Edinburgh

Nun of the Above

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Sundance Institute

MOVIE REVIEW
The Little Hours (2017)

Watching Aubrey Plaza shout at people ranks high on my personal list of reasons to turn out for movies, only slightly behind the joys of Tracy Letts being cruel and vindictive. In "The Little Hours" she shouts and swears like a stevedore, a raucous deadpan dynamo restrained by a 14th century nun's habit and wimple in the same way that a tin can constrains an atom bomb. Jeff Baena's film transfers a bunch of thoroughly modern comics — Ms. Plaza, Molly Shannon, Nick Offerman, Kate Micucci, several others — to Middle Ages Tuscany with their vocal patterns and wry exasperations intact, for a tale sliced out of Giovanni Boccaccio's "The Decameron" that drips with frustrated desire and the sins of the flesh. Hit or miss, it's at least a reminder that American sex comedies weren't always modern-dress bosses and bridesmaids, or offcuts from the Judd Apatow factory.

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Peace, Free Love and Understanding

The-commune-movie-review-trine-dyrholm-ulrich-thomsen-fares-fares-julie-agnete-vang-kollektivet
Sydney Film Festival 2016

MOVIE REVIEW
The Commune (2016)

The Copenhagen of the 1970s lurked groovily over the horizon like a seven-day saturnalia to anyone peering toward the source of all the noise from the wrong side of the North Sea at the time. But Thomas Vinterberg revisits the environment of his childhood in "The Commune" and is careful to make it seem brittle, awkward and potentially corrosive to domestic harmony, full of the same misjudged fumblings toward happiness as everywhere else. Based primarily on a play by Mr. Vinterberg and Mogens Rukov and more distantly on the director's own experiences, its characters are either helplessly insensitive or just hard of thinking, as well as adrift in an ocean of beige.

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Boyhoods

Little-men-movie-review-michael-barbieri-theo-taplitz
Magnolia Pictures

MOVIE REVIEW
Little Men (2016)

Ira Sachs's "Love Is Strange" had moments of inspiration from top to bottom; but the most finely honed of all was the last one, when the story of two longtime companions in their 60s ended by drifting dreamily down the generations and following a pair of teenagers on a wordless glide through New York, skateboarding into a future of infinite possibilities. His new film "Little Men" starts with the relationship between two 13-year-old boys and looks up at the adult world of labor and gentrification from there, admitting that the possibilities might not be so infinite in practice. Life goes messily on anyway.

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Dickman & Throbbin Ride Again

The-virgin-psychics-movie-review-erina-mano
2015 Busan International Film Festival

MOVIE REVIEW
The Virgin Psychics (2016)

Sion Sono's gonzo gangster-cannibal-hip-hop fantasia "Tokyo Tribe" had its tongue in its cheek and death on its mind; "The Virgin Psychics" puts mortality to one side and gives Eros its day, but without feeling the need to calm down. Originally a manga by Kiminori Wakasugi (and already brought to TV by Mr. Sono in 2013 with a bunch of the same actors as here), it's a relentlessly ribald sci-fi burlesque about a group of young virgins with shared prenatal connections who all acquire lascivious superpowers at the same time. They then get caught up in a particularly carnal version of the end of the world on loan from some cheapo 1970s porn parody - which for all the resulting difficulties certainly looks like more fun than the Midwich Cuckoos ever got up to.

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It's Time to Listen; It's Time to Fight

A-flag-without-a-country-movie-review
2016 Sundance Film Festival

MOVIE REVIEW
A Flag Without a Country (2016)

Bahman Ghobadi's new sort-of documentary "A Flag Without a Country" declares itself to be scripted from the lives of its subjects, making it a spiritual cousin of "No One Knows About Persian Cats" - his 2009 film about two Iranian musicians trying to leave the country - which blurred the distinctions between invented characters and nonactors playing themselves into a continuous smudge. It worked then in urban Iran, and it works again now in beleaguered Kurdistan, where a much thinner helping of anything resembling a narrative is balanced by wider humanitarian concerns. "Flag" and "Cats" may share some kindred drollery, but it feels like Mr. Ghobadi has found a suitably fissile material for his method in the faces of Kurdish children scanning a horizon only just far enough away to conceal the ISIS fighters hurrying toward them, as if the interlocking sadnesses of northern Iraq were now dense enough for documentary truth to become bent by gravity on its way out.

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Coming Home to Roost

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Verve Pictures

MOVIE REVIEW
Iona (2016)

This is a very capable small Scottish film, but it is let down by two things: The first is the obvious plot developments — they are meant to be twists, but perhaps only to people who know nothing of human nature. The second is that the title character (Ruth Negga), who was awkwardly named after the island where she was born and raised, is the only mixed-race person in the film.

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Minimum Overdrive

Learning-to-drive-movie-review-ben-kingsley-patricia-clarkson
Linda Kallerus/Broad Green Pictures

MOVIE REVIEW
Learning to Drive (2015)

In the same way that the feel of an average Sundance festival film is usually apparent before the opening credits have wound up, Isabel Coixet's "Learning to Drive" wears its origins as a New Yorker article on its sleeve. A gentle meander through the social and emotional lives of two decent middle-aged adults in a multicultural New York, it's a soft-centered comedy of manners in which understanding your wayward spouse might be less tough than grappling with the Department of Motor Vehicles, but more likely to lead to a quiet life.

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Homeland

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Bernd Schuller/Thimfilm

MOVIE REVIEW
13 Minutes (2015)

A lone individual assembling his bombs without obvious radicalization or a network of coconspirators tests the character of all nations, even when that nation is Nazi Germany and has already thrown its character into the trash. Oliver Hirschbiegel's willingness to look the Third Reich in the eye — proven in "Downfall" — carries over into "13 Minutes," the less showy story of Georg Elser's failed attempt to assassinate Hitler motivated by nothing more complex than basic unease: no allies, mania or contingency plans involved. No wonder the gentlemen poking hot wires under Elser's fingernails can't figure him out.

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Holy Family Business

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Gilles Bruno Mingasson

MOVIE REVIEW
Last Days in the Desert (2015)

The weathered figure emerging from the wilderness after five weeks of contemplation and fasting in "Last Days in the Desert" is referred to either as Yeshua or by the all-purpose epithet of Holy Man; but there's no ambiguity in Rodrigo Garcia's film about who he actually is. And he's also clearly Ewan McGregor, an actor whose skills at underplaying inner conflicts don't get much of a run out these days but which potentially suit the son of God and his inklings of an appointment at Calvary pretty well. If you happen to think that a hyperbolic screen Jesus is the wrong approach, then Mr. Garcia's sober and sedate film may be right up your aisle.

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That's Amour

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Agatha A. Nitecka

MOVIE REVIEW
45 Years (2015)

After "Weekend" cast a nonjudgmental eye over the couplings of people savoring their early decades on Earth, "45 Years" looks with equal tolerance at a married couple hovering around their seventh — in the process confirming Andrew Haigh as one of current British cinema's rarely-spotted authentic humanists. With the domestic industry's choices too often amounting to use of the heritage card, indulgence in histrionic aggro or a swing the other way into micromanaged oxygen starvation, Mr. Haigh once again proves to be one of those searching for a fourth way.

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