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Movie Reviews

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    Wave Goodbye: Agnes Varda’s “The Beaches of Agnes”

    Is the 81-year-old Agnes Varda a tireless self-promoter or self-eulogizer? After watching her lyrical, free-associative autobiography “The Beaches of Agnes” it might seem silly to even bother creating a distinction. In the past decade or so, this oft-named “grandmother of the French New Wave,” who h...

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    Miles of Bad Road: Jennifer Lynch's "Surveillance"

    In one of the most spectacular flameouts of recent American film, Jennifer Lynch went from hot-shit prodigy to laughingstock with one wacko, lazily maligned movie: 1993's Razzie-approved "Boxing Helena." It's taken David's daughter 16 years to revive her career, but judging from her follow-up, "Surv...

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    Coming of Age: Stephen Frears's "Cheri"

    Stephen Frears's version of Colette's novel "Cheri," adapted by Christopher Hampton, is ostensibly an examination of an aging Michelle Pfeiffer. A retired, past-her-prime courtesan in belle epoque Paris, Pfeiffer's Lea de Lonval still wears her beauty well, yet the lines on her washed-out visage are difficult to ignore. There's no doubt that Pfeiffer is brilliantly cast as this worn-down yet still vital woman, as her face, despite some unignorable tightness about the cheekbones, is beginning to show its age; her impeccable, carved beauty remains, yet in a stricter, more severe, perhaps even more divine tone. In "Cheri," Pfeiffer, as always, m...

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    The Game Remains The Same: Woody Allen's "Whatever Works"

    Marked by interchangeably trite and witty dialogue, "Whatever Works" is the definition of a minor Woody Allen movie. The director's triumphant return to New York City after several years of European excursions finds him in familiar, if not exemplary, form. Most people on the Allen bandwagon will lik...

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    Small Change: Tatia Rosenthal’s “$9.99”

    Animated cinema geared specifically for adults is an elusive proposition. Even if Pixar’s recent films (especially “Up” and last year’s “Wall*E”) and Nick Park’s Aardman entertainments have truly embodied that slippery archetype “fun for the whole family,” the mainstream of animation remains fart jokes, anthropomorphic jungle critters with googly eyes, and familiar voices spouting shoehorned-in lowbrow pop-culture references (toss in the latest from Smashmouth over the end credits for good measure). Even animation of the more transgressive variety merely R-rates those same tropes to gain inclusion in the latest edition of “Spike and Mike’s....

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    Low Key Sci-Fi: "Moon" Nails Genre's Appeal

    EDITOR'S NOTE: This was originally published as a "snapshot review" as part of indieWIRE's coverage of the 2009 Sundance Film Festival.

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    Safety First: Daryl Wein's "Sex Positive"

    Richard Berkowitz, the man at the center of Daryl Wein's intelligent and engaging "Sex Positive," is the ideal documentary subject: with his combination of self-effacement and daunting confidence, Berkowitz easily commands the screen throughout its short running time. Such an appealing figure is especially crucial for a film that focuses on a subject as potentially didactic and strictly educational as the promotion of safe sex for the gay community. Yet director and editor Wein smartly doesn't use Berkowitz, a groundbreaking writer and safe-sex spokesman who contracted HIV in early eighties New York, as a mouthpiece for an agenda-driven doc; ...

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    Chow Down: Robert Kenner's "Food, Inc."

    If we are what we eat, we're in big trouble according to Robert Kenner's enlightening if not groundbreaking documentary "Food, Inc." Following contemporary mainstream documentary filmmaking's popular recipe of equal parts talking head interviews and field reporting, "Food, Inc." engages in investiga...

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    Nice and Easy: Jesse Rosen's "The Art of Being Straight"

    Despite its promising title, Jesse Rosen's tiny L.A.-set "The Art of Being Straight" isn't really about contemporary codes of masculinity or the rattling task of "passing" as heterosexual. Rather it's a flimsy pseudo-autobiographical character piece from a first-time filmmaker playing an approximation of himself so dewy-eyed cute and effortlessly naive that many audiences will be hard-pressed to find enormous fault. After all, the "likability" factor goes a long way in negligible indie fare, and certainly in small-budget gay-themed niche moviemaking, at times even held up as an ideal equal to such matters as coherent editing and photography a...

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    Crazy Like a Foxglove: Martin Provost's "Seraphine"

    The paintings of Seraphine Louis, the subject of Martin Provost's elegant, if somewhat reserved, film, lie somewhere between folk art and modernism, in the artistic grey area known as "art brut." Coined by the artist Jean Dubuffet, who specifically sought out and collected art made by asylum inmates, this movement denotes those artists whose spontaneous, untutored techniques rhymed with those of Cubists, Dada, and Futurists, and matched modern artists' desire to subvert, revolutionize, or "unlearn" prevailing aesthetic conventions. This designation of "outsider" or "naive" artists has come to classify those -- like Adolf Woelfli and Henry Dar...

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