‘enough Said,’ ‘rush’ And Other New Movies, Reviewed

Rush, starring Chris Hemsworth, reveals something about the male ego through its main characters, and Blue Caprice depicts the tragic true story behind the D.C. sniper shootings, though the film doesn’t dig deep enough, according to Hornaday. Divorced parents Albert (James Gandolfini) and Eva (Julia Louis-Dreyfus) explore middle-age romance in Enough Said. (Photo by Lacey Terrell/Fox Searchlight via Associated Press) Enough Said (PG-13) Like the best romantic comedies of Hollywoods Golden Age, Holofceners film zings and pops with hilarious dialogue (‘What the hell is chervil?’ Eva snorts after Marianne lovingly gives her fresh herbs from her perfectly un-manicured garden), but also gets to the heart of human nature: in this case, the lengths people go to in order to fill their empty spaces, and how lovable foibles become intolerable flaws. Ann Hornaday Rush (R) As much escapist fun as ‘Rush’ is as an adrenaline-juiced car-race movie, its most interesting as a rare depiction of male vanity, how physical attractiveness informs self-worth and potency, and the role beauty so often the sole purview of women on screen plays in mens relationships and personal insecurities. Ann Hornaday Inequality for All (PG) this film avoids the familiar impartial-arbiter mode of documentary filmmaking and adopts a single perspective as its own. (Viewers will not, in other words, hear from any Gordon Gekko types arguing that wealth belongs to those who can take it.) Both films pair bits of biographical color with footage of well-polished lectures, bringing in just enough outside material to make them feel like real movies. John DeFore Blue Caprice (R) As admirable as Moorss oblique style is, though, Blue Caprice doesnt offer the sense of catharsis or closure, let alone new information, that makes it more than a cold, if disciplined, directorial exercise. Muhammad, who was executed in 2009 , and Malvo, who is serving a series of consecutive life sentences , remain enigmatic, remorseless figures, their depravity never deeply examined past their emotional problems and psychological ills. Ann Hornaday Don Jon (R) The only real down side of Don Jon is the extreme vulgarity, especially early on. Its easy to imagine that some of Jons audacious admissions could alienate certain audience members, and it would be a shame if the outrageousness overshadowed the movies thoughtful revelations and surprisingly sweet heart. Stephanie Merry Baggage Claim (PG-13) Theres so much wrong with Baggage Claim from its outdated story line and similarities to the dreadful Whats Your Number to Talberts clumsy, flat-screen directing that its all the more surprising when things go right. But it would be unfair to deny that it doesnt provide its own modest, sometimes outright hilarious, pleasures. Ann Hornaday Cloudy With a Chance of Meatballs 2 (PG) But instead of upping the ante, as so many sequels do, Cloudy 2 merely gets the band back together including perky weather girl Sam Sparks (Anna Faris), immature bully Brent (Andy Samberg) and Flints level-headed father (James Caan) for a repetitive mission that calls to mind multiple beats from the first movie. Sean OConnell Metallica Through the Never (R) Thanks to wireless instruments, guitarists James Hetfield and Kirk Hammett and bassist Robert Trujillo are highly mobile, and even drummer Lars Ulrich moves around a lot. They interact with other performers in scenarios that appeal to some metalheads taste for carnage and destruction. The last staged catastrophe seems rather tasteless, but it turns out to be a clever setup for the back-to-basics finale. Mark Jenkins Haute Cuisine (PG-13) Frot manages the tough trick of playing someone whos both standoffish and likable. Hortense isnt easily amused or benevolently quirky, the way so many female characters can be. Shes serious, but her passion for recipes and fresh produce proves appealing. “Haute Cuisine” also strays from the typical formula because its devoid of a romantic subplot. Stephanie Merry The Trials of Muhammad Ali (Unrated) Bill Siegels The Trials of Muhammad Ali reminds us, though, that the boxer fought significant battles outside of the ring, as well. And in doing so, Trials educates casual boxing fans about the unexpected political, religious and social strife Ali encountered and largely brought upon himself during a tumultuous time in our nations racially divided past. Sean OConnell You Will Be My Son (R) It would be easy to make a movie pitting Paul, the deadbeat dad, against Martin, the long-suffering descendant who deserves his multimillion-dollar inheritance. But director Gilles Legrand, who co-wrote the script, opts for a more difficult and satisfying approach. Paul is unabashedly cruel, but Martin acts insufferably childish. Stephanie Merry Zaytoun (Unrated) As the most immediate dangers subside, the film addresses increasingly sentimental concerns: Yonis pregnant wife awaits his rescue; Fahed carries an olive sapling his father dreamed of planting near their old house. John DeFore Newlyweeds (R) The audience Newlyweeds will appeal to most is film buffs who are always on the lookout for bright young things because this movie has them.

Cancer Portrayed Too Grimly in Movies, Study Suggests

His books, not to mention his tweets, can be gratuitously graphic. But director Mary Harron managed to morph his story into a terrifically transgressive story, lauded by both critics and academics. We think the casting may be to thank for this one. “The Shining” This is an incredible book, with an equally incredible sequel (you can read an excerpt from “Doctor Sleep” here). But Jack Nicholson’s performance, along with the eerie soundtrack and creepy-as-hell shots of identically-dressed children makes this film a classic. The book, on the other hand, is not King’s most critically acclaimed. “Precious” Sapphire’s book is inventive, to be sure: protagonist Precious begins writing when she’s semi-illiterate, and uses phonetic spellings. But the film, co-produced by Tyler Perry and Oprah, was an excellent platform for Gabourey Sidibe’s acting. “Drive” The neo-noir novel is great, but could get lost among a sea of other well-written pulp fiction books. The movie, on the other hand, is unique: It’s at once campy and subtly touching. And, okay, it’s also Ryan Gosling at his best.

12 Movies That Are Just As Good As The Books They’re Based On

21 (HealthDay News) — Movies rarely portray a cancer patient’s chances of survival accurately and need to show audiences that a cancer diagnosis is far from always a death sentence, a new study suggests. Researchers analyzed 82 movies that center on a person with cancer — including “Cat on a Hot Tin Roof,” “Gran Torino” and “Diary of a Country Priest” — and found that the cancer experiences depicted in the films were quite different from the truth. The investigators found that cancer patients died in 63 percent of the movies. The most frequent treatments mentioned in the movies were chemotherapy and pain relief. Cancer symptoms were mentioned in 72 percent of the movies and diagnostic tests were mentioned in 65 percent. The findings were scheduled for presentation Thursday at the European Society for Medical Oncology meeting, in Vienna. “Nowadays, cinema is confronting the most important issues for oncological disease, which were mostly absent in the earlier days of cinema,” Dr. Luciano De Fiore at Sapienza University of Rome, said in a society news release. “Cancer is no easy matter to portray, and seeing it in a movie gives the audience a chance to give voice to their emotions. This is useful for the sharing of cancer care, from personal or familiar problems to issues of collective relevance.” However, the movies tend to offer a bleak outlook for cancer patients. “Very often the ill person doesn’t get over the disease and his death is somehow useful to the plot’s outcome. This pattern is so strongly standardized that it persists in spite of real progress of treatments,” De Fiore said. Some common types of cancer — such as breast cancer — were barely represented in movies, the researchers found, while depictions of lymphomas, leukemia and brain tumors predominated. De Fiore suggested there is an “educational gap” in movies’ depiction of cancer.