Critic's Notebook

Bad Old Days

SXSW

MOVIE REVIEW
Gone in the Night (2022)

By TIM HAYES

Starting off as an indie drama before sliding over into thriller territory and then getting slightly fantastical on top, “Gone in the Night” doesn’t have the voltage to jolt any of those departments into vivid life, although it stitches them together with the best of intentions. It hinges on middle-aged characters feeling fragile and insecure in the face of their mortality when confronted by the vigorous young; a solid theme slightly dented by the casting of Winona Ryder and Dermot Mulroney, both of them carrying the quarter-century since they dated in “How to Make an American Quilt” with ease and apparently holding up splendidly.

The Art of the Steal

Scott Grossman

MOVIE REVIEW
The Thief Collector (2022)

By TIM HAYES

No one really knows what their neighbors are getting up to, which used to be proof of life’s rich tapestry but these days is another hot coal of paranoia in our overheating stove of unhappiness. There were some rich tapestries in the New Mexico home of deceased elderly couple Jerry and Rita Alter when their house was cleared in 2017, plus artifacts from a life of world travel and a lot of Jerry’s own fairly average art and writings. And also Willem de Kooning’s 1955 painting “Woman-Ochre,” brazenly stolen 32 years earlier from the University of Arizona and found hanging out of sight in the Alter’s bedroom behind the door, like a $160-million private joke. Allison Otto’s frothy and initially amiable documentary “The Thief Collector,” screened at SXSW, grapples with the question of what the Alters may or may not have done to get the painting there. But since there’s an unavoidable Alter-shaped hole at the middle of the story, some of the historical shadows being cast over them might be coming from a more recent cultural feeling: that eccentricity must be just the visible sign of something worse.

Unlucky Numbers

SXSW

MOVIE REVIEW
To Leslie (2022)

By TIM HAYES

There's a section in critic James Monaco’s old book “American Film Now” where he goes out on a shaky limb and plots the then-superstars of movie acting on a diagram of distinct personality types. This comes to mind every time Andrea Riseborough acts in a film and is immediately, defiantly, unclassifiable. Michael Morris’s “To Leslie” catches Ms. Riseborough still barreling forward on the momentum of 2020, the year of Prime Video’s series “ZeroZeroZero” for which they might have melted down a few of the TV acting trophies into one statue just for her. “To Leslie,” written by Ryan Binaco, might garner her a few more plaudits, although this is a showier turn with plenty of awardable elbow room: an English actor charging at full-scale West Texas alcoholic destitution.