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.
The Deep Blue Sea 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
Viewers have five chances to see last year’s The Deep Blue Seathis weekend at the Oklahoma City Museum of Art. Don’t confuse it with Deep Blue Sea, the 1999 action movie about sharks. Based on a stage play, this is the film that could use some sharks.
Written and directed by Terence Davies — who performed such duties on 2000’s The House of Mirth and, showing Thursday night at OKCMOA, 1992’s The Long Day Closes — the film announces its dreary, depressing nature right from the opening scene, in which Hester Collyer (Rachel Weisz, Dream House, The Lovely Bones) decides she wants to die. So she writes a note, swallows a dozen pills and drifts off to forever after.
gauzy flashbacks that constitute a majority of the film, we see why:
Hester, the daughter of a vicar, is trapped in a sexless marriage with a
judge several years her senior, Sir William Collyer (Simon Russell
Beale, My Week with Marilyn).
She, however, is in love with Freddie Page (Tom Hiddleston, currently sporting horns as Loki in The Avengers), a Royal Air Force pilot who fought in the Battle of Britain.
loves her, too, thinking her “the most beautiful woman alive.” Luckily,
he tells her, the government “can’t ration love.”
happiness is short-lived, naturally. When William learns of the affair,
he vows never to grant Hester a divorce, yet never wants to see her
again, either. And with Freddie being flighty and full of passion, he’s
far less the dependable, settle-down type that the buttoned-up William
quite have a handle on his own script, as events appear jumbled — you’re
never quite able to detect the flashbacks’ seams, which can be
frustrating. So is the pace, which redefines languid and makes the
recent Melancholia— also about a deeply depressed woman — look like Run Lola Runby comparison.
there’s something he gets right, it’s in allowing us to hear the
details. So hushed are the characters that the crackling fire and
ticking off a clock register at the same volume as Weisz and company.
The blaze in particular bears more personality.
Even an actress as fine as Weisz can’t make The Deep Blue Sea anything
but a well-intentioned bore. No matter who would be in her role, it’s
hard to like a film that presents such a bleak view of love: “You know
what real love is? It’s wiping someone’s ass.”