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04/15/2014 | Comments 0

Knights of Badassdom

In 2008, the third act of the guy comedy Role Models used LARPing — live-action role-playing, that is — as a backdrop for our protagonists' lessons learned. Today, Knights of Badassdom extends that half-hour into a full feature, to the point where viewers are left not smiling, but exhausted. 
04/02/2014 | Comments 0

Switched on

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04/02/2014 | Comments 0

Confession of Murder

Seventeen years after slaying 10 women and getting away with it, the charismatic serial killer Du-sok (Park Si-hoo) comes clean with a Confession of Murder, in this 2012 South Korean crime thriller. He does so by publishing a book that dishes all the grisly details.
04/02/2014 | 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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