In Review: The Harder They Fall

The corpse of the western has been resuscitated in umpteen cinematic attempts in the decades since its fading from popular culture, but the rare case for not leaving the dead to rest in peace arrives in the debut feature from Jeymes Samuel, The Harder They Fall. The title may be overly vague and the film may exist in the genre most ridden with lazy cliches, but neither foretell the film’s distinct delights. Pushing the pulpiest benchmarks of genre toward ultra modern pop ebullience, Samuel sculpts a tale of crime and virtue to attempt to make us see the western in new light. While that may not be entirely achieved, he still thrills us in the meantime.

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In Review: The Electrical Life of Louis Wain

The other other Benedict Cumberbatch movie of the fall season, The Electrical Life of Louis Wain, is perhaps the kind of film we might have expected from the star a decade ago. Here he stars as the titular famed artist in the kind of flowery biopic crafted with an aesthetic just left of center, the kind that has influences from Tim Burton to Julie Taymor to Richard Attenborough. It is the sophomore feature directing effort of Will Sharpe (also sharing screenwriting duties with Simon Stephenson), who brings a great deal of stylish panache to the proceedings. But in capturing a turbulent life, Sharpe delivers an uneven biopic.

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In Review: The Last Duel

Another violent period epic of machismo from Ridley Scott is at hand, but this time, he is adding shades to the dour palette. Bestowed from the unexpected writing collaboration of Matt Damon, Ben Affleck, and the great Nicole Holofcener, The Last Duel centers on the 14th century tale of Marguerite de Carrouges (Jodie Comer) and her rape at the hands of Jacques Le Gris (Adam Driver). It’s a recipe for much of what we have seen before from the technically prolific director, but this pairing of disparate creatives arrives ready to bring out new notes from each of its collaborators.

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In Review: Bergman Island

After the misfire of Maya, a downbeat drama of cultural tourism still awaiting US distribution, Mia Hansen-Løve returns victorious with a film that matches her observational and emotionally intelligent approach with her most ambitious narrative threading yet. Miraculous in mysterious ways, Bergman Island is a return to peak form for the auteur, one that begins with deceptive modesty before steadily exhaling its ideas. Heady but without the emotional remove that such descriptors would imply, Hansen-Løve manages to make a deep and tender film about romance, art, and the subjectivity inherent to experiencing them. It’s simply a wonder to behold.

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In Review: The Night House

Look, between David Bruckner’s new supernatural thriller The Night House and Sean Durkin’s unsettling psychological character study Martha Marcy May Marlene, I think I’m all set on ever visiting the Catskills. But while Durkin used the environment to set a mood with just a dash of horror, Bruckner’s effort is much easier placed within the genre’s safe zones. And there are many other horror films that it will make you remember. Set in the idyllic lakeside of the New York woodlands, The Night House has terror lurking just beneath its beautiful surface, and delivers some spunky atmospherics that diminish the basicness of some of its genre conventions.

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