Neither a chain of spice stores nor a Food Network program, The Seasoning House is a bleak-as-nuclear-winter thriller set during the Balkan conflict of the 1990s. A deaf girl named Angel (Brit teen Rosie Day) is taken from her home by soldiers who shoot her mother dead.
Paul Schrader’s The Canyons opens and closes with a montage of abandoned movie theaters. For this film in particular, that choice strikes one as symbolic in several ways: not only as a comment on the state of the industry, but on the state of The Canyons itself. You’re unlikely to find many 2013 films this empty.
What's a director of classic musicals doing in science fiction? Making Saturn 3, one of the worst of the genre Hollywood made in the immediate post-Star Wars / Alien era. Stanley Donen (Singin' in the Rain) takes to it about as well as you'd expect; he's in over his head.
Military marksman Col. Jim McQuade (Gregory Hines, Running Scared) is called into top-secret duty to neutralize a surveillance robot gone haywire in San Francisco. It won't be easy, because for one thing, the android is undetectable from a human. For another, it has a built-in nuclear bomb that will detonate upon imminent threat.
I plead guilty: My friends and I have goofed around with a camcorder before and made stupid movies, but we were smart enough to know that no one outside ourselves would think they were funny. If only the makers of Caesar and Otto's Deadly Xmas realized the same.
Melancholia 7:30 p.m. Thursday, 5:30 and 8 p.m. Friday-Saturday, 2 p.m. Sunday Oklahoma City Museum of Art 415 Couch okcmoa.com 236-3100 $5-$8
If you want to watch a painting full of sad people and pretty images, controversial director Lars von Trier (“Antichrist”) has your film.
Playing Thursday through Sunday at the Oklahoma City Museum of Art, “Melancholia” opens with a collection of frightfully slow-moving, albeit captivating images that highlight some of the film’s key events before the first scene, including birds, interesting uses of light and a sci-fi, lightning-from-fingertips shot of Justine (Kristen Dunst, “Spider-Man 3”), the muse of von Trier’s cinematic foray into depression and catastrophic events.
With increasing awkwardness, the first half dissects the institution of marriage as an unnecessary and outdated societal expectation and the traditional rigmarole surrounding it. When first introduced to audiences, Justine is happy and upbeat. Sadly, that’s the happiest you see anyone the entire film.
Upon arrival at her special night, Justine indulges in most odd behavior and grows increasingly uninterested in not only her wedding, but also her doting, somewhat goofy husband-to-be (Alexander Skarsgård, TV’s “True Blood”). Skarsgård nails the role of infatuated lover, expertly dropping his Swedish accent for a transatlantic-meets- Southern drawl.
During an entirely useless “congratulatory” toast to the new couple, a severed familial bond surfaces when Justine’s parents publicly battle — the seed of her sadness. As the grueling reception continues, the comfort level of the audience is clearly not a concern for the filmmaker.
At one point, Justine admits to her mother (Charlotte Rampling, “The Mill and the Cross”) that she’s frightened and begs for words of consolation. Her mother cooly replies, “We all are, sweetie. Just forget about it. Get the hell out of here.”
Accompanied by the hard-hitting sounds of Richard Wagner, the story gives way to stunning looks at life-altering situations. The varying themes behave much like a couple unwilling to compromise.
The second half switches perspective to Justine’s sister, Claire (Charlotte Gainsbourg, “Antichrist”). Married to the quirky, scientific-minded John (Kiefer Sutherland, TV’s “24”), she plays the role of reluctant conformist and struggles with her own bouts of sadness, stemming from the possibility of a world-ending event.
Von Trier mines the depths of depression in light of an impending doom and the coping mechanisms exhibited by each character: Justine with her detached and sometimes paralyzing clarity (as she claims to “know things”), Claire with her pursuit of optimism, and John with science and denial.
Ultimately, you’ll be be left wondering why sadness looks so beautiful, and if what Justine says is true: “Life on earth is evil.”