Margin Call is a tough sell. The film—about the 24 hours after a New York investment firm dumps its rapidly devaluing mortgage-backed securities—comes along while too many people across the country continue to deal with the fallout from the 2008 financial crisis. Who needs fiction when the prospect of losing a job, a home or one’s life savings is reality?
Archie’s Final Project has the opposite of its intended affect
Promoted as a teen suicide awareness film, Archie’s Final Project comes off as a gratuitous exploitation of teen angst, made for the attention-deficient, packaged in elaborate production. The irony of this movie is it seems derived from the very same self-indulgence it aims to illuminate.
Moneyball is so inside baseball, it’s inside out. Imagine not just another movie reverie on the virtues of the American pastime, but one with the mind-set of a back-office stats wonk. Nonfans will be hard-pressed to think up a more boring prospect—and accordingly shocked at how entertaining the film actually is.
The redoubtable Charlotte Gainsbourg emerges unscathed from Antichrist, Lars von Trier’s 2009 succès de scandale, as the pointedly named Dawn O’Neil, a newly widowed mother of four, in The Tree.
French filmmaker Julie Bertuccelli’s Australian drama has more to say
about mourning than the similarly named The Tree of Life and has
jellyfish to boot.
We greet The Debt with a sense of relief, if only because its title
could portend some hasty hectoring documentary about Congress figuring
out its financial “super committee,” and this movie is something else.