“Breaking In” is not as painful a movie as it has been framed to be. In fact, coming in with modest expectations, viewers will likely find the film not nearly as torturous and dull as described by reviewers.
Samantha Nelson
Daily Arts Writer
Film
Just five minutes into “Fahrenheit 451” it’s clear this isn’t Ray Bradbury’s world anymore.
At its best, “Jiang Hu Er Nv (Ash is Purest White)” is quietly sublime. Director Jia Zhang-Ke captures (with support from Cinematographer Eric Gautier) a tremendous solitude as he follows his protagonist across the Chinese countryside.
“Everybody Knows” (Todos Lo Saben) is an exceptionally good telenovela.
The requiem for the local scene — the underground scene, the house show scene, the “we’ll never be big, that’s okay we just want to be” scene — is the greatest kind of music movie. To perfectly encapsulate how a specific moment in a specific place looked and sounded is one thing.
This year’s Cannes Film Festival is overwhelmed with period pieces and tragic love stories. It seems that the world is haunted by love lost.
Adding to the growing collection of female-directed films about mothers and their daughters comes a debut from writer-director Vanessa Filho called “Angel Face,” a French feature in the En Certain Regard selection at the Cannes Film Festival.
I should have taken French in school. I opted for Spanish, as responsible kids often do in California, for it promised to be more useful.
Tina Fey. Eddie Murphy. Will Ferrell. Amy Poehler.