Landmark Mayan Theatre

Blue Valentine director Derek Cianfrance makes a concerted stab at the epic with this two-and-a-half-hour roundelay of failed fathers and unloved sons trapped in a vicious cycle of emasculated rage. Ryan Gosling (and his chiseled abdomen) stars... More »

Blue Valentine director Derek Cianfrance makes a concerted stab at the epic with this two-and-a-half-hour roundelay of failed fathers and unloved sons trapped in a vicious cycle of emasculated rage. Ryan Gosling (and his chiseled abdomen) stars as a motorcycle stunt driver in a traveling carnival who, upon learning he's fathered an infant son, puts down roots in upstate New York and becomes an armed bank robber instead. He eventually crosses paths with a rookie cop (a terrific Bradley Cooper), who becomes the central figure of the movie’s second act, a charismatic climber in a precinct full of dirty cops (one played—in a folly of typecasting—by Ray Liotta). Finally, it's 15 years later, and the sons of both cop and robber (excellent newcomers Emory Cohen and Dane DeHaan) find themselves sorting out their entwined destinies. Cianfrance's third feature has a go-for-broke, everything-I-ever-wanted-to-put-into-a-movie quality to it; it seems to have been conceived in a dazed rush after marathon readings of Aeschylus, Hemingway and Larry Brown. But while the acting is excellent, the metaphors are heavy, the plotting thin and repetitive. Sure to inspire indifference and cultish admiration in nearly equal measure, this extravagant mess may someday be reevaluated as a misunderstood masterpiece. « Less

(5:00 PM), 8:00 PM

Until his arrest in 1986, most people believed Richard Kuklinski to be an all-American family man. In reality this suburban New Jersey "banker" made his fortune working as hit man for the Mafia, killing over 100 people and often freezing and... More »

Until his arrest in 1986, most people believed Richard Kuklinski to be an all-American family man. In reality this suburban New Jersey "banker" made his fortune working as hit man for the Mafia, killing over 100 people and often freezing and dismembering their bodies to obscure the time of death. Depicted in the tone of a film noir and tinged with the tensions of a horror movie, Ariel Vromen's The Iceman follows this sociopath over the course of his career. Michael Shannon portrays Kuklinski in his dual lives, the highs of success spliced with acts of brutal murder, from the courtship with his wife, Barbara (played by a doe-eyed and anxious Winona Ryder), to his induction into a mob run by Ray Liotta, and a temporary partnership with a bohemian hit man who drives a Mr. Freezy truck (Chris Evans, untamed). Shannon gives an unnerving performance as a man caged in a cruel apathy, maintaining a controlled façade that seems to twitch with barely sublimated distress. Vromen hints at the motivations behind the psyche of a killer-- an abusive father and a Catholic yet godless upbringing (see James Franco cameo)-- and allows fragments of sympathy to slip in for Kuklinski and the fate set out for him from the film's clanking start: a life behind bars. The slasher gore is lightened with moments of humor, like David Schwimmer's handlebar mustache and dopey portrayal as Liotta's right-hand man, which elicits unintentional laughter. Ultimately The Iceman is a blend of Mafia-film cliché and the jarring reality of lives undone by crime. « Less

(4:30 PM), 7:30 PM, 10:00 PM

Writer-director Ramin Bahrani's At Any Price finds tension between rapacious capitalism and the idealized fiction of rural life in farming communities, especially as they engage in decidedly unpastoral, commodity-based feeding frenzies. Here it's... More »

Writer-director Ramin Bahrani's At Any Price finds tension between rapacious capitalism and the idealized fiction of rural life in farming communities, especially as they engage in decidedly unpastoral, commodity-based feeding frenzies. Here it's not bad weather or greedy banks that places a large, third-generation family farm in jeopardy but the doughy, Penney’s-clad inspectors of an agricultural biotech corporation. Iowa farmer Henry Whipple (Dennis Quaid) has enlarged his farmstead by absorbing competitors; his deepest wish is to pass it to a son, but the youngest, Dean (Zac Efron), hates farming. The setting's austerity strips the generational drama down to the archetypal terms best articulated by James Van Der Beek in Varsity Blues: "Ah don't wahnt yore lahf." As the film begins, glad-handing Henry is pitching an offer for a dead man’s land to a bereaved family, right outside the cemetery gates, which gives you some idea of his footing, soul-proximity-wise. Quaid has a genius for broadcasting conflicting impulses. His body language twists uncomfortably away from his intentions, and his smile is built on the chassis of a cringe. Married to Irene (Treme's awesome Kim Dickens), whom he clearly loves, Whipple has tawdry office trysts with Heather Graham's go-nowhere character. The film, which compares Henry’s re-use of corporate seeds to DVD piracy, weighs patent infringement and adultery about equally. Therefore, according to the transitive property of moral transgressions, the exchange rate for spousal betrayal is 1:1 with ripping The Avengers. When Henry, facing dire legal consequences, invokes wistful memories of his simpler childhood, his dad smacks him down, casting the American dream as a modern, air-conditioned combine "that drives itself with GPS." « Less

(4:00 PM)

A trashy vampire flick in art film drag, Kiss of the Damned satisfies on neither level. Drawing on a host of Euro-horror influences including but far from limited to a synth score reminiscent of Dario Argento's Goblin-performed soundtracks, Xan... More »

A trashy vampire flick in art film drag, Kiss of the Damned satisfies on neither level. Drawing on a host of Euro-horror influences including but far from limited to a synth score reminiscent of Dario Argento's Goblin-performed soundtracks, Xan Cassavetes’s pastiche follows lonely bloodsucker Djuna (Josephine de la Baume) as she whiles away her existence in an upstate New York mansion watching classic Hollywood flicks. Meeting handsome screenwriter Paolo (Milo Ventimiglia) at a local video store, she fucks and turns him in rapid succession, and the two seem headed for eternal domestic bliss until the sudden arrival of Djuna's estranged bad-girl sis, Mimi (Roxane Mesquida). The unwelcome visitor's appetites for wild sex and human blood (the other vamps in the movie have an ethical quandary about cannibalistic vampirism) and her seduction of Paolo soon threaten to rip our couple apart, as well as upend the local undead community. Cassavetes puts over this simple, poorly acted story with moody lighting, self-consciously "beautiful" gore, and an annoying penchant for impressionistic quick-cut flashbacks, all of which get in the way of rather than enhance the supposed fun. It's not a total loss, though: The sex scenes are hot. « Less

7:00 PM, 9:45 PM