Also Known As: Christmas With The Coopers

Reviews of Classic and Current Movies




In Toronto, Syrian immigrant Adib Abdel-Kareem (Alexander Siddig) has created a good life for his family. But he is stunned by the news his daughter Muna, a photographer supposedly on vacation in Greece, has gone missing in Damascus. Adib is a former Syrian military intelligence agent who left his home country under a cloud. Now he reconnects with his ex-fiancée Fatima (Marisa Tomei) for help to re-enter the country and search for his daughter.
In Damascus Adib registers at the Canadian embassy with diplomat Paul Ridge (Joshua Jackson), who may have something to hide, then visits his former colleague Sayid Abd Al-Aziz (Oded Fehr), now a senior military officer. Meanwhile Interior Ministry security agent Halim starts intimidating Adib, as old secrets and betrayals are revealed.
Written and directed by Ruba Nedda, Inescapable attempts to thread the needle between considered geopolitical echoes and routine action, in other words a mix of Missing and Taken. Not surprisingly, the narrative falls into an unimpressive gap. The action scenes are unnecessary and delivered with stiff clumsiness. And all the reflections on past loves, friendships lost, sacrifices made, and national secrets traded remain just that - uncoordinated ideas floating in the script without anchors or meaningful direction.
Filming in Johannesburg on a small budget, Nedda does impressively recreate corners of Damascus, capturing the sights, sounds, and dictator-dominated aesthetics of a police state convulsing with overlapping security apparatus. Less effective are the fragmented accents, the foreign actors struggling to convince. Alexander Siddig is adequate, navigating the role with reasonable levels of sweat; Marisa Tomei flounders in attempting to portray a Syrian woman and jilted lover.Muna as the main victim and cause of Adib's adventure is missing from the heart of the film, robbing the drama of a key source of sympathy, and it's never clear how close Adib is to finding his daughter. Antagonist Halim's repeated demands for "the photographs", does not help. But at 93 minutes Inescapable at least does not linger. Hidden agendas and personal rivalries are blurted out then hastily tidied up, impressive efficiency accompanying multiplying improbabilities.
All Ace Black Movie Blog reviews are here.
Matt and Ruth Fowler (Tom Wilkinson and Sissy Spacek) are a middle-aged couple living in the lobster fishing community of Camden, Maine. Matt is a doctor and a veteran of the Navy, while Ruth is a music teacher, and together they are slightly bewildered as their college-aged son Frank (Nick Stahl) enjoys a summer romance with older divorcee Natalie (Marisa Tomei). She has two young kids from no-good ex-husband Richard Strout (William Mapother), the scion of the family operating the local cannery.
Ruth is worried Frank will throw away his college future to spend more time with Natalie, but Matt is more accommodating of his son's liaison. When Richard returns and starts to harass Natalie, Frank feels obligated to intervene, triggering events that will test every aspect of Matt and Ruth's lives.
Adding further details to the plot summary would spoil a brooding story of loss, rage and revenge crackling with understated tension. The seemingly routine travails of a small family residing in an idyllic seaside community take a sharp turn into tragedy, rocking the foundations of Matt and Ruth's marriage and flooding their bedroom sanctuary with grief and self-doubt. Director Todd Field co-wrote the script with Robert Festinger as an adaptation of an Andre Dubus short story, and creates an adult-oriented drama with ever-increasing turmoil punctuated by short and sharp eruptions of violence.The narrative draws strength from silence and the contrasting characters of Matt and Ruth. He keeps his emotions bottled and approaches every situation with detached calmness. She is a more expressive artist, carrying the weight of worry and more openly disapproving of their son Frank's fling with Natalie. When their world falls apart the creeping hostility between them becomes an impenetrable wall of unstated anger and coiled frustration.
The film is long at 131 minutes, and in the second half Field tests the material's depth with some repetitive scenes underlining already established dynamics. And despite the length, a couple of characters fade out of relevance. But superb performances from Tom Wilkinson and Sissy Spacek, both approaching career peaks, help overcome the slower patches. They are never better than when Matt and Ruth unleash their bottled-up anger at each other in a savage exchange of accusations. The supporting cast includes Karen Allen in a small role as a tough defence attorney.
In The Bedroom is where intimacy and trust reside. Faced with calamity and injustice, Matt and Ruth also need to create space for painful truths and new secrets. 
All Ace Black Movie Blog reviews are here.
After an awards banquet for high school students in upstate New York, a waiter is the victim of a hit-and-run accident on a country road. Events involving the Hagel and Manning families before, during, and after the fateful night are then revealed.
Real estate agent and recovered gambling addict Drew Hagel (Liev Schreiber) befriends wealthy and successful hedge fund manager Quint Manning (Peter Sarsgaard). Despite being financially stretched, Drew borrows $300,000 to invest with Quint and hides the transaction from his pregnant wife Ronnie (Betty Gabriel), a psychiatrist. The subsequent return on investment is not what Drew expected.
In parallel, Quint's wife Carrie (Marisa Tomei), a former B-movie actress, is feeling neglected. She convinces Quint to buy a heritage theatre as a side-project to support the arts. She is then romantically pursued by the theatre's tweedy artistic director Jon (Paul Sparks). The final story features the Hagels' teenaged daughter Shannon (Maya Hawke), who remains friends with the Mannings' son Jamie (Fred Hechinger) after they break up. She then starts a torrid romance with small-time drug dealer Ian (Alex Wolff), one of Ronnie's patients. On the night of the hit-and-run, the two families are seated at the same table, and seething financial and personal tensions contribute to tragedy.
An adaptation of the Stephen Amidon novel directed by Marc Meyers and written by Oren Moverman, Human Capital enjoys a strong opening propelled by complex Liev Schreiber and Peter Sarsgaard performances. The appetizing first chapter carries a looming darkness into the superficially idyllic suburbs, as nothing good can come from the unbalanced friendship between the recovering gambling addict and the oily hedge fund manager. Drew's pursuit of a quick financial windfall has all the predictable outcomes of a non-swimmer wading into the deep end of the pool.But momentum stalls with the disposable middle episode featuring Carrie's disgruntlement, and the final act defaults to a bland teen angst mystery, new characters like Ian and his seedy uncle introduced late and in shorthand. As Meyers focuses more of his attention on the least interesting hit-and-run whodunnit drama, the victim's story is carelessly neglected, its absence a gaping black hole.
The common themes are disgruntled souls, misplaced priorities, and dashed hopes and dreams. And within all the social classes, children are left behind as their parents focus on monetary wealth. The material contains kernels of interest, Marisa Tomei and Maya Hawke invest heartily in their supporting roles, and with more commitment to each of the characters three separate movie-length narratives can be imagined. Instead Human Capital embarks on a choppy downward journey, every subsequent deposit reducing the yield.
All Ace Black Movie Blog reviews are here.
The movie jumps back and forth in time. Chronologically, brothers Andy and Hank Hanson (Philip Seymour Hoffman and Ethan Hawke) both have serious financial problems. The younger and more irresponsible Hank cannot keep up with alimony payments to his ex-wife Martha (Amy Ryan). Andy enjoys a managerial job but has an expensive drug habit and is pilfering money from his employer, with a looming audit about to expose his theft. Andy is married to Gina (Marisa Tomei), but behind his back she is having an affair with Hank.
Andy talks Hank into robbing the suburban jewellery store of their parents Charles and Nanette (Albert Finney and Rosemary Harris). With the insurance covering the losses and no one getting hurt, it's supposed to be a victimless crime to make some quick money. But absolutely nothing will go according to plan, and both Andy and Hank will find themselves sinking deeper into trouble of their own making.
Carrying a Coen Brothers vibe but lacking the icy streaks of dark comedy, Before The Devil Knows You're Dead traces a series of brotherly missteps leading to disaster. The well-labelled time jumps in Kelly Masterson's script are unnecessary but nevertheless boost the engagement value, while Sidney Lumet directs with an eye for the little details. The film's opening is strong, before the second act deflates and the climax unravels.
At its core this is a story of two losers stuck in a hole but never grasping the imperative to stop digging. Andy's drug use is sabotaging his career and marriage as he allows the resentment at being his father's second favourite son consume him. Hank has coasted through life on now-fading boyish looks while taking little responsibility for anything. He is now broke, short-changing his ex-wife and pursuing an affair with his sister-in-law.Masterson and Lumet enjoy piling on the agony for the two dimwits, but the film suffers in the absence of any sympathetic, or even just smart, characters. Events spiral out of control and the brothers descend from twilight into absolute darkness, but since they author their own predicaments, their fate registers somewhere between well-deserved and who cares.
Their dad Charles is the closest thing to an innocent victim who deserves better, but most of his scenes are wasted on a truncated bang-your-head-against-the-wall subplot involving police indifference. Another frustratingly careless script dead-end involves Hank's misadventures with a rental car.
Philip Seymour Hoffman, Ethan Hawke, Albert Finney and an underused but frequently disrobed Marisa Tomei paper over most of the weaknesses with dedicated performances. Hoffman stands out as a brooding, coiled, and near-the-edge presence. As the plot lurches towards untidy conclusions, Michael Shannon appears late and livens up the post-robbery narrative in a couple of pivotal scenes as another lowlife dabbling in crimes he should avoid.
Before The Devil Knows You're Dead dances with misdeeds, turning up the temperature but lacking emotional warmth.
All Ace Black Movie Blog reviews are here.