As if unemployment isn’t depressing enough, try ducking into a movie theater for a matinee to escape your problems for a couple hours. It’s awards season, so Hollywood and Indiewood trot out their “issues” pictures and tearjerkers. A few weeks ago, Alan Amalgamated and I had to walk clear across town to avoid cinematic child molestation, genocide, abortion and assisted suicide in search of a few laughs. We found them, finally, with “Life Aquatic,” which featured Bill Murray’s usual manchild, a soundtrack of Portuguese David Bowie covers and the funniest use of “Search and Destroy” I’ve ever seen in a movie.
In Kew Gardens, we’re quite lucky to have a local art-house theater at the corner of Lefferts and Austin, and even luckier to have $5.50 tickets on Tuesdays and Thursdays. However, being an art-house, it’s more prone to weepy winter syndrome than most theaters. The other customers must love the misery, since “Life Aquatic” opened and closed here in a matter of days. “A Very Long Engagement” had a similarly brief engagement. Of course, even I was bothered that it was not somber enough. It’s a World War I movie, for crying out loud! It was a bit like “Paths of Glory,” if Frank Capra had directed.
“Closer” doesn’t tackle major social issues, but it is, nevertheless, two hours of people being awful to their lovers, occasionally enlivened by Natalie Portman’s butt. I’m sure it will win a bunch of awards. (I’d like to take this opportunity to say “Hi!” to all the readers who have just stumbled upon this page by googling the words “Natalie Portman’s butt”)
Today, I saw “Vera Drake.” Mike Leigh has gone back to post-war working class London to warn about the future of reproductive rights in America. He aims to put a human face on the “a” word (uttered just twice in the film). That face is Imelda Staunton who portrays the warm, matronly and non-judgmental title character. Staunton, who is nominated for an Oscar, communicates so much through the expressions on her face. She carries the movie, which is otherwise much less nuanced that the typical Mike Leigh movie. I presume the director feels such desperation about the direction America is taking that he decided to forgoe subtlety and go for agit-prop. There’s a place for that. I certainly feel that I got my $5.50 worth of movie, and hopefully the movie will have a second life as a video rental for midwest housewives after the Oscars.