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The Lincoln Lawyer (C+), Nader and Simin (B+), RSAPE (A-), six Douglas Sirk movies and...

...then some. I admit, this is two weeks' worth of viewings, but I missed last week's post

The Lincoln Lawyer (2011, #Furman, C+): Old school legal thriller in new, stylistically erratic digs. Blends TV (pacing, acting) with film.

Nader and Simin: A Separation (2011, #Farhadi, B+): Small lies snowball into severe consequences in this moving Iranian morality play.

Written on the Wind (1956, #Sirk, C+): A soapy story too clean to have bite. It may well have served as a blueprint for the Dallas TV show.

The Tarnished Angels (1957, #Sirk, B): New Orleans' Mardi Gras as surreal backdrop for tale of stunt pilots whose passion ruins compassion.

All That Heaven Allows (1955, B+): Sweeping direction & weepy story, serene critique on country club morals and motives: #Sirk at his best.

Magnificent Obsession (1954, #Sirk, C+): a lush score and the unusual, altruistic message with religious undertones save this syrupy weepie.

All I Desire (1953, #Sirk, C+): Stanwyck's smoky voice & nicely choreographed camerawork make this a loveable small film on small town life.

Has Anybody Seen My Gal (1952, #Sirk, B-): Delightful, comic fable on capitalism. A Hollywood movie in which staying poor is a happy ending.

Rise of the Planet of the Apes (2011, A-): This is what multiplexes were made for. The most engaging film characters this summer are apes.

2046 (2004, B-): Wong Kar Wai trades visual storytelling for literary voice over & unreserved romance for bitterness in less engaging sequel

In the Mood for Love (2000, B+): Luscious set & costume design are an integral part of this prime example of visual storytelling.

Tarnation (2003, C-): self-portrait steeped in 80ies MTV aesthetics. Smacks of narcissism due to lack of introspection and self-criticism.

The Lincoln Lawyer (C+), Nader and Simin (B+), RSAPE (A-), six Douglas Sirk movies and... GalacticPothealer Sep 05, 06:03