Ned Benson’s somber relationship drama, The Disappearance of Eleanor Rigby, is not a mystery despite the title, though it’s plenty puzzling. The version reviewed here, Them, is an edited combination of what was originally two separate films, Him and Her. It flips back and forth between our two players Conor (James McAvoy, donning an unconvincing American accent) and Eleanor (Jessica Chastain, all pale grief and feigned smiles) as their marriage disintegrates, but it never plays its gimmick out with the obvious one scene played twice from different points of view gag. That may have actually made the film a bit more interesting, though it would’ve also added to the film’s already burdensome two-hour-plus runtime.
After surviving a leap from a bridge, Eleanor moves back in with her parents (William Hurt as the stereotypical soft-spoken bearded professor and Isabelle Huppert as a drunk French former violinist) and single-mom sister (a likable Jess Weixler, who it would’ve been nice to learn more about), while taking a class on the theory of identity taught by a bitter but wise woman (Viola Davis). Meanwhile, Conor is moping around his failing restaurant, lashing out at customers and his best friend/chef (Bill Hader) and moves back in with his recently thrice divorced and overly philosophical father (Ciaran Hinds, always good). Slowly but surely we find out the real reason behind the break-up and their decent into the spiral of grief (hint: it’s not just about losing each other), and it is indeed tragic and hangs a pall over the whole family, not just our protagonists.
The film is filled with talking it out and philosophical ponderings espoused by really good performers. In lesser acting hands, the film would’ve been an outright mess. The characters speak dialogue sincerely as if read from discarded Felicity-era WB melodramas and self-help books.
Is this the conference room at the heart of British Intelligence or a middle rung in Dante's hell?
During the height of the Cold War, a botched extraction in Budapest forces the head of British Intelligence (John Hurt as Code Name: Control) to resign, and “The Circus” goes through a house cleaning. Not content with a forced retirement, veteran spymaster George Smiley (Gary Oldman, in a devilishly subtle performance) becomes determined to weed out the alleged mole at the top of The Circus. It slowly becomes clear that Smiley is involved in a master chess game against a Soviet counterpart named Karla (who remains mysteriously just off-screen) – a man he failed to turn years earlier and who knows Smiley’s one weakness. The biggest mystery isn’t the identity of the mole but which of these master craftsmen in the world of espionage is going to pull a check mate on the other.
Ah, John le Carre – no one does wearisome white-knuckle ennui quite like the anti-Ian Fleming and successor of Graham Greene in the foggy world of thinking men’s spy novels. Think of this new film adaptation of his 1970’s classic, Tinker Tailor Soldier Spy (representing the code names given to those under watch) as The Usual Suspects for senior citizens. Continue reading →
Oscar-winner Helen Mirren is at the point in her career where she is an institution in the world of acting. Actresses occupying this rarefied air (like Streep) generally will pick roles either for fun or to win awards (though they would never admit to that). Whether doing it for fun or for serious posturing, Mirren’s name instantly adds a sense of class and gravitas to any film she stars in. This past Labor Day weekend, movie-goers could see The Helen Mirren in two puzzling films, Brighton Rock and The Debt.
Helen Mirren in BRIGHTON ROCK
Helen Mirren in THE DEBT
***POTENTIAL SPOILERS AHEAD – Read With Caution***
First up is Brighton Rock. Whether you view it as a remake of the 1947 quasi-classic (of which I wasn’t a big fan) or as a different adaptation of Graham Greene’s classic 1937 novel (which I loved and count among his best)…the film has no reason to exist, which isn’t to say it’s all that bad. Director Rowan Joffe lays on the atmosphere thickly, and for the most part the film is engaging enough. The seedy underbelly of England’s seaside resort town of Brighton is brought to life in grand fashion with nice production values, moody lighting and ominous waves crashing underneath the pier, though there is a rather oppressive music score to accompany it. Continue reading →