Category: moonrise kingdom

Levy’s High Five, September 14 – September 20

The five films playing in Portland-area theaters that I'd soonest see again.

Beasts of the Southern wild boat.jpg"Beasts of the Southern Wild"

1) "Beasts of the Southern Wild" A dreamy and joyous film about life, death, hope, dreams and wonder on an island in the Mississippi Delta. The miraculous young Quevezhané Wallis stars as Hushpuppy, a wee girl who experiences life in the feral community known as the Bathtub as a stream of wonder and delight, even though her dad (Dwight Henry) is gruff, her mom is absent and a killer storm is bearing down on her home. Writer-director Behn Zeitlin, in his feature debut, combines poetry and audacity in ways that recall Terrence Malick, but with a light and spry touch. Still, all his great work pales in comparison to the stupendous little Wallis, whom you'll never forget. Hollywood, Living Room, Moreland, Tigard

2) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. Cine Magic, Fox Tower, Hollywood, St Johns

3) "The Bourne Legacy" A dense, slick and thrilling spy movie that's got as much brain power as brawn. Writer-director Tony Gilroy ("Michael Clayton") turns the trilogy of films about Jason Bourne into the story of Aaron Cross (Jeremy Renner), another souped-up intelligence operative on the run from the secretive organizations which built him. The film cleverly integrates the story of the previous three, but stands alone as a gripping story about a man trying to extend the only life that he has come to know and depending on a geneticist (Rachel Weisz) and his own abilities to stay alive. From the complex narrative to the thrilling final half-hour, it's top shelf stuff. multiple locations

4) "Searching for Sugar Man" A truly remarkable documentary that demonstrates how big and how small this world of ours can be.  Rodriguez was a Detroit singer-songwriter whose poetic and soulful music deserved a much bigger career than the little blip it experienced in the early '70s.  But, in fact, that bigger career did  exist: in South Africa, where Rodriguez was a huge star and didn't know it.  So obscure was Rodriguez in his homeland, in fact, that his overseas fans long believed he had killed himself in an baroque onstage apocalypse.  The Swedish filmmaker Malik Bendjelloul tracks this amazing history and then witnesses a third act that you simply have to see to believe.  Mind-blowing, heartwarming and true. Fox Tower 

5) "Robot & Frank" Frank Langella is a delight in a film about a curmudgeonly retiree whose children foist a robot on him to monitor his diet, activities and housework.  The grumpy old fella hates the little electronic buddy (whose voice is provided by Peter Sarsgaard), then he realizes he has a use for it:  he devises a means to use it to get back into his life's work, which happens to be burglary.  Debuting director Jake Schreier and screenwriter Christopher D. Ford nicely balance the mild sci-fi with human comedy, and a sharp supporting cast, which includes Susan Sarandon, James Marsden and Liv Tyler, give the great Langella all the room he needs to be wonderful. Fox Tower




Levy’s High Five, September 6 – September 13

The five films playing in Portland-area theaters that I'd soonest see again.

Searching for Sugar Man 2.jpgRodriguez in "Searching for Sugar Man"

1) "Beasts of the Southern Wild" A dreamy and joyous film about life, death, hope, dreams and wonder on an island in the Mississippi Delta. The miraculous young Quevezhané Wallis stars as Hushpuppy, a wee girl who experiences life in the feral community known as the Bathtub as a stream of wonder and delight, even though her dad (Dwight Henry) is gruff, her mom is absent and a killer storm is bearing down on her home. Writer-director Behn Zeitlin, in his feature debut, combines poetry and audacity in ways that recall Terrence Malick, but with a light and spry touch. Still, all his great work pales in comparison to the stupendous little Wallis, whom you'll never forget. Hollywood, Living Room

2) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. Cine Magic, Fox Tower, St Johns

3) "The Bourne Legacy" A dense, slick and thrilling spy movie that's got as much brain power as brawn. Writer-director Tony Gilroy ("Michael Clayton") turns the trilogy of films about Jason Bourne into the story of Aaron Cross (Jeremy Renner), another souped-up intelligence operative on the run from the secretive organizations which built him. The film cleverly integrates the story of the previous three, but stands alone as a gripping story about a man trying to extend the only life that he has come to know and depending on a geneticist (Rachel Weisz) and his own abilities to stay alive. From the complex narrative to the thrilling final half-hour, it's top shelf stuff. multiple locations

4) "Searching for Sugar Man" A truly remarkable documentary that demonstrates how big and how small this world of ours can be.  Rodriguez was a Detroit singer-songwriter whose poetic and soulful music deserved a much bigger career than the little blip it experienced in the early '70s.  But, in fact, that bigger career did  exist: in South Africa, where Rodriguez was a huge star and didn't know it.  So obscure was Rodriguez in his homeland, in fact, that his overseas fans long believed he had killed himself in an baroque onstage apocalypse.  The Swedish filmmaker Malik Bendjelloul tracks this amazing history and then witnesses a third act that you simply have to see to believe.  Mind-blowing, heartwarming and true. Fox Tower 

5) "Robot & Frank" Frank Langella is a delight in a film about a curmudgeonly retiree whose children foist a robot on him to monitor his diet, activities and housework.  The grumpy old fella hates the little electronic buddy (whose voice is provided by Peter Sarsgaard), then he realizes he has a use for it:  he devises a means to use it to get back into his life's work, which happens to be burglary.  Debuting director Jake Schreier and screenwriter Christopher D. Ford nicely balance the mild sci-fi with human comedy, and a sharp supporting cast, which includes Susan Sarandon, James Marsden and Liv Tyler, give the great Langella all the room he needs to be wonderful. Fox Tower



Levy’s High Five, August 31 – September 6

The five films playing in Portland-area theaters that I'd soonest see again.

Beasts of the Southern wild chicken.jpgQuvenzhané Wallis in "Beasts of the Southern Wild"

1) "Beasts of the Southern Wild" A dreamy and joyous film about life, death, hope, dreams and wonder on an island in the Mississippi Delta. The miraculous young Quevezhané Wallis stars as Hushpuppy, a wee girl who experiences life in the feral community known as the Bathtub as a stream of wonder and delight, even though her dad (Dwight Henry) is gruff, her mom is absent and a killer storm is bearing down on her home. Writer-director Behn Zeitlin, in his feature debut, combines poetry and audacity in ways that recall Terrence Malick, but with a light and spry touch. Still, all his great work pales in comparison to the stupendous little Wallis, whom you'll never forget. Hollywood, Living Room

2) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. Cine Magic, Fox Tower, St Johns

3) "The Bourne Legacy" A dense, slick and thrilling spy movie that's got as much brain power as brawn. Writer-director Tony Gilroy ("Michael Clayton") turns the trilogy of films about Jason Bourne into the story of Aaron Cross (Jeremy Renner), another souped-up intelligence operative on the run from the secretive organizations which built him. The film cleverly integrates the story of the previous three, but stands alone as a gripping story about a man trying to extend the only life that he has come to know and depending on a geneticist (Rachel Weisz) and his own abilities to stay alive. From the complex narrative to the thrilling final half-hour, it's top shelf stuff. multiple locations

4) “Searching for Sugar Man” A truly remarkable documentary that demonstrates how big and how small this world of ours can be.  Rodriguez was a Detroit singer-songwriter whose poetic and soulful music deserved a much bigger career than the little blip it experienced in the early ‘70s.  But, in fact, that bigger career did  exist: in South Africa, where Rodriguez was a huge star and didn’t know it.  So obscure was Rodriguez in his homeland, in fact, that his overseas fans long believed he had killed himself in an baroque onstage apocalypse.  The Swedish filmmaker Malik Bendjelloul tracks this amazing history and then witnesses a third act that you simply have to see to believe.  Mind-blowing, heartwarming and true. Fox Tower 

5) “Robot & Frank” Frank Langella is a delight in a film about a curmudgeonly retiree whose children foist a robot on him to monitor his diet, activities and housework.  The grumpy old fella hates the little electronic buddy (whose voice is provided by Peter Sarsgaard), then he realizes he has a use for it:  he devises a means to use it to get back into his life’s work, which happens to be burglary.  Debuting director Jake Schreier and screenwriter Christopher D. Ford nicely balance the mild sci-fi with human comedy, and a sharp supporting cast, which includes Susan Sarandon, James Marsden and Liv Tyler, give the great Langella all the room he needs to be wonderful. Fox Tower



Levy’s High Five, August 24 – 30

The five films playing in Portland-area theaters that I'd soonest see again.

The Bourne Legacy 3.jpgJeremy Renner in "The Bourne Legacy"

1) "Beasts of the Southern Wild" A dreamy and joyous film about life, death, hope, dreams and wonder on an island in the Mississippi Delta. The miraculous young Quevezhané Wallis stars as Hushpuppy, a wee girl who experiences life in the feral community known as the Bathtub as a stream of wonder and delight, even though her dad (Dwight Henry) is gruff, her mom is absent and a killer storm is bearing down on her home. Writer-director Behn Zeitlin, in his feature debut, combines poetry and audacity in ways that recall Terrence Malick, but with a light and spry touch. Still, all his great work pales in comparison to the stupendous little Wallis, whom you'll never forget. Hollywood, Living Room, Tigard

2) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. multiple locations

3) "The Bourne Legacy" A dense, slick and thrilling spy movie that's got as much brain power as brawn. Writer-director Tony Gilroy ("Michael Clayton") turns the trilogy of films about Jason Bourne into the story of Aaron Cross (Jeremy Renner), another souped-up intelligence operative on the run from the secretive organizations which built him. The film cleverly integrates the story of the previous three, but stands alone as a gripping story about a man trying to extend the only life that he has come to know and depending on a geneticist (Rachel Weisz) and his own abilities to stay alive. From the complex narrative to the thrilling final half-hour, it's top shelf stuff. multiple locations

4) “Searching for Sugar Man” A truly remarkable documentary that demonstrates how big and how small this world of ours can be.  Rodriguez was a Detroit singer-songwriter whose poetic and soulful music deserved a much bigger career than the little blip it experienced in the early ‘70s.  But, in fact, that bigger career did  exist: in South Africa, where Rodriguez was a huge star and didn’t know it.  So obscure was Rodriguez in his homeland, in fact, that his overseas fans long believed he had killed himself in an baroque onstage apocalypse.  The Swedish filmmaker Malik Bendjelloul tracks this amazing history and then witnesses a third act that you simply have to see to believe.  Mind-blowing, heartwarming and true. Fox Tower 

5) “ParaNorman” The second feature from Portland’s Laika Entertainment is, like 2009’s “Coraline,” a gorgeously crafted stop-motion animation that blends a creepy tale with an impish wit, resulting in a smashing entertainment for tweens and their chaperones.  The focus is Norman, a boy whose ability to talk with ghosts is, unbeknownst to him, part of his legacy as a necromancer who must appease a witch whom his town elders executed lest she wreak havoc on the place.  With rich jokes about horror movies and teen angst, impeccable handmade craft, and nicely dense 3-D, it’s a pleasure throughout, even, I suspect, if you’re not rooting for your hometown team. multiple locations


Levy’s High Five, August 17 – 23

The five films playing in Portland-area theaters that I'd soonest see again.

Searching for Sugar Man 2.jpg"Searching for Sugar Man"

1) "Beasts of the Southern Wild" A dreamy and joyous film about life, death, hope, dreams and wonder on an island in the Mississippi Delta. The miraculous young Quevezhané Wallis stars as Hushpuppy, a wee girl who experiences life in the feral community known as the Bathtub as a stream of wonder and delight, even though her dad (Dwight Henry) is gruff, her mom is absent and a killer storm is bearing down on her home. Writer-director Behn Zeitlin, in his feature debut, combines poetry and audacity in ways that recall Terrence Malick, but with a light and spry touch. Still, all his great work pales in comparison to the stupendous little Wallis, whom you'll never forget. Cinema 21, Tigard

2) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. multiple locations

3) "The Bourne Legacy" A dense, slick and thrilling spy movie that's got as much brain power as brawn. Writer-director Tony Gilroy ("Michael Clayton") turns the trilogy of films about Jason Bourne into the story of Aaron Cross (Jeremy Renner), another souped-up intelligence operative on the run from the secretive organizations which built him. The film cleverly integrates the story of the previous three, but stands alone as a gripping story about a man trying to extend the only life that he has come to know and depending on a geneticist (Rachel Weisz) and his own abilities to stay alive. From the complex narrative to the thrilling final half-hour, it's top shelf stuff. multiple locations

4) “Searching for Sugar Man” A truly remarkable documentary that demonstrates how big and how small this world of ours can be.  Rodriguez was a Detroit singer-songwriter whose poetic and soulful music deserved a much bigger career than the little blip it experienced in the early ‘70s.  But, in fact, that bigger career did  exist: in South Africa, where Rodriguez was a huge star and didn’t know it.  So obscure was Rodriguez in his homeland, in fact, that his overseas fans long believed he had killed himself in an baroque onstage apocalypse.  The Swedish filmmaker Malik Bendjelloul tracks this amazing history and then witnesses a third act that you simply have to see to believe.  Mind-blowing, heartwarming and true. Fox Tower 

5) “ParaNorman” The second feature from Portland’s Laika Entertainment is, like 2009’s “Coraline,” a gorgeously crafted stop-motion animation that blends a creepy tale with an impish wit, resulting in a smashing entertainment for tweens and their chaperones.  The focus is Norman, a boy whose ability to talk with ghosts is, unbeknownst to him, part of his legacy as a necromancer who must appease a witch whom his town elders executed lest she wreak havoc on the place.  With rich jokes about horror movies and teen angst, impeccable handmade craft, and nicely dense 3-D, it’s a pleasure throughout, even, I suspect, if you’re not rooting for your hometown team. multiple locations


Levy’s High Five, August 10 – 16

The five films playing in Portland-area theaters that I'd soonest see again.

Beasts of the Southern Wild"Beasts of the Southern Wild"

1) "Beasts of the Southern Wild" A dreamy and joyous film about life, death, hope, dreams and wonder on an island in the Mississippi Delta. The miraculous young Quevezhané Wallis stars as Hushpuppy, a wee girl who experiences life in the feral community known as the Bathtub as a stream of wonder and delight, even though her dad (Dwight Henry) is gruff, her mom is absent and a killer storm is bearing down on her home. Writer-director Behn Zeitlin, in his feature debut, combines poetry and audacity in ways that recall Terrence Malick, but with a light and spry touch. Still, all his great work pales in comparison to the stupendous little Wallis, whom you'll never forget. multiple locations

2) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. multiple locations

3) "The Bourne Legacy" A dense, slick and thrilling spy movie that's got as much brain power as brawn. Writer-director Tony Gilroy ("Michael Clayton") turns the trilogy of films about Jason Bourne into the story of Aaron Cross (Jeremy Renner), another souped-up intelligence operative on the run from the secretive organizations which built him. The film cleverly integrates the story of the previous three, but stands alone as a gripping story about a man trying to extend the only life that he has come to know and depending on a geneticist (Rachel Weisz) and his own abilities to stay alive. From the complex narrative to the thrilling final half-hour, it's top shelf stuff. multiple locations

4) "The Story of Film: An Odyssey" Irish filmmaker Mark Cousins has gumption, all right. He has crafted a 15-hour tour through the century-plus of cinema, all over the world, filled with cranky opinions, beguiling finds, glimpses of forgotten history and interviews with accomplished masters. Starting with Edison and the Lumière brothers and ranging to the modern day, touching on all continents, this is an informative, enlightening and remarkably entertaining history, in the vein of Martin Scorsese's "A Personal Journey Through American Film." Cousin's epic screens throughout August in five three-hour chunks, starting this weekend. This week's bit deals with the rise of the Hollywood studio in the 1930s and the international explosion of vital cinema after World War II. Visit the Northwest Film Center, which is presenting, for full details.

5) "Ai WeiWei: Never Sorry" A documentary that feels as current as a news alert on your smart phone. American director Alison Klayman was granted remarkable access to the famed Chinese artist and activist Ai WeiWei, peering into his atelier and private life and traveling with him to exhibitions in Europe and public-interest investigations in Sichuan. She reveals a robust, lusty, bold, and playful spirit, a man with voracious appetites, fearless convictions, and a spry aesthetic. The film goes backward to tell the story of Ai's father, a noted poet crushed in the Cultural Revolution, and takes us to the brink of Ai's 2011 arrest on charges of tax evasion -- a matter which has only been (partly) resolved this summer. An invigorating and intimate portrait. Living Room Theaters

Levy’s High Five, August 3 – 9

The five films playing in Portland-area theaters that I'd soonest see again.

Moonrise Kingdom kids.jpgKara Hayward and Jared Gilman (and Jason Schwartzman's head) in "Moonrise Kingdom"

1) "Beasts of the Southern Wild" A dreamy and joyous film about life, death, hope, dreams and wonder on an island in the Mississippi Delta. The miraculous young Quevezhané Wallis stars as Hushpuppy, a wee girl who experiences life in the feral community known as the Bathtub as a stream of wonder and delight, even though her dad (Dwight Henry) is gruff, her mom is absent and a killer storm is bearing down on her home. Writer-director Behn Zeitlin, in his feature debut, combines poetry and audacity in ways that recall Terrence Malick, but with a light and spry touch. Still, all his great work pales in comparison to the stupendous little Wallis, whom you'll never forget. Cinema 21, Kiggins

2) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. multiple locations

3) "The Story of Film: An Odyssey" Irish filmmaker Mark Cousins has gumption, all right. He has crafted a 15-hour tour through the century-plus of cinema, all over the world, filled with cranky opinions, beguiling finds, glimpses of forgotten history and interviews with accomplished masters. Starting with Edison and the Lumière brothers and ranging to the modern day, touching on all continents, this is an informative, enlightening and remarkably entertaining history, in the vein of Martin Scorsese's "A Personal Journey Through American Film." Cousin's epic screens throughout August in five three-hour chunks, starting this weekend. Visit the Northwest Film Center, which is presenting, for full details.

4) "Ai WeiWei: Never Sorry" A documentary that feels as current as a news alert on your smart phone. American director Alison Klayman was granted remarkable access to the famed Chinese artist and activist Ai WeiWei, peering into his atelier and private life and traveling with him to exhibitions in Europe and public-interest investigations in Sichuan. She reveals a robust, lusty, bold, and playful spirit, a man with voracious appetites, fearless convictions, and a spry aesthetic. The film goes backward to tell the story of Ai's father, a noted poet crushed in the Cultural Revolution, and takes us to the brink of Ai's 2011 arrest on charges of tax evasion -- a matter which has only been (partly) resolved this summer. An invigorating and intimate portrait. Living Room Theaters

5) "Bernie”  It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. Hollywood Theatre, Mission Theater

Levy’s High Five, July 27 – August 2

The five films playing in Portland-area theaters that I'd soonest see again.

Bernie.jpgShirley MacLaine and Jack Black in "Bernie"

1) "Beasts of the Southern Wild" A dreamy and joyous film about life, death, hope, dreams and wonder on an island in the Mississippi Delta. The miraculous young Quevezhané Wallis stars as Hushpuppy, a wee girl who experiences life in the feral community known as the Bathtub as a stream of wonder and delight, even though her dad (Dwight Henry) is gruff, her mom is absent and a killer storm is bearing down on her home. Writer-director Behn Zeitlin, in his feature debut, combines poetry and audacity in ways that recall Terrence Malick, but with a light and spry touch. Still, all his great work pales in comparison to the stupendous little Wallis, whom you'll never forget. Cinema 21, Kiggins

2) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. multiple locations

3) "Bernie” 
It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. Hollywood Theatre

4) "Your Sister's Sister" Seattle filmmaker Lynn Shelton spins a sweet and sad and true-feeling variation on a Hollywood romcom, with shlubby leading man Mark Duplass caught unexpectedly between two half-sisters, Emily Blunt and Rosemarie DeWitt. There are machinations that could have been drawn from a higher-gloss (and less appealing) film.  But, as in her not dissimilar "Humpday," Shelton finds real grounding for the story in the personalities of her cast, who improvised some of their scenes within guidelines.  The result feels theatrical and human at once, with three wise, low-key performances and a credible air of confusion and hope. A sly winner.  Fox Tower

5) "Monsieur Lazhar" This delicate, sweet and, surprisingly, harrowing little drama was nominated for an Oscar as best foreign language film, and it's a mark of its quality that it's a very good film despite that sometimes dubious distinction. Mohamed Fellag stars as the title character, a secretive and formal man who arrives at a Montreal school out of the blue and volunteers to take the place of a teacher who has left under horrid circumstances. Gradually his compassion and wisdom come to heal wounds, just as his own personal pains are revealed. Writer-director Philippe Falardeau dances around the clichés inherent in the scenario as if they didn't exist, eliciting wonderful performances from his cast (especially the kids) and real emotions from the audience. Laurelhurst, Living Room Theaters










Levy’s High Five, July 20 – 26

The five films playing in Portland-area theaters that I'd soonest see again.

Beasts of the Southern Wild.jpg"Beasts of the Southern Wild"

1) "Beasts of the Southern Wild" A dreamy and joyous film about life, death, hope, dreams and wonder on an island in the Mississippi Delta. The miraculous young Quevezhané Wallis stars as Hushpuppy, a wee girl who experiences life in the feral community known as the Bathtub as a stream of wonder and delight, even though her dad (Dwight Henry) is gruff, her mom is absent and a killer storm is bearing down on her home. Writer-director Behn Zeitlin, in his feature debut, combines poetry and audacity in ways that recall Terrence Malick, but with a light and spry touch. Still, all his great work pales in comparison to the stupendous little Wallis, whom you'll never forget. Cinema 21, Kiggins

2) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. multiple locations

3) "Bernie” 
It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. Hollywood Theatre

4) "Your Sister's Sister" Seattle filmmaker Lynn Shelton spins a sweet and sad and true-feeling variation on a Hollywood romcom, with shlubby leading man Mark Duplass caught unexpectedly between two half-sisters, Emily Blunt and Rosemarie DeWitt. There are machinations that could have been drawn from a higher-gloss (and less appealing) film.  But, as in her not dissimilar "Humpday," Shelton finds real grounding for the story in the personalities of her cast, who improvised some of their scenes within guidelines.  The result feels theatrical and human at once, with three wise, low-key performances and a credible air of confusion and hope. A sly winner.  Fox Tower

5) "Monsieur Lazhar" This delicate, sweet and, surprisingly, harrowing little drama was nominated for an Oscar as best foreign language film, and it's a mark of its quality that it's a very good film despite that sometimes dubious distinction. Mohamed Fellag stars as the title character, a secretive and formal man who arrives at a Montreal school out of the blue and volunteers to take the place of a teacher who has left under horrid circumstances. Gradually his compassion and wisdom come to heal wounds, just as his own personal pains are revealed. Writer-director Philippe Falardeau dances around the clichés inherent in the scenario as if they didn't exist, eliciting wonderful performances from his cast (especially the kids) and real emotions from the audience. Living Room Theaters









Levy’s High Five, July 13 – 19

The five films playing in Portland-area theaters that I'd soonest see again.

Moonrise Kingdom"Moonrise Kingdom"

1) "Beasts of the Southern Wild" A dreamy and joyous film about life, death, hope, dreams and wonder on an island in the Mississippi Delta. The miraculous young Quevezhané Wallis stars as Hushpuppy, a wee girl who experiences life in the feral community known as the Bathtub as a stream of wonder and delight, even though her dad (Dwight Henry) is gruff, her mom is absent and a killer storm is bearing down on her home. Writer-director Behn Zeitlin, in his feature debut, combines poetry and audacity in ways that recall Terrence Malick, but with a light and spry touch. Still, all his great work pales in comparison to the stupendous little Wallis, whom you'll never forget. Cinema 21

2) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. multiple locations

3) "Bernie” 
It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. multiple locations

4) "Your Sister's Sister" Seattle filmmaker Lynn Shelton spins a sweet and sad and true-feeling variation on a Hollywood romcom, with shlubby leading man Mark Duplass caught unexpectedly between two half-sisters, Emily Blunt and Rosemarie DeWitt. There are machinations that could have been drawn from a higher-gloss (and less appealing) film.  But, as in her not dissimilar "Humpday," Shelton finds real grounding for the story in the personalities of her cast, who improvised some of their scenes within guidelines.  The result feels theatrical and human at once, with three wise, low-key performances and a credible air of confusion and hope. A sly winner.  Fox Tower, Kiggins

5) "Monsieur Lazhar" This delicate, sweet and, surprisingly, harrowing little drama was nominated for an Oscar as best foreign language film, and it's a mark of its quality that it's a very good film despite that sometimes dubious distinction. Mohamed Fellag stars as the title character, a secretive and formal man who arrives at a Montreal school out of the blue and volunteers to take the place of a teacher who has left under horrid circumstances. Gradually his compassion and wisdom come to heal wounds, just as his own personal pains are revealed. Writer-director Philippe Falardeau dances around the clichés inherent in the scenario as if they didn't exist, eliciting wonderful performances from his cast (especially the kids) and real emotions from the audience. Living Room Theaters








Levy’s High Five, July 6 – 12

The five movies playing in Portland-area theaters that I'd soonest see again.

Your Sisters Sister bed.jpgEmily Blunt (l.) and Rosemarie DeWitt in "Your Sister's Sister"

1) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. multiple locations

2) "Bernie” 
It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. multiple locations

3) "Your Sister's Sister" Seattle filmmaker Lynn Shelton spins a sweet and sad and true-feeling variation on a Hollywood romcom, with shlubby leading man Mark Duplass caught unexpectedly between two half-sisters, Emily Blunt and Rosemarie DeWitt. There are machinations that could have been drawn from a higher-gloss (and less appealing) film.  But, as in her not dissimilar "Humpday," Shelton finds real grounding for the story in the personalities of her cast, who improvised some of their scenes within guidelines.  The result feels theatrical and human at once, with three wise, low-key performances and a credible air of confusion and hope. A sly winner.  Fox Tower

4) "Monsieur Lazhar" This delicate, sweet and, surprisingly, harrowing little drama was nominated for an Oscar as best foreign language film, and it's a mark of its quality that it's a very good film despite that sometimes dubious distinction. Mohamed Fellag stars as the title character, a secretive and formal man who arrives at a Montreal school out of the blue and volunteers to take the place of a teacher who has left under horrid circumstances. Gradually his compassion and wisdom come to heal wounds, just as his own personal pains are revealed. Writer-director Philippe Falardeau dances around the clichés inherent in the scenario as if they didn't exist, eliciting wonderful performances from his cast (especially the kids) and real emotions from the audience. Living Romm Theaters

5) "Abraham Lincoln: Vampire Hunter" Yes, I know it's an absurd premise and that in many ways it exists only to be absurd, but there's genuine skill and relish in director Timur Bekmambetov's adaptation of Seth Grahame-Smith's novel. The action, as in Bekmambetov's "Night Watch," "Day Watch" and "Wanted," is spectacular, the 3-D effects are top-notch, the woodenness of the historical bits is deliberate and cheeky, and Benjamin Walker is actually quite good as the title character, embodying the clumsiness and self-mocking qualities of the real man and the bloodthirsty venom that this over-the-top story requires. As a summer goof, it's swell. multiple locations






Levy’s High Five, June 29 – July 5

The five movies playing in Portland-area theaters that I'd soonest see again.

Moonrise Kingdom kids.jpgKara Hayward and Jared Gilman (and Jason Schwartzman's head) in "Moonrise Kingdom"

1) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. multiple locations

2) "Bernie” 
It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. multiple locations

3) "I Wish" In "After Life," "Nobody Knows" and "Still Walking," the Japanese writer-director Hirokazu Koreeda has approached weighty issues of life and death with a rare blend of respect and levity. It's a deeply humane stance, and it's not surprising to note that he's also a gifted director of children, as in this story of two brothers, living in different cities because of their parents' separation, who concoct a wish-fulfillment scheme in hopes of reuniting their family. The music, film craft and acting are quite fine, but perhaps the most heartening thing is the way in which Koreeda throws open the theme of childhood fantasy to embrace the various adults in the story who, too, have dreams, realized and not. A charming, shambling, uplifting film. Living Room Theaters

4) "Your Sister's Sister" Seattle filmmaker Lynn Shelton spins a sweet and sad and true-feeling variation on a Hollywood romcom, with shlubby leading man Mark Duplass caught unexpectedly between two half-sisters, Emily Blunt and Rosemarie DeWitt. There are machinations that could have been drawn from a higher-gloss (and less appealing) film.  But, as in her not dissimilar "Humpday," Shelton finds real grounding for the story in the personalities of her cast, who improvised some of their scenes within guidelines.  The result feels theatrical and human at once, with three wise, low-key performances and a credible air of confusion and hope. A sly winner.  Fox Tower

5) "Monsieur Lazhar" This delicate, sweet and, surprisingly, harrowing little drama was nominated for an Oscar as best foreign language film, and it's a mark of its quality that it's a very good film despite that sometimes dubious distinction. Mohamed Fellag stars as the title character, a secretive and formal man who arrives at a Montreal school out of the blue and volunteers to take the place of a teacher who has left under horrid circumstances. Gradually his compassion and wisdom come to heal wounds, just as his own personal pains are revealed. Writer-director Philippe Falardeau dances around the clichés inherent in the scenario as if they didn't exist, eliciting wonderful performances from his cast (especially the kids) and real emotions from the audience. Living Romm Theaters





Levy’s High Five, June 22 – 28

The five films playing in Portland-area theaters that I'd soonest see again.

Your Sisters Sister bed.jpgEmily Blunt (l.) and Rosemarie DeWitt in "Your Sister's Sister"

1) “The Deep Blue Sea” Terence Davies is the finest director you’ve likely never heard of, probably because his best films -- the quiet, devastating semi-autobiographical “Distant Voices, Still Lives” and “The Long Day Closes” -- were made more than two decades ago and he’s only had one film (“The House of Mirth,” an anomaly, really) get even a modest release since.  Here, adapting Terence Rattigan’s 1952 play about a passionate woman (Rachel Weisz), her stodgy husband (Simon Russell Beale) and her unreliable lover (Tom Hiddleston), his immense, inimitable gifts for image-making and, especially, turning film into something like music are in full power.  The effect is sometimes funny, sometimes dramatic, sometimes absolutely ravishing.  Davies is a master, and this is his most accessible film.  See it.  Living Room Theaters

2) "Bernie” 
It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. multiple locations

3) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. Fox Tower

4) "Your Sister's Sister" Seattle filmmaker Lynn Shelton spins a sweet and sad and true-feeling variation on a Hollywood romcom, with shlubby leading man Mark Duplass caught unexpectedly between two half-sisters, Emily Blunt and Rosemarie DeWitt. There are machinations that could have been drawn from a higher-gloss (and less appealing) film.  But, as in her not dissimilar "Humpday," Shelton finds real grounding for the story in the personalities of her cast, who improvised some of their scenes within guidelines.  The result feels theatrical and human at once, with three wise, low-key performances and a credible air of confusion and hope. A sly winner.  Fox Tower

5) "Monsieur Lazhar" This delicate, sweet and, surprisingly, harrowing little drama was nominated for an Oscar as best foreign language film, and it's a mark of its quality that it's a very good film despite that sometimes dubious distinction. Mohamed Fellag stars as the title character, a secretive and formal man who arrives at a Montreal school out of the blue and volunteers to take the place of a teacher who has left under horrid circumstances. Gradually his compassion and wisdom come to heal wounds, just as his own personal pains are revealed. Writer-director Philippe Falardeau dances around the clichés inherent in the scenario as if they didn't exist, eliciting wonderful performances from his cast (especially the kids) and real emotions from the audience. Cinema 21




Strong styles, divergent paths: Wes Anderson and Ridley Scott extended their careers in different ways

Considering the career paths of a director reaching maturity and another in the autumn of his professional days.

Wes Anderson portrait.jpgWes Anderson
In some sense, an artist can be said truly to have found a voice when one of his or her works is recognizable from a few characteristic touches.

In movies, we think of certain types of stories, certain cast members, certain preferences in musical accompaniment, cinematography, editing or décor as indicative of the tastes of particular directors: Alfred Hitchcock’s wrongly accused protagonists, Martin Scorsese’s Rolling Stones fetish, Orson Welles’ use of deep-focus, and so on. In fact, a director almost cannot be considered a major artist without demonstrating some tic or preference. Fair or not, as a species we tend to equate consistency with quality.

Two of the most notable releases now in theaters are from directors with highly recognizable styles: “Moonrise Kingdom” by Wes Anderson and “Prometheus” by Ridley Scott. But the two filmmakers have vastly different temperaments and aims, and they’re working at divergent stages in their careers. As a result, one seems to be sharpening his idiosyncrasies, the other leaving them behind.

“Moonrise Kingdom” arrives five years after Anderson’s last live-action film, “The Darjeeling Limited,” and three years after his charming stop-motion animated feature “The Fantastic Mr. Fox.”  The new film fits readily among Anderson’s stories of neurotic boy-men living in worlds filled with old-fashioned bric-a-brac, aloof women, negligent fathers, amateur theatricals, foreign-language pop tunes, pup tents, maps, and hangdog personages embodied by Bill Murray, Jason Schwartzman and various Wilson brothers.

Like David Lynch or Pedro Almodovar, Anderson can be so immersed in his own palette that he sometimes verges on self-parody (“I want to try not to repeat myself,” he has famously said, “but then I seem to do it continuously in my films”).  Indeed, a sense of overindulgence and diminishing returns haunted “Darjeeling” and its predecessor, “The Life Aquatic with Steve Zissou,” in which the stories and habits evinced in Anderson’s earlier works were enlarged in scale but not necessarily in depth or scope.

To wit: The quirkily compartmentalized mind of romantic polymath Max Fischer, the protagonist of Anderson’s second feature, “Rushmore,” was expanded into a broken-souled quartet of youthful protagonists in his third, “The Royal Tenenbaums.” The Tenenbaum house itself, a collection of quirky and highly compartmentalized private spaces, was, in turn, exploded into the Belafonte, the seagoing mansion in “Life Aquatic,” which carried within it a makeshift family even larger and less cohesive than the Tenenbaums.  In “Darjeeling,” a train ride taken by three brothers through exotic locales inflated these tropes yet again. The effect was like watching someone walk down the street pulling along a massive — albeit attractive — balloon from the Macy’s Thanksgiving Day Parade: You got a jolt from the audacity and panache, but there didn’t seem to be much point.

Wes Anderson directing.jpgWes Anderson (r.) directing "Moonrise Kingdom"
From the start, “Moonrise” evinces quite a bit of Andersonia, including a house that resembles the sets from “Tenenbaums” and “Life Aquatic,” but the film soon pares down. It’s is a sweet and simple film about two runaway lovers (12-year-olds, but still), set principally in the wilds of a fictional Northeastern island. The pair — played by newcomers Jared Gilman and Kara Hayward — are surrounded by many of the ingredients of a typical Anderson film, but rather than throw everything from the spice cabinet into his stew, Anderson metes out his flavors delicately, adding depth and nuance along the way.

You can’t call “Moonrise” a spare film, not in comparison to, say, a Gus Van Sant movie. But it reverses the complexity that characterized Anderson’s previous films and threatened to turn the experience of watching his work into a parlor game. Whether it’s due to the aftereffect of painstakingly animating “Mr. Fox,” to reaching his 40s, to breathing in the fresh air of the setting, or to a turn of taste remains to be seen, but with “Moonrise” Anderson has refreshed himself — and his audience — admirably.

Ridley Scott
redefined science fiction movies more than three decades ago with the stunning one-two punch of “Alien” (1979) and “Blade Runner” (1982), and in the process established a métier characterized by worlds in which something was always in motion: flames, smoke, rain, milkweed, shadows. He composed dense frames and orchestrated sequences with professorial musicality. Scott (Sir Ridley, to give him his full due) had come from the world of TV advertising, and his ability to seduce with the raw stuff of cinema — images, motion, edits and sounds — was unparalleled. Indeed, he was sometimes criticized for overemphasizing the visuals, as if that were possible in the cinema.  “People say I pay too much attention to the look of a movie,” he protested, “but for God's sake, I'm not producing a Radio 4 ‘Play for Today,’ I'm making a movie that people are going to look at.”

Ridley Scott portrait.jpgRidley Scott
But while Scott’s visual mastery was indisputable, it wasn’t evident from those two groundbreaking science fiction films (or from his debut, 1977’s “The Duelists") that his movies had thematic unity. In fact, at age 74 and with 20 feature films to his credit, Scott seems to have been drawn equally to a variety storylines which are implicit in, but do not dominate, that early pair of science fiction classics: tales of voyages (“1492: Conquest of Paradise,” “White Squall“), of powerful women fighting for their lives (“Thelma and Louise,” “G. I. Jane“), of men whose moral code runs counter to their duties (“Gladiator,” “American Gangster,” “Robin Hood“), of battles against insurmountable odds (“Legend,” “Black Hawk Down,” “Kingdom of Heaven“).

Scott’s oeuvre doesn’t cohere in the same way as those of Martin Scorsese, Steven Spielberg or, for that matter, Wes Anderson. He seems more akin to fellow Brits Stephen Frears, Mike Newell and Michael Apted, who also came to film after working in television and who hopscotch from subject to subject with only their individual sensibilities to differentiate their work. While this versatility speaks well of Scott’s range, it means that his style carries extra weight in identifying him as the maker. How, besides visually, can such films as “Matchstick Men,” “Body of Lies” and “A Good Year” be seen as kin to Scott’s other works?

That poses a conundrum when considering “Prometheus,” a prequel to “Alien.” It’s not as atmospherically creepy as “Alien,” and it’s not as dynamic as the typical Scott film. It’s a handsome movie and the digital effects are swell, but we’ve come to expect such stuff nowadays. What we crave from Ridley Scott is something we’ve never seen before. Unfortunately, little of “Prometheus” fits that category.

Ridley Scott directing.jpgRidley Scott directing Noomi Rapace in "Prometheus"
There are some Scott-ish touches in the film: a powerful heroine (Noomi Rapace), a man (or, in this case, android) at a moral crossroads (Michael Fassbender), an awful threat of evil. It moves well and has a sense of play which you don’t often find in Scott’s films. But “Prometheus” doesn’t really feel like a personal work by a director with a strong stamp.  And the famed Scott visual flourish -- all that gorgeous motion and haze -- is hardly present at all.

Of course, a film needn’t be a statement of personality to be great: Nobody thinks of “Casablanca,” for instance, as a prime example of the art of director Michael Curtiz. But one of the chief pleasures of the cinema comes from following the thread of a director’s work. Absent the imprint of a strong artist, “Prometheus” feels — as “Moonrise Kingdom” never does — like a film any director might have made.


Levy’s High Five, June 15 – 21

The five movies playing in Portland-area theaters that I'd soonest see again.

Bernie"Bernie"

1) “The Deep Blue Sea” Terence Davies is the finest director you’ve likely never heard of, probably because his best films -- the quiet, devastating semi-autobiographical “Distant Voices, Still Lives” and “The Long Day Closes” -- were made more than two decades ago and he’s only had one film (“The House of Mirth,” an anomaly, really) get even a modest release since.  Here, adapting Terence Rattigan’s 1952 play about a passionate woman (Rachel Weisz), her stodgy husband (Simon Russell Beale) and her unreliable lover (Tom Hiddleston), his immense, inimitable gifts for image-making and, especially, turning film into something like music are in full power.  The effect is sometimes funny, sometimes dramatic, sometimes absolutely ravishing.  Davies is a master, and this is his most accessible film.  See it.  Living Room Theaters

2) "Bernie” 
It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. multiple locations

3) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. Fox Tower

4) “Jiro Dreams of Sushi”  Jiro Ono is the owner of a Tokyo sushi bar with 10 seats and 3 Michelin stars, and David Gelb’s gorgeous and intimate documentary about the man and his obsession gives you an idea of how that can not only be so but be fitting.  Jiro and his two sons (bound to the chef’s apron strings, almost literally) devote untold hours of work and thought to the perfection of sushi-making, turning a sometimes makework form of cookery into indisputably high art.  At 85, the old master still works virtually every day, and the fruit of his focus is in servings of raw fish and warm rice photographed so lusciously that you can almost taste them.  A mouthwatering film:  literally.  Lake, Laurelhurst, Living Room Theaters

5) "Monsieur Lazhar" This delicate, sweet and, surprisingly, harrowing little drama was nominated for an Oscar as best foreign language film, and it's a mark of its quality that it's a very good film despite that sometimes dubious distinction. Mohamed Fellag stars as the title character, a secretive and formal man who arrives at a Montreal school out of the blue and volunteers to take the place of a teacher who has left under horrid circumstances. Gradually his compassion and wisdom come to heal wounds, just as his own personal pains are revealed. Writer-director Philippe Falardeau dances around the clichés inherent in the scenario as if they didn't exist, eliciting wonderful performances from his cast (especially the kids) and real emotions from the audience. Cinema 21



Movies: a handsome ‘Prometheus,’ a lovable ‘Kingdom,’ a warm ‘Lazhar’ and more

Reviews of this week's new releases in Portland-area theaters

Prometheus Theron.jpgCharlize Theron in "Prometheus"
Two highly anticipated titles among this week's offerings:  Ridley Scott's "Alien" prequel, "Prometheus," and Wes Anderson's return to live-action filmmaking, "Moonrise Kingdom."  We've also got reviews of the Oscar-nominated schoolhouse drama "Monsieur Lazhar" and the time-travel-wannabe sort-of comedy "Safety Not Guaranteed."  And we've got the evergreens:  "Also Opening,"  "Indie/Arthouse" and "Levy's High Five."

Levy’s High Five, June 8 – 14

The five films playing in Portland-area theaters that I'd soonest see again.

Moonrise Kingdom grownups.pngBill Murray, Frances McDormand, Edward Norton and Bruce Willis (from l.) in "Moonrise Kingdom"

1) “The Deep Blue Sea” Terence Davies is the finest director you’ve likely never heard of, probably because his best films -- the quiet, devastating semi-autobiographical “Distant Voices, Still Lives” and “The Long Day Closes” -- were made more than two decades ago and he’s only had one film (“The House of Mirth,” an anomaly, really) get even a modest release since.  Here, adapting Terence Rattigan’s 1952 play about a passionate woman (Rachel Weisz), her stodgy husband (Simon Russell Beale) and her unreliable lover (Tom Hiddleston), his immense, inimitable gifts for image-making and, especially, turning film into something like music are in full power.  The effect is sometimes funny, sometimes dramatic, sometimes absolutely ravishing.  Davies is a master, and this is his most accessible film.  See it.  Living Room Theaters

2) "Bernie” 
It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. multiple locations

3) "The Triplets of Belleville" Before he made the utterly charming "The Illusionist," animator Sylvain Chomet made this utterly charming film about gangsters, music, bicycle racing, kidnapping, a sad-eyed boy, a fat dog, and a heroic grandmother. In some ways it's impossibly French, with the hot jazz and the Tour de France and the noirish touches. But the sheer imagination of the thing, the execution, the relentless eccentricity, and the infectious (and Oscar-nominated) music make it, I think, universally accessible. It was no surprise to see Chomet go on to adapt a Jacques Tati script in his subsequent film: this one, with all its quirks and its purely cinematic heart and soul, would have delighted the comic master. Northwest Film Center, Friday through Sunday only

4) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. Fox Tower

5) “Jiro Dreams of Sushi”  Jiro Ono is the owner of a Tokyo sushi bar with 10 seats and 3 Michelin stars, and David Gelb’s gorgeous and intimate documentary about the man and his obsession gives you an idea of how that can not only be so but be fitting.  Jiro and his two sons (bound to the chef’s apron strings, almost literally) devote untold hours of work and thought to the perfection of sushi-making, turning a sometimes makework form of cookery into indisputably high art.  At 85, the old master still works virtually every day, and the fruit of his focus is in servings of raw fish and warm rice photographed so lusciously that you can almost taste them.  A mouthwatering film:  literally.  Lake, Laurelhurst, Living Room Theaters

‘Moonrise Kingdom’ review: Wes Anderson’s sweetly cracked vision of love at first flight

The tale of 12-year-old sweethearts on the run is delightfully light and filled with the director's iconoclasm and quirks.

Moonrise Kingdom kids.jpgKara Hayward and Jared Gilman (and Jason Schwartzman's head) in "Moonrise Kingdom"
“Moonrise Kingdom” is Wes Anderson’s seventh feature film, and in some ways it’s typical of all of them, with tropes and tics and themes and actors familiar from the likes of “Bottle Rocket,” “Rushmore,” and “The Royal Tenenbaums” and the rest.  (Indeed, so strong is Anderson’s artistic stamp that it even permeated 2009’s “The Fantastic Mr. Fox,” a stop-motion animated movie based on a Roald Dahl novel.)

And yet, there’s a freshness and vitality to “Moonrise” that was absent from Anderson’s two previous live-action films, “The Life Aquatic with Steve Zissou” and “The Darjeeling Limited,” in which the writer-director trod his wonted territory with heavy -- and heavily mannered -- feet.

Yes, “Moonrise” gives us the predictable feckless fathers and decent-hearted surrogate dads, the precocious kids spouting archaic lingo, the old-timey technology, French pop music, symmetrical visuals, young adult fantasy books, amateur theatricals, pup tents, suitcases, Bill Murray, Jason Schwartzman and an awkward, ardent romance:  the stock ingredients of the Andersonian stew.  And yet somehow there’s a zest and lightness that had been missing of late.  The film feels more spry and unencumbered and inspired than Anderson’s recent work (the delightful “Mr. Fox” excluded).  It’s not a perfect movie, but it’s charming.

Set in 1965 (with a few flashbacks to the previous year), “Moonrise” centers on the romance of two 12-year-olds, Sam Shakusky (debuting actor Jared Gilman) and Suzy Bishop (Kara Hayward, another newcomer).  Sam has fled his Khaki Scout summer camp and Suzy the stifling home of her lawyer parents (Frances McDormand and Murray) to live together in the wilds of (the fictional) New Penzance Island, sustaining themselves on his outdoorsmanship and her sense of culture.  

Naturally, the adults (including scoutmaster Edward Norton and local cop Bruce Willis) are in eager pursuit, as are the other Khaki Scouts, who pretty much loathe Sam, and a Social Services operative (Tilda Swinton) who means to send the orphaned Sam to an institution.  And with a famous (and also fictional) storm ominously en route, it all takes on an especially freighted air.

The craft is at the high level we always get from Anderson, who is working with some of his usual creative team.  But you can’t help but feel that it’s the young actors -- the lumpy but sober Gilman, with his coonskin hat and pipe, the svelte and cool Hayward, with her eye shadow and Francoise Hardy records -- who have helped the director find his artistic fountain of youth.  As often, Anderson has trouble sticking the landing, but “Moonrise Kingdom” is in many ways the most satisfying flight he’s taken us on in years.    
    
(94 min., PG-13, Fox Tower) Grade: B-plus


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