep, throaty voice, Emma Stone is a refreshing revelation on screen. Since her debut in the now comedy classic, “Superbad,” Stone has carved a bustling, fledgling career out of her ability to be both accessibly amusing and extraordinarily elegant. She’s the whole package. Seductive
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“30 Minutes or Less” fails to make an impact

Characterized by a surprisingly short running time and an abundance of cheap gags, “30 Minutes or Less” continues the streak of mediocre summer movies that may fare well with more forgiving moviegoers. As an R-rated buddy comedy with a solid cast, “30 Minutes or Less” has the potential of appealing
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