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【5星推荐】月半湾国际会所

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发表于 2019-3-15 22:38:13 | 显示全部楼层 |阅读模式
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发表于 2019-4-5 01:59:25 | 显示全部楼层
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John Lithgow gets a brief and agreeable role as the town preacher, and the three female captives (played by Grace Gummer, Miranda Otto and Sonja Richter) make increasingly strong impressions, like a wordless Greek chorus watching the struggle from an ironic distance. But most of the drama comes from the uneasy symbiotic relationship between Mary Bee and Briggs, whom she discovers whimpering on horseback, with a noose around his neck tied to a nearby tree. She rescues him from this slow-motion lynching after he promises to do anything she asks, but the dimensions of that promise – what will she ask of him, and will he do it? – keep getting larger and larger. Briggs is a man full of bluster and almost totally without honor, but he shares with Mary Bee the sense that time is running out, and that if he is ever to make anything of his life it has to happen now.
When the character played by Tommy Lee Jones in “The Homesman,” who calls himself George Briggs but may not be the most trustworthy source, tells Mary Bee Cuddy, the plucky frontierswoman played by Hilary Swank, that she’s “as plain as an old tin pail,” you may want to stop the movie and file a complaint. As Jones is well aware, he’s no beauty-pageant contestant himself, and Briggs is a grubby, unkempt character with a disreputable past, who resembles a hunk of gristle chewed and then spat out by a stray dog. But Jones, as always, knows what he’s doing. In only his second feature as a director, the laconic 68-year-old star has made a wrenching, relentless and anti-heroic western that stands among the year’s most powerful American films. Not everyone will like “The Homesman,” but if you see it you won’t soon forget it.

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With its blend of romance, action, magic and bits and pieces of supernatural hoo-ha imported from other sources ? the Potterverse and “Twilight,” most obviously, but also “Star Wars,” “Avatar,” “Lord of the Rings” and the “Blade” and “Underworld” series ? this initial “Mortal Instruments” picture has the vibe of a straight-to-video release from the mid-‘90s, except with a $60 million budget and considerable special-effects expertise. Its young stars have the right feeling of almost-famous beauty and anonymity: Lily Collins, who’s had supporting roles in “The Blind Side” and “Stuck in Love,” plays Clary Fray, a New York teenager who discovers that her missing mom has been concealing her true identity, heritage, destiny, etc. Clary’s principal foils are a blond, brooding Anglo Shadowhunter named Jace (Jamie Campbell Bower, who has appeared in both the “Potter” and “Twilight” series) and her mildly nebbishy “mundane” would-be boyfriend, Simon (Robert Sheehan, of the British teen series “Misfits” and the Irish crime series “Love/Hate”). [This is a correction: I previously had this character confused with Alec, played by Kevin Zegers.]

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Early in writer-director Patrick Brice’s indie comedy “The Overnight,” the almost-perfect young married couple named Alex and Emily, played by Adam Scott and Taylor Schilling, must decide whether to accept a spur-of-the-moment dinner invitation from another parent they just met at the playground. From the beginning, there’s something just a little odd about Kurt (Jason Schwartzman), whose toddler son has immediately hit it off with Alex and Emily’s. He’s dressed just a little too vampire-hipster-Goth for a sunny afternoon at the sandbox, maybe, even by the standards of cool L.A. neighborhoods. He insists on hugging and kissing both Alex and Emily, perhaps with a smidgen too much lingering on the latter. His opening-line joke about the poisonous effects of Gummi Worms on little boys’ tummies falls kinda flat – so, wait, was it even a joke?
All four actors get a chance to shine in this nicely balanced ensemble, and Adam Scott gets special props for exploring new frontiers of fear and bravery in the realms of male frontal nudity and, shall we say, male anatomical anxiety. But Schwartzman is in every way (and even in the anatomical sense!) the centerpiece, playing a guy whose veneer of cool and confidence hides something else. Not something darker, necessarily – maybe just a squishy central core of bullshit. His alleged trilingual abilities in French and Spanish are a put-on, and amid his blithe torrent of world-traveler conversation comes a reference to “the Central Republic of Africa,” which is not a nation you will actually find on the globe.

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The Nation?has had a tradition of marking many anniversaries. When I walk you out, you’ll see that there’s the 120th, there’s 125th, there was a 75th. We felt the 100th was our model [for this], and you can see that’s our perfect spine too, so we knew we wanted to go big. We’re talking here three centuries; this is a big deal in a culture which is in such transition and fast-moving. So yeah, we knew we wanted to go big — we actually went slightly bigger because there was more content. We over-assigned. So it is a slightly bigger book but we always knew we wanted to go big in the conceptual sense of it.
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