Monday 28 Jul

Escape from Tomorrow

With Escape from Tomorrow, one fears the story behind the movie would loom larger than the movie itself. Luckily, that is not the case. After all, it opens with a decapitation on Disney World’s Big Thunder Mountain Railroad roller coaster.
05/06/2014 | Comments 0


William Friedkin spends a lot of time in his 2013 memoir discussing why Sorcerer didn't click with critics and audiences even though he believes it to be better than his previous film, The Exorcist. Now that Warner Home Video has reissued Sorcerer on Blu-ray, we can see what Friedkin's fuss is all about.
04/23/2014 | Comments 0

Broadchurch: The Complete First Season

Welcome to the coastal resort of Broadchurch, population … oh, who can keep track, what will all the corpses? Yes, Broadchurch is yet another British television procedural involving the search for a murderer in a quaint little town, just like the limited series The Fall and Top of the Lake.
04/23/2014 | Comments 0

Paranormal Activity: The Marked Ones

Essentially part five in the ridiculously profitable horror franchise, Paranormal Activity: The Marked Ones continues the found-footage conceit of the other films. The difference is instead of the scares taking place in rich white suburbia, they do so in a junky apartment complex on a largely Latino side of Oxnard, Calif.
04/23/2014 | Comments 0

Holy Ghost People

Holy Ghost People examines two sisters whose bond is torn — but by what? After her sibling has been missing for more than a year, Charlotte (Emma Greenwell, TV's Shameless) intends to find out.
04/15/2014 | Comments 0
Home · Articles · Movies · Drama · Renoir


Pretty as a picture.

Rod Lott May 22nd, 2013

7:30 Thursday, 5:30 and 8 p.m. Friday-Saturday, 2 p.m. Sunday, through June 2
Oklahoma City Museum of Art
415 Couch

It’s not often we get a biopic about one of the master painters, perhaps because the only thing more boring than watching paint dry may be watching someone apply it.

Pierre-Auguste Renoir, however, had a rather bawdy explanation of his brush-stroke method, according to the film Renoir. It’s one we can’t print. Hear for yourself when Renoir begins a two-weekend run Thursday at, fittingly, the Oklahoma City Museum of Art.

Directed by Gilles Bourdos, the 1915-set French film captures the Impressionist painter (Michel Bouquet) near the end of his life. Widowed, withered and wheelchair-bound, he spends his days painting nudes outdoors on the French Riviera and his nights racked by severe arthritic pain.

His latest model is the young, spirited Andrée (Christa Théret), whose reclining, unclothed body before him enchants the old man: “What interests me is skin,” he says. “Velvety skin.” She more so enchants his son Jean (Vincent Rottiers), who one day hobbles home on crutches with a war injury.

Slowly and methodically, like Bourdos’ ever-moving camera, the focus shifts to this latter coupling, as Andrée inspires Jean to be the filmmaker he wants to be (and would be, responsible for such classics as Grand Illusion and Rules of the Game).

In doing so, Renoir becomes a dual biopic, depicting the twilight of one master and the dawn of another. With Bourdos doing his best to match the painter’s color palette, the film looks lovely, but comes up short on dramatics.

Save for its Kleenex-worthy ending, the movie is more a story about creative style than familial strain. As the elder Renoir tells the younger, “You can’t explain a painting; you have to feel it. If those [nude models] don’t make you want to caress them, you’ve understood nothing at all.” —Rod Lott

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