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Academy Award® nominee Javier Bardem is Uxbal, a man on the wrong side of the law who struggles to provide for his children on the dangerous streets of Barcelona. As fate encircles him, Uxbal learns to accept the realities of life, whether bright, bad â€" or biutiful â€" in this unforgettable Academy Award®-nominated film from director Alejandro González Iñárritu (
Amores Perros,
21 Grams and
Babel).A heartbreakingly direct performance by Javier Bardem anchors
Biutiful, a film from Mexican auteur Alejandro González Iñárritu (
Babel,
21 Grams). Uxbal (Bardem) is not an admirable man: he's a criminal middleman, helping human traffickers and illicit street p! eddlers in Barcelona. But in the thick of his corrupt and compromised world, Uxbal strives to do some modest good: he demands heaters for the cold basement where illegal Chinese laborers sleep and he carefully scrapes together money for his children, whom he deeply adores. On top of all this, Uxbal can commune with the recently dead, and tries to pass on reassurance to the bereaved. When Uxbal himself is diagnosed with severe cancer, he desperately tries to leave behind something better for his children. This plot summary paints a bleak picture, and there's no question this is--much like Iñárritu's other films, including
Amores Perros--an emotionally harrowing experience. But
Biutiful is also visually rich and deeply humane, and holds moments of grace that can only be found in sadness and loss. The entire cast brings a fullness of life to all of the characters, no matter how briefly they appear, but Bardem almost never leaves the screen and carries the movie! with magnetic force.
--Bret FetzerAcademy Award® nomi! nee Javi er Bardem is Uxbal, a man on the wrong side of the law who struggles to provide for his children on the dangerous streets of Barcelona. As fate encircles him, Uxbal learns to accept the realities of life, whether bright, bad â€" or biutiful â€" in this unforgettable Academy Award®-nominated film from director Alejandro González Iñárritu (
Amores Perros,
21 Grams and
Babel).A heartbreakingly direct performance by Javier Bardem anchors
Biutiful, a film from Mexican auteur Alejandro González Iñárritu (
Babel,
21 Grams). Uxbal (Bardem) is not an admirable man: he's a criminal middleman, helping human traffickers and illicit street peddlers in Barcelona. But in the thick of his corrupt and compromised world, Uxbal strives to do some modest good: he demands heaters for the cold basement where illegal Chinese laborers sleep and he carefully scrapes together money for his children, whom he deeply adores. On top of all this, Uxbal can co! mmune with the recently dead, and tries to pass on reassurance to the bereaved. When Uxbal himself is diagnosed with severe cancer, he desperately tries to leave behind something better for his children. This plot summary paints a bleak picture, and there's no question this is--much like Iñárritu's other films, including
Amores Perros--an emotionally harrowing experience. But
Biutiful is also visually rich and deeply humane, and holds moments of grace that can only be found in sadness and loss. The entire cast brings a fullness of life to all of the characters, no matter how briefly they appear, but Bardem almost never leaves the screen and carries the movie with magnetic force.
--Bret FetzerBlue Valentine is the story of love found and love lost told in past and present moments in time. Flooded with romantic memories of their courtship, Dean and Cindy use one night to try and save their failing marriage. Ryan Gosling and Michelle Williams star in thi! s honest portrait of a relationship on the rocks.Love blooms a! nd dies at the same time in the delicate dance between Oscar nominees Ryan Gosling (
Half Nelson) and Michelle Williams (
Brokeback Mountain). Gosling's Dean, a high-school dropout, works for a New York moving company. While relocating a frail widower into a retirement home, he spots Cindy, a nursing student who's visiting her grandmother, but the film actually begins six years later. Married with a daughter, they live in rural Pennsylvania. Heavy drinker Dean's looks are fading, while Cindy still turns heads. In his elegantly constructed second feature, writer-director Derek Cianfrance pirouettes between past and present, with each scene commenting on the next (set to the bittersweet tones of Brooklyn band Grizzly Bear). The Dean of the early years pursues Cindy, who resists at first, but a spontaneous date ends with her tap dancing (badly) and him singing (not so badly). She leaves her domineering boyfriend (Mike Vogel) for this attentive stranger, leading to scenes of! intimacy that are far more suggestive than pornographic--even if the MPAA briefly rated the film NC-17. Later, when the family dog goes missing, the cracks in their marriage intensify, so Dean arranges for a night of romance, which plays out like a negative image of their first date. If the two actors, who are very good, are meant to carry equal weight, Gosling has the more difficult task. It's harder to like the clingy, insecure Dean, who loves more intensely and less wisely, but that makes Gosling's the braver performance.
--Kathleen C. FennessyBEFORE NIGHT FALLS - DVD MovieBased on the posthumously published memoir by Cuban poet Reinaldo Arenas,
Before Night Falls is artist-director Julian Schnabel's second exercise in artist biography, but where Schnabel's earlier film
Basquiat was relatively conventional, this film is bolder in both style and execution. Schnabel is perhaps too enamored of his subject as a noble martyr, lending the film a somewhat ! inflated sense of importance. Still, it's rare to see an artis! t's life and work so elegantly interwoven, and
Before Night Falls uses all of Arenas's life as its canvas, from impoverished youth to lively gay freedom in mid-1950's Cuba; imprisonment during Castro's antigay regime; and to New York City in 1980, followed by Arenas's battle with AIDS and subsequent suicide (depicted here as assisted) in 1990.
Through these extreme rises and falls, Arenas is always writing, his typewriter his most faithful lover and weapon (by way of smuggled manuscripts) against the dark forces that surround him. As Time magazine's Richard Corliss wrote, Arenas is "a serious actor's dream role: to be a gay Jesus in a modern Passion Play," and Javier Bardem--the first Spanish actor to receive an Oscar nomination--inhabits the role with subtle ferocity, charting this emotional odyssey with outer reserve but blazing infernos of internal passion. And while Schnabel suffers from a hyperactive camera, there's poetry here--visual, dramatic, and literal-! -and vibrant humor to temper the deep tragedy of Arenas's life. Schnabel also uses his actor friends to good advantage: a nearly unrecognizable Sean Penn adds an ironic touch to his brief appearance as a peasant, and Johnny Depp is both funny and fearsome in dual roles as a drag queen and vicious army interrogator. --Jeff Shannon AMORES PERROS - DVD MovieAmores Perros roughly translates to "Love's a bitch," and it's an apt summation of this remarkable film's exploration of passion, loss, and the fragility of our lives. In telling three stories connected by one traumatic incident, Mexican director Alejandro Gonzalez Inarritu uses an intricate screenplay by novelist Guillermo Arriaga to make three movies in close orbit, expressing the notion that we are defined by what we lose--from our loves to our family, our innocence, or even our lives. These interwoven tales--about a young man in love with his brother's pregnant wife, a perfume spokeswoman and her married l! over, and a scruffy vagrant who sidelines as a paid killer--ar! e united by a devastating car crash that provides the film's narrative nexus, and by the many dogs that the characters own or care for. There is graphic violence, prompting a disclaimer that controversial dog-fight scenes were harmless and carefully supervised, but what emerges from Amores Perros is a uniquely conceptual portrait of people whom we come to know through their relationship with dogs. The film is simultaneously bleak, cynical, insightful, and compassionate, with layers of meaning that are sure to reward multiple viewings. --Jeff ShannonTrue Grit is a powerful story of vengeance and valor set in an unforgiving and unpredictable frontier where justice is simple and mercy is rare. Mattie Ross (Hailee Steinfeld), is determined to avenge her father's blood by capturing Tom Chaney (Josh Brolin), the man who shot and killed him for two pieces of gold. Just fourteen, she enlists the help of Rooster Cogburn (Academy Award® Winner Jeff Bridges), a one-eyed, trigger! -happy U.S. Marshall with an affinity for drinking and hardened Texas Ranger LaBoeuf (Academy Award® Winner Matt Damon) to track the fleeing Chaney. Despite their differences, their ruthless determination leads them on a perilous adventure that can only have one outcome: retribution. A 14-year-old girl needs a man with "true grit" to help her bring in the fugitive who killed her father. That she settles on Rooster Cogburn--a one-eyed, booze-soaked, potbellied U.S. marshal on the downward curve of his career in law enforcement--is the glorious springboard for all versions of True Grit: the Charles Portis novel, the 1969 western that won an Oscar for John Wayne, and the 2010 Coen brothers adaptation. The Coens have some mighty shoes to fill in their version, and their choice for the eye-patch is Jeff Bridges, who growls his way through an understated take on Rooster. Matt Damon plays LaBoeuf, the Texas Ranger who joins the hunt; Josh Brolin is the scurvy killer; and B! arry Pepper is the leader of the outlaw gang. Working as usual! with ci nematographer Roger Deakins, the Coens exhibit their clear, crisp view of western places, thrillingly creating new takes on recognizable vistas such as the frontier town, the snowy forest, and the isolated cabin at night. The Coens revel in the incredibly ornate dialogue, which allows their sardonic attitude to bleed into the material--young actress Hailee Steinfeld doesn't seem at all fazed by the language, which may be a key reason she got the job as heroine Mattie Ross. While True Grit doesn't have the heft of the best films in the Coens' arsenal (there's something very formal and even a wee bit academic about their stroll through this familiar text), they do create a pleasant sense of a good yarn, retold around the campfire for the umpteenth time. --Robert HortonThis is the extraordinary story of Becca and Howie. Eight months ago, they had a picture-perfect life with their young son. Now, they are posing as normal in the wake of an enormous loss; blindly lo! oking for footing in a sea of new emotions. This is the remarkably moving journey of a couple finding their way back to love.What happens after the unthinkable happens? Rabbit Hole, based on the Tony-winning play by David Lindsay-Abaire and deftly directed by John Cameron Mitchell, slowly reveals the answer: something else unthinkable. Rabbit Hole is a moving, dark character study of what happens to a happily married couple, Becca and Howie (Nicole Kidman and Aaron Eckhart), who suddenly lose the love of their life, their 4-year-old son. As in real life, the grief portrayed in Rabbit Hole takes peculiar twists and turns, and the deep sorrow and tragedy of the story is leavened by dark humor--much of it coming from Kidman. While Rabbit Hole is not an upbeat film, it's emotionally resonant in the ways of some of the best films on similar subjects--like Ordinary People, Revolutionary Road, In the Bedroom. Both Kidman and Eckhart! bring true humanity to roles that could have been one-dimensi! onal. Ki dman, especially, rejects the platitudes offered by the grievance support groups and well-meaning friends. When one acquaintance explains the loss of her own child as, "God needed another angel," Kidman's Becca snaps. "Then why wouldn't He have just made another angel? He's God, after all. Why not just make another angel?" The beauty and power of Rabbit Hole comes from showing how Becca and Howie make it back to a life they can bear--and, just maybe, to each other. The excellent supporting cast includes Sandra Oh (another member of the support group) and Dianne Wiest as Becca's mom, who's been through something similar. Everything about Rabbit Hole feels genuine, almost delicate, from the cinematography to the gentle but extremely moving score. Rabbit Hole is one of the most moving dramas and one of the saddest films a viewer will feel gratified to embrace. --A.T. HurleyAcademy Award nominee Javier Bardem (Before Night Falls) delivers a pow! erful and sensitive portrayal of a quadriplegic who fights to win the right to end his life with dignity. Based on a true story.
DVD Features:Audio Commentary:Director CommentaryDeleted Scenes:Documentaries:"A trip to The Sea Inside" Making-ofStoryboards:Theatrical Trailer:
Winner of the Academy Award for Best Foreign Language Film of 2004,
The Sea Inside is a life-affirming film about a man who wishes to die. That may seem like a massive contradiction, but in the hands of director Alejandro Amenábar (
Open Your Eyes,
The Others) and actor Javier Bardem (
Before Night Falls), this fact-based Spanish drama concerns the final days of Ramón Sampedro, the quadriplegic poet who waged a controversial campaign for his right to die. He was denied this right for 30 years, and ultimately arranged for his own assisted suicide, but this remarkable film--and Bardem's keenly intelligent performance--examines the ! hotly-debated issue of assisted suicide with admirable depth a! nd human ity, just as Sampedro did until his death in 1998. For Sampedro, death was preferable to severe paralysis (he even refused to use a wheelchair), but the film does not suggest a "disposable" attitude toward disability. Instead, it's a thoughtful meditation on life and love as gifts to be cherished, and a challenging drama that begs each viewer to examine their own personal beliefs about what makes life worth living. You may not agree with Sampedro and his ultimate denial of life, but
The Sea Inside will urge you to ponder how you would react under similar circumstances, and that makes it a profoundly meaningful film.
--Jeff Shannon
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