Kate Javanbakht

I'd looked forward to this film, but my expectations were deflated not long after a strong, intriguing opening. When a movie dips into magical realism, the phantasmal, even dreams or abstractions, a strong narrative framework is usually needed unless you're the late Luis Bunuel, maybe. While the art direction in 'La Chimera' sustained its quality, the story too often strayed into distracting whimsy, and the 'how come?' of Josh O'Conner's bristly character, an Englishman engaged in tomb robbing for loot in Italy, was all but lost amidst an annoying posse, crowd hoopla, explanatory musical interludes, some quirky camerawork and braying female characters--all of which might have clarified his dilemma, making us care rather than eager for a conclusion. Many great filmmakers very ably used similar devices to advance and enhance their storytelling without losing the plot and the audience. Didn't work here, for the most part. Pity.

An interesting film, but not quite what I expected as it pivoted to a 'story within the story,' which is often dicey sledding. A very effective, if understated performance by Tim Roth as Tony, a film director, and a tense Vicki Krieps as his agitated, restless wife, who is frustrated by her writing block but intrigued by Faro Island as a creative wellspring for Ingmar Bergman. She finally concocts a somewhat overwrought, feeble and unfinished script and tale of young romance gone awry, alternately depicted in the film, and possibly indicative of Chris's past and suggestive of her current discord. The star of the film remains Faro Island, nevertheless, with its dual atmospheres of beauty as escape and the relentless, unforgiving march of time and change, like it or not. These qualities both gripped and tripped up many of Bergman's screen characters, and they seem to do the same for some of the visitors to Bergman Island.

An interesting, though very odd film with strong performances from the major players and even a minor gem by Keith Carradine. The opening narration by the teenaged Peter guaranteed that he would possibly orchestrate the fates of his 'elders,' and the difficult path to his triumph was both subtle and riveting. The viewer may 'assume' the source of Phil's anger, cruelty and oafishness, yet he remains a puzzling figure, and possibly more of an exemplar of distorted masculinity than a well-defined character. There was a 'staginess' about the movie and its panorama intended to represent Montana, but its 'New Zealand' set locale was inescapable to me. Worth seeing, however, and the questions that remain in the viewer's mind may be part of its strength.

An enjoyable series so far, with a fine cast and wonderful cinematography, art direction. It's a compelling murder mystery, and a story of betrayal, obsession and the subsequent unravelling of a family. The performances are solid, but Kidman is stony, somewhat robotic and not the Kidman of her great turn in 'The Others.' I must agree with another viewer that Kidman's face is ossified from too much unnecessary cosmetic intervention, and only her eyes register reactive emotion--unfortunate and distracting. Nevertheless, the program is entertaining and a worth a view.

Excruciatingly bad film about the mental case lead singer of a female group whose main talent appears to be operatic meltdowns. The worst portrayal of contemporary music and its practitioners since 2017's grueling 'Song to Song.' Few films compel the audience to wish death for the main character early on, but 'Her Smell' does the trick.

Faithful film attempts of works by Henry James are always challenging, even courageous, and 'The Aspern Papers' is fortunate to star Vanessa Redgrave, Joely Richardson and Venice. What they were thinking with a miscast Jonathan Rhys Meyers is another matter, with his flat, 'nowhere' American accent (Omaha? Idaho?), which should have had Bostonian or at least East Coast inflections (a youngish Daniel Day-Lewis could've handled this). In fact, Rhys Meyers looks rather terrified throughout the film. The 'flashbacks' are perhaps necessary to a film depiction of the story, but they were badly-conceived, becoming soft, embarrassing porn here. Nevertheless, was this courage in tackling James? Sure, and it's always great to witness Redgrave showing us how it's done.

Quiet, poignant gem of a film with a talented cast. Emily Mortimer gets better and better, and Bill Nighy is a powerful presence. Julie Christie narrates from the novel by Penelope Fitzgerald. Loved this film.

Not a conventional 'ghost' story, but very effective, mysterious and well-acted. Outstanding story pacing and art direction in a film that stays with the viewer. Deserves a wider audience than it will probably receive.