This page contains Dave's reviews of films seen from January through March 2010.

“A Prophet”: Malik (Tahir Rahim) was a shy, fragile and illiterate 19 year-old Frenchman of Arab descent when he entered the French prison. When he’s released six years later, he's transformed into a leader of men who commands both fear and respect, all while exuding a quiet confidence and an instinct that’s not easily explained. “A Prophet” is the story of his rise to power. The premise has plenty of roots in the history of cinema, yet this story has an air of originality and is as well-told as any in its genre. At the film’s beginning, Malik, who has been in and out of juvenile facilities throughout his orphaned youth, finally graduates to an adult prison, and it only takes a few days before he’s “recruited” by the prison’s defacto leader, a vicious Corsican mob boss named Cesar Luciani (Niels Arestrup). Cesar views Malik’s confused ethnicity as an opportunity to not only gain an in with the diverse facility’s growing Arab population, but to use the boy to get close to and eliminate a Muslim witness who is just “passing through” until a trial begins. Malik’s completes Cesar’s test and gains badly-needed protection, though it also means he becomes the man’s unofficial gofer. But while Malik is making the coffee and fetching the baguettes, he’s also listening well enough to pick up the Corsican language, as well as knowledge of the inner workings of their Mafia’s organization. All this is a mystery to the otherwise wise Cesar, who thinks that Malik’s arranged one-day leaves are strictly to help run Cesar’s business on the outside. What he doesn’t know is the quiet pupil has learned a lot, especially when it comes to playing multiple sides off each other. “A Prophet” was co-written and directed by Jacques Audiard (“The Beat That My Heart Skipped”) who took the complex story and smoothed it out, all while maintaining a good level of suspense (you rarely see what’s coming) and keeping his film extremely well-paced. In fact, how many films can hold your attention completely (as in barely moving a muscle) for its entirety? And how many of those films are over 2 ½ hours long? From Tahir Rahim’s wonderfully subtle performance as Malik, to Niels Arestrup’s terrifying turn as Cesar, and Stephane Fontaine eerie visuals -- all set to Alexandre Desplat’s well-timed score – paint the glorious picture that is Audiard’s magnificent “A Prophet.” I am fortunate to see a truly great film maybe once every couple of years. “Wall-E” and “No Country for Old Men” were probably the last two examples, well, until today. I had high expectations for “A Prophet” knowing that it won the Grand Prize at last year’s Cannes Film Festival, swept the Cesars (French Oscars); was named as the Best Foreign Language Film by the prestigious National Board of Review -- as well as several other accolades, but I still did not expect to see what I did: a perfect film in just about every respect. Yes, “A Prophet” is that great. **** (out of) **** (In French, Arabic and Corsican with English subtitles) (3/21/10)

“Green Zone”: Director Paul Greengrass has made three excellent films in a row: “The Bourne Supremacy, “United 93” and “The Bourne Ultimatum,” so it’s only natural to set the bar high for his latest film, “Green Zone,” and admittedly I did, which probably contributed to why I came away from this film more than a little disappointed. “Green Zone” is set in Iraq in 2003 and stars Matt Damon (the hero of the Jason Bourne series) as Chief Warrant Officer Roy Miller, who, along with his team, is following up on intel that a certain warehouse is filled with weapons of mass destruction. Naturally, he strikes out (the fourth time in a row), and in his zest to find out why, kicks a few too many U.S. Government hornet’s nests. That’s the gist of “Green Zone,” which also co-stars Greg Kinnear as Clark Poundstone, a Paul Bremmer-type (read: neocon with a scary agenda); Amy Ryan as a Judith Miller-type reporter (but for the Wall Street Journal, ironically) and an accent-less Brendan Gleeson as the classic man in the middle. “Green Zone” was written by Brian Helgeland (“Mystic River”) who did a pretty good job untangling the complexities of the film’s story (“Syriana,” this is not), but riddled the script with his politics, to the distraction of this viewer. “Green Zone” mines some of the territory of “Avatar,” in that it appeared to demean the so-called ‘good guys.’ And like that film, it also has a one-sided ideology. I don’t have a problem with the good guys turning out to be bad guys, but call me fickle that I’d rather see both sides, even if the presented side (as in this particular instance) matches my idea of right and wrong. I see it as balance and giving your story a little credibility. I also have to admit that it was disappointing to watch Matt Damon trying to play a third-rate Jason Bourne-type, knowing that this failed film, which was marketed as a Bourne vehicle, but without the Bourne (even if it was obvious from the ads it was not), may have hurt the possibilities for another film in that fantastic series. Throw in Paul Greengrass’ usual shaky cam antics, and it all made for a less-than-comfortable experience at the movies. Did I mention I was disappointed? ** (out of) **** (3/13/10)

“Police, Adjective”: is the latest ‘hot’ film out of Romania, an area that has spawned some excellent movies in recent years, especially “Four Months, Three Weeks and Two Days.” Written and directed by Corneliu Porumboiu (the same person responsible for the thought-provoking “12:08 East of Bucharest”), “Police, Adjective” is the story of Cristi, a young cop (played by Drago Bucu) in the Bucharest police department assigned to track a high school boy who may be a potential drug dealer. He observes the boy (played by Alexandru Sabadac) smoking a joint, but nothing else. The cop’s superior, Captain Anghelache (Vlad Ivanov) pressures him to make an arrest, but the cop, who is confident Romania’s antiquated possession law is about to be amended, is hesitant to lock up this otherwise good kid for what is seemingly a very minor infraction. It’s an interesting dilemma with a fairly obvious solution, but Porumboiu wisely dons both hats and shows his viewers both sides. But where “Police, Adjective” fails as a film, is keeping its viewer interested beyond its intriguing premise. We literally sit and watch long and mostly silent scenes with Cristi on a stakeout (several times -- taking up the bulk of the movie); eating dinner, and sitting in a room while waiting for his superior to usher him in. In other words, the film is boring. Yes, it’s a study of moral conflict, but we get that a few seconds into each long, drawn-out scene. Porumboiu could’ve chopped out half his film’s 113 minute running time (if not three-quarters) and still delivered the same intended message. I only wish I had a remote control in my hand when I watched this film. I guess I should’ve waited for the DVD. Or not. ** (out of) **** (In Romanian with English subtitles) (3/10/10)

“Fish Tank”: The rebellious teen movie has been around forever, but in recent years it seems to have regained its edge, though thanks to a looser rating system, films like “Kids” and “The War Zone” can push the envelope a little more. “Fish Tank” mines some of their territory, but also borrows thoughtfully from better films like “Thirteen” and “Ratcatcher,” but not quite to the point where the “rebel” becomes a cliché. The film stars newcomer Katie Jarvis as 15 year-old Mia. She lives with her single mom (played by Kierston Wareing) and her little sister, Tyler (Rebecca Griffiths). To her mother, life is one big party, and she isn’t shy about drinking, smoking and carrying on in front of her two young daughters. This is especially alarming when mom brings home Connor (Michael Fassbender), who isn’t shy around the girls, which isn’t healthy, especially with the impressionable and troubled Mia is in desperate need of a father figure. “Fish Tank” is the brainchild of writer-director Andrea Arnold, whose personal star is pretty hot right now (she’s set to direct a remake of “Wuthering Heights”). Her film is ambitious and thoughtful, but a tough viewing experience. It has won several festival awards, including the Jury Prize at last year’s Cannes Film Festival, and features sterling performances from its cast, especially Katie Jarvis as Mia, but all that doesn’t make it a recommended experience. I’m not a prude, but this film has enough rough edges to warn away even the hardest core moviegoer. See it at your own risk. ** ½ (out of) **** (2/28/10)

“The White Ribbon”: Michael Haneke’s world is very, very different than our own. The enigmatic writer-director of “Cache” is back with another draw-your-own-conclusion film that, well, should leave you talking long after leaving the movie theater. It’s part psychological horror film, part cautionary tale with underpinnings into national socialism and pre-Nazism, and at the heart of its complex story are several children who may – or may not -- be getting a little bit tired of following the traditional order. I leave that open as a tribute to Haneke, who doesn’t want to spoon-feed us anything, unlike 95% (if not greater) of his filmmaking peers. Haneke’s story takes place in a German farming village just before the breakout of World War I. The tight-knit community is essentially controlled economically by the Baron (Ulrich Tukur); guided spiritually by the Pastor (Burghart Klaussner); tended to health-wise by the Doctor (Rainer Bock), and taught by the Schoolteacher (Christian Friedel). It’s the latter who narrates the film (in an older voice provided by Ernst Jacobi). It’s a fairly functional town, except the morally holier-than-thou attitude and strictness displayed by the adults show chinks in their armor. There is adultery, unhappy relationships, and some unspeakable acts, compared to the minor transgressions committed by the children. Yet as an act of punishment for one of their little misdeeds, the Pastor demands that two of his older teenaged children wear white ribbons as a sign of purity, and that the boy’s hands are tied-down in his bed at night. The village’s children are generally accepting of these ‘unusual’ acts (they know no other way), but someone – maybe more than one person – is responsible for increasingly violent “accidents” that are occurring throughout the village; acts that directly affect those who are demanding the children do as they say, but not necessarily as they do. And just when you think you’ve figured out ‘whodunnit,’ it turns out you haven’t. Yet the film isn’t necessarily about the mysterious incidents; it’s actually about a lot of other things. And as with his sometimes frustrating, but ultimately fascinating film, “Cache,” Michael Haneke wants you to really, really read into the messages he’s trying to insert into his movie. The acting is very deliberate, with solid performances from its mostly-unknown cast, and, in a Haneke tradition, his film has no score. But where “The White Ribbon” really stands out (aside from its complex story and direction) is in its look. Filmed in color, then overdone in black-and-white, “The White Ribbon” is gorgeous. The from-another-era feel also enhances the mood of the film, which can be somber and slow, but, like the aforementioned “Cache,” is ultimately fascinating. *** ½ (out of) **** (In German with English subtitles) (2/27/10)

“A Christmas Tale”: February seems to be the time of the year when last year’s Cannes Film Festival entries finally gain U.S. releases. “The White Ribbon,” “Fish Tank” and “Police, Adjective” are recent examples. So I guess it’s somewhat fitting that I waited that long to finally watch one of the darlings from the 2008 Festival -- “A Christmas Tale,” which, despite its very misleading title (how about “Another Film About a Dysfunctional French Family?”) is actually a decent watch, well, if you can make it through its 2 ½ running time (we had to split it into two evenings). Breezy, it ain’t. Co-written and directed by Arnaud Desplechin, “A Christmas Tale” is the story of Vuillard family. Mother Junon (Catherine Deneuve) needs a transplant and the only suitable donors are her kooky son, Henri (Mathieu Amalric), and her mentally-ill grandson, Paul (Emile Berling). Paul’s mother Elizabeth (Anne Consigny) and Henri have been estranged for several years, so the thought of him back in her life is painful, but for the sake of their mother’s health, they try to co-exist. Henri is a huge jerk and it’s pretty easy to figure out where young Paul gets his difficulties, so in brother and sister, we have at least two unlikeable characters, which would ordinarily have me looking for the exit, but “A Christmas Tale” is far too interesting to allow Henri the monumental ass to get under my skin. It’s a beautiful film to watch (no surprise there); has a very well-written script, and the acting is uniformly excellent. But it drags, and one can only handle so much dysfunction, yet it does gets points for its obvious quality, and for casting the hugely underrated Mathieu Amalric (hello, James Bond villain!) as that monumental ass. So break out the French roast (if that’s your thing) and find a comfortable pillow. If you’re able to get past the annoyances of its central theme, “A Christmas Tale” can be a rewarding viewing experience. *** (out of) **** (In French with English subtitles) (On DVD) (2/26/10)

“Rudo y Cursi”: is the story of two brothers named Beto (Diego Luna) and Tato (Gael Garcia Bernal) who have other interests in their simple lives, but happen to be good enough at soccer to attract the attention of a pro scout (played by Guillermo Francella) who gets them placed on rival teams in a professional league in Mexico City, Mexico. Beto is a compulsive gambler, while Tato has dreams of moving to the States to pursue a career as a musician. Tato is the first to turn pro, much to the chagrin of his very jealous brother, but it isn’t long before Beto is given the chance to show off his superior goal-tending skills on the big stage. In fact, Beto (who earns the nickname ‘Rudo’ or rough) becomes so good that he has a chance to go for the all-time record for most consecutive shutouts. Tato (who becomes ‘Cursi’ or corny) is a striker and a prolific goal-scorer, and although his season is filled with highs and lows, he gets the chance to end it on a high note when he faces off against his brother in the big final. In a bit of irony, “Rudo y Cursi” was written and directed by Carlos Cuaron, with his more famous brother, Alfonso (director of “Children of Men” and “Y tu Mama Tambien”), acting as a co-producer. Carlos’ film is a solid effort with good performances from its cast, but his script doesn’t make you want to care about what happens to his characters. There’s very little rooting interest in his predictable story, especially the ending, resulting in a less-than-satisfying film. Save it for when there’s nothing else worth watching on pay-TV. ** (out of) **** (On DVD) (1/30/10)

“Crazy Heart”: Jeff Bridges stars as Bad Blake, a once-famous country music star whose career is now reduced to stints in dive bars and bowling alleys. His name still rings a bell to a lot of people and proves to be fairly effective for meeting women on the road, but it’s still not enough to keep his head out of a bottle. His life starts to gain purpose again when he meets a free-lance writer named Jean Craddock (Maggie Gyllenhaal). Jean is just looking for an interview, but it isn’t long before this single mom succumbs to the singer’s charms. Despite Bad’s hectic southwestern road schedule (the film is set primarily in Santa Fe, New Mexico), the two find a way to keep each other in their lives, which proves to be both a blessing and a curse for Jean. “Crazy Heart” was written and directed by Scott Cooper, adapting Thomas Cobb’s novel. Cooper’s film also co-stars Colin Farrell as a country music superstar who got his first break as a backup singer Blake’s old band; Robert Duvall as one of Blake’s oldest friends, and Paul Herman (Beansie from “The Sopranos”) as Blake’s manager, Jack. Maggie Gyllenhaal gives a thoughtful performance as the sweet journalist, but “Crazy Heart” belongs to Jeff Bridges. He absolutely embodies the role of Bad Blake. He isn’t acting…he IS Bad Blake. And as much as I loved Colin Firth’s performance in “A Single Man,” it’s Bridges who deserves the Oscar for best actor in a film in 2009. You can almost feel his triumphs and heartaches. “Crazy Heart” isn’t anything we haven’t seen before (including in “Tender Mercies,” also featuring Robert Duvall), but writer-director Cooper does a pretty good job of managing the clichés and he sure knows how to coax a bunch of great actors out of the shells. Recommended. *** (out of) **** (1/25/10)

“Julie and Julia": I’ve always been drawn to a film’s director first -- and its actors second. But there are certain performers that I could watch all day long, even if it’s in a film I wouldn’t normally watch. Amy Adams and Meryl Streep are two examples. I happen to think Adams is fantastic, and, well, Meryl Streep is the greatest actress in my lifetime. You could even stick them in a movie about cooking recipes and I’m still there. But “Julia and Julie” isn’t just about cooking, though that’s the central theme. Julia is the famed cookbook author and celebrity culinary whiz, Julia Child (Streep), while Julie (Adams) is Julie Powell, a New York City office worker and admirer of Child’s cookbook, “Mastering the Art of French Cooking.” Tired of not being able to complete a large task, Julie decides to cook her way through all 524 recipes in Child’s cookbook, vowing to accomplish it in one year’s time. And since this is the 21st century, Julie documents her daily adventures through a blog, which quickly gains her a following and a degree of notoriety. What it doesn’t gain, however, is the entire patience of her husband, Eric (Chris Messina), who loves his wife, but is a little unsettled by how her quest turns into an obsession. But as the title seems to suggest, “Julia and Julie” is also about Julia…Child, whom we view from her beginnings as an anxious culinary student in Paris, all the way up to the trial and tribulations of her attempt to get her cookbook written and published. But apart from the utter charm of her memorable personality, Child’s story is also a lovely romance between herself and Paul (Stanley Tucci), her adoring husband. It’s their marriage that is the highlight of this film, in my opinion. And it’s helpful that they’re portrayed by two great actors with terrific chemistry together (and a far cry from their very different characters in “The Devil Wears Prada”). “Julia and Julie” was written and directed by Nora Ephron, who did an excellent job of balancing the two stories and reining in her very talented cast. Meryl Streep is spot on as Julia Child and Amy Adams is sweet as Julie, but it’s Stanley Tucci who nearly steals the film with his performance as Julia loving husband. “Julia and Julie” is a very good film with charm to spare. Highly recommended. *** ½ (out of) **** (On DVD) (01/22/10)