With a film making its debut at this year’s Sundance, …
It’s about midway through the new romantic-comedy Results that you realize the filmmakers have no clue what they’re trying to accomplish. Writer-director Andrew Bujalski loves his script so much that he doesn’t realize it’s unfilmable. There are three main characters, two separate stories, and zero reasons to care about what’s happening. With so many talented people doing perfectly good work on the screen, it’s baffling how this movie could be such a complete mess.
A dystopian future is a solid foundation of any interesting film. Bleak surroundings and despicable characters comprise these future worlds and their stories explore the very raw and basic instincts of man. Australian export The Rover is no exception and the results are pretty solid. The talented Guy Pearce turns in an intense, fully believable performance here and Robert Pattinson isn’t half bad in an unconventional role.
Jack Irish doesn’t just have an incredibly banal, writerly name (it could easily be Reginald Fakename), he has a completely bland existence of the sort that feels carbon-copied from any of dozens of mystery novels, films, and television shows. Jack has it all: a dead wife, a dark past, a former legal career that has transformed into work as a private eye, and rugged good looks that suggest he has seen some things he’d rather forget. Jack Irish: Dead Point is the third time Guy Pearce has played the character (he previously appeared in Jack Irish: Bad Debts and Jack Irish: Black Tide, all based on the series of novels by Peter Temple), and he is completely wasted in the role. Irish doesn’t really emote; he mostly walks through the by-the-numbers plotting as if waiting for the end credits to arrive.
Director Antonia Bird’s Ravenous is a bizarre amalgamation of humor and horror that explores cannibalism with warped nuance. The strangely cacophonous score builds up tension as craven outcasts face a glutinous and depraved attacker whose strength seems fortified by his consumption of human flesh. Set during America’s westward expansion, the metaphor of humanity’s insatiable appetite for power is plain to see but its execution indulges in such eccentricities that it is still a gruesome pleasure to behold.
Drake Doremus’s latest film, Breathe In, is a taut, emotional drama, starring Guy Pearce as a middle-aged high school music teacher who has never abandoned his dream of becoming a full-time musician. His character, Keith, is living in a state of continual but indifferent regret; despite having a loving wife (Amy Ryan), highly-achieving daughter (Mackenzie Davis) and beautiful house in upstate New York, he yearns for the exciting bohemian lifestyle of his youth, of which only his passion for music remains. The domestic inertia is broken when the family accept an English exchange student into their home, the 18-year-old piano prodigy, Sophie (Felicity Jones), who rekindles Keith’s romantic nostalgia and forces him to revaluate his responsibilities to his family and himself.