Originally published on Fri April 19, 2013 2:38 pm
Among the semi-literate journals submitted by his high-school students, jaded French literature teacher Germain (Fabrice Luchini) is jazzed to find a rough diamond from a new pupil, Claude (Ernst Umhauer).
In weekly installments, the ingratiating but enigmatic teenager, who looks as though he just stepped out of a Pasolini movie, chronicles his efforts to insinuate himself into the family of one his classmates, an amiable but awkward underachiever named Rapha (Bastien Ughetto).
Originally published on Thu April 18, 2013 4:54 pm
If it seems perplexing why an idea that has broad support nationally could fail to pass the U.S. Senate, here's an important reminder: The Senate is not a democratic institution.
It never has been, and it was never designed to be. Rather, it was structured to give small or sparsely populated states the ability to stop the majority's will. And on Wednesday, that's how it worked out, as the Senate failed to reach a 60-vote threshold to support new background checks on gun purchases.
The title of Disconnect may be read as describing any of several things: the gulf between online and real-world interactions; the chasm that opens between human beings when spoken communication fails; our default emotional position in the face of unthinkable tragedy.
Attempting to address all three interpretations within the confines of a single movie may be courting failure, but writer Andrew Stern and director Henry-Alex Rubin go one better, adding an unnecessary cybercrime angle that muffles the screenplay's more subtle psychological insights.
The best documentaries about filmmaking are the ones that show it at its worst.
Movie sets are fundamentally boring places, where there's mostly a lot of waiting around going on. But when disaster strikes with millions of dollars on the line, the tension and drama are suddenly amped up to levels that often equal those in the movie being filmed.
The score for Oblivion was composed by M83, a superb French electronic outfit that derives its name from one of the spectral pinwheels known as spiral galaxies. I point this out because it's the best element of the movie — a cascade of dreamy synthesizers that registers as appropriately futuristic (at least the future as suggested by '80s pop) while allowing an undercurrent of romantic yearning.