This 2005 flick, written and directed by Adam Rapp, is mostly unentertaining and slightly annoying.  While the film immediately works to portray a melancholy, alternative-lifestyle-feel, it merely comes off as trying to be artsy, rather than actually containing any elements that would actually make it an art film.

 Zooey Deschanel who gave stellar performances in films such as The Good Girl (2002), Eulogy (2004) and The Hitchhiker’s Guide to the Galaxy (2005), stars in Winter Passing (2005), but falls far from the cinematic tree she earlier climbed so high in.  Deschanel plays Reese Holden, the daughter of Don Holden (Ed Harris), a famous, yet reclusive writer who has hidden some manuscripts very desired by the literary world.  After the death of her mother and an emotional separtion with her father, Reese is offered a large sum of money to obtain and release the manuscripts.  As a struggling actor, Reese accepts and ventures home only to find that everything she knew about ‘home’ has changed.

So many elements of this film fail to work.  The character psychology is lacking and the performances are just blatantly unbelievable.  As a usual fan of Ed Harris, I found myself very befuddled and equally dissapointed with his strange bearded character; it merely seemed like a facade to hide his very flat, unfaceted acting.  Will Ferrell even makes an appearance as Corbit, Don Holden’s live-in (friend?).  As he was clearly enlisted as comic relief, he does this in his usual confused, unattached way, but even this doesn’t work for me, it simply falls flat.  We learn almost nothing about Corbit throughout the film and his believability is on par with Maggie Smith in a Sci-Fi flick, it is just so unlikely.   As the film slowly moves to transform Reese and give her a new perspective on the world, you just don’t care by the middle of the film what happens to her and by the end, can you even imagine?

The film just goes nowhere.  Reese Holden is full of angst and confusion, but it just does not pull you in like its meant to.  I lost interest throughout the course of the film and found myself looking at my watch, a tell-tale sign of a bad movie.  I do wish I could get that time back and at the same time ask Adam Rapp why it was so necessary to invest in Winter Passing.  Maybe there is some emotional attachment, or some real-life experience projected in this film by Rapp.  But if this is the case, what a boring experience it must have been, and to be honest, I’m surprised he even remembers, because Winter Passing is truly forgettable.

If you enjoyed Thomas McCarthy’s beautiful 2003 film, The Station Agent, I certainly would not let his most recent film, The Visitor, slip through the theatres without seeing it first. This film, starring Richard Jenkins, is touching, vocal and ultimately meaningful, providing realistic and believable performances.

This film follows a lifeless professor through the strains of his everyday–a life that we quickly understand no longer has meaning or prowess. As we reluctantly watch him drown in the sorrows of his own repetition, the viewer cannot help but attach themselves to his life, hoping that over the course of the film he will find passion and beauty in something–anything.

Through a real estate mix-up, Walter befriends an immigrant couple who briefly inhabit his apartment along side of him. Though this relationship is appropriately awkward and uncomfortable, Walter’s love for music manifests itself in his new roommate’s African drum and one cannot help but become involved in this unlikely partnership. Partly about music, but more about unjust social policies, this film concentrates its well-spoken commentary on immigration in America. The film is not completely austere however, The Visitor comes complete with a muted taste of humor. Be it sublte and sharp, McCarthy does not take himself too seriously, allowing a wide array of viewers a chance to enjoy it.

Though the story may unfold slowly for some, the film works to come full circle at the end, so if you do lose interest, by the end you will have forgotten why. Aside from the eloquent narrative, it is refreshing to stray from the ever-present college hipster film and move toward a film that focuses on the middle-aged man and his journey through life. The Visitor is beautifully presented with more action than talk and the camera work lends a hint of realism, reasonably appropriate for the theme. The performances are pleasing and though the characters’ motivations sometimes seem to move at the speed of honey, the poignant nature and heart-felt performances really make you believe in what you are watching and may even change any preconcieved notions of immigration policies you may have. This film is expressive and important–definately worth the money to see in the theatre.

The new British comedy, Son of Rambow, directed by Garth Jennings and written same duo who gave us the brilliant and innovative Hitchhiker’s Guide to the Galaxy, have done it yet again.

Set in a 1980s British village, Son of Rambow follows two young boys who form an unlikely friendship. William (Bill Milner), a member of the Plymouth Brethren religion, is not allowed to indulge in any sort of media, including movies and music and is sent out of the classroom any time a film is shown.  As he is tormented, then slowly befriended by the cheeky troublemaker Lee Carter (Will Poulter), the boys’ difficult home life is what ultimately brings them together and when William catches a glimpse of Stallone in all his glory, his life is transformed and this friendship is forever sealed. Along with Didier (Jules Sitruk), the too-cool French exchange student, the boys attempt to make their own rendition of the ultimate action film, First Blood, leading to a surprising and fantastical plot.

These non-professional child actors are refreshing and quick-witted and the dialogue is snappy giving it the refreshing feeling of improvisation; this is what makes the film so special, it is sufficient, sentimental and honest . The sincerity of the acting is what gives Son of Rambow such an interesting twist that is so hard to find these days in the cinematic world and the pure-hearted nature of the comedy will keep you interested and entertained the length of the film. With fantastic use of animation, perspective and perfect pacing, Son of Rambow uses its British-ness to poke fun at the French and even themselves. In a recent Q&A I personally attended with the director and writers, they revealed that much of the story was taken from instances in their childhood and was based on their notions of growing up in England, showing that though anyone could write a script similar to this, nobody could execute it as precisely as they. This light-hearted comedy is insightful and mature, yet by the end brings out the child in each of us. I have a sneeking suspicion it will not receive the praise it truly deserves and for this alone, I highly reccomend seeing this film.

This title suggests everything I’m thinking. Why can’t we let Juno go? Don’t get me wrong, I really did enjoy this film. Aside from the pompous high-schoolers and ridiculous slang, this film was really “cute,” but why can’t everyone just stop talking about it and enjoy other, more important films all around us; Juno does not stand alone. This film that I call a ‘hipster flick,’ just did not carry the plot solidly, but instead captured audiences because of Juno’s martyrdom; giving her child away and the ultra-cool essence that makes her so different. She can play a few chords on the guitar and even wears (are you ready?)–sweater vests! How unique. The cliche nature of the whole school misunderstanding her the way she thinks she should be understood got really old over 90 minutes, but this is just one element of the film.   Even worse, I can only imagine 15 year old girls strutting around their highschool campuses proud to show off their Juno-like pregnancies, a notion that is utterly disturbing and outwardly possible. Besides, if we all want to be like Juno, doesn’t that make us all the same? The arrogance carried in Ellen Page’s acting, Diablo Cody’s writing and the overall dialogue in the film is almost too much to stomach and makes me want to tell them all to just bite me.  For me the cake was taken by Jason Bateman and Juno’s parents comedic instances and frankly, the film would be unbearable without. Though I understand the way in which the film tried to establish Juno’s character as someone we walk away truly caring about, I just did not get this. And now, we can’t discuss today’s films without someone asking “Did you see Juno? Oh, that was SO cute!” Let’s be real. Just because a film is trendy does not mean it’s a masterpiece.  Take a deep breath.  Let it go.  Just stop talking about Juno already.  Please?

Writer Christopher Hampton’s adaptation of Ian McEwan’s novel, Atonement, is simply stunning. Starring Kiera Knightley and James McAvoy as lovers separated by class, this English romance will have you wondering if you will ever find love like these characters do. Set in the leisure of 1940s England that is interuppted by war, a girl too young to understand anything about love or sex makes a terrible mistake that will haunt her for the rest of her and the young lovers’ lives. Separated by lies and the violence of war, the young couple will keep you stuck to the screen as you anticipate what will happen next. The cinematography is simply stunning and the various perspective and shifting point of view is simply brilliant, but if you long for linear narratives, Atonement may not be for you. Keep your eyes open for constant symbolism, foreshadowing and do not miss director Joe Wright’s five minute shot of the troops on the beaches of France–this is simply stunning. Writer Christopher Hampton, often known for his British hertiage films, did a remarkable job combining the very essence of romance, the destruction of war and the meaning of leisure tainted by human corruption. Do not miss this film that reveals subtle touches of Harold Pinter’s The Go-Between and Anthony Minghella’s Cold Mountain in the most beautiful, heart-wrenching way.