Sixteen-year-old Arik (Tuval Shafir) becomes an apprentice to Yankele Bride (Adir Miller), a matchmaker with eccentric practices. Among their clients is Sylvia (Bat-El Papura), a little person who runs the local cinema.
Credit Menemsha Films
Bride (Adir Miller), Clara (Maya Dagan) and Meir (Dror Keren) are all part of The Matchmaker's world of quirky love and barely repressed trauma.
Arik, the 16-year-old Israeli at the center of The Matchmaker, doesn't get why everyone keeps talking about love. It's the summer of 1968 in Haifa, and though the American summer of love is just a recent memory, Arik (Tuval Shafir) couldn't care less — he finds war immensely more interesting.
The "know your farmer" concept may soon apply to the folks growing your coffee, too.
Increasingly, specialty roasters are working directly with coffee growers around the world to produce coffees as varied in taste as wines. And how are roasters teaching their clientele to appreciate the subtle characteristics of brews? By bringing an age-old tasting ritual once limited to coffee insiders to the coffee-sipping masses.
Originally published on Tue August 21, 2012 11:31 am
What's an American family these days? Many different things, but while television — a domestic medium to its marrow — has an affectionate finger on the pulse of the changing modern family, movies often seem stuck in a sorry dysfunction held over from the late 1960s, when we awoke to find that jolly Beaver Cleaver had morphed into miserable Benjamin Braddock, and while Mrs. Robinson tippled discreetly in the bedroom, Father, far from knowing best, went clueless or missing.
Even if most fans of hand-drawn animation have made peace, to a degree, with digital technology, the pleasures of old-school stop-motion animation are still rare and precious. There's something elemental about watching a movie that's been made by moving small figures around and filming them, frame by frame; even though there's always some digital technology involved in the making of a contemporary stop-motion film, the human touch always sings through the finished product.
Originally published on Fri August 17, 2012 11:53 am
With Love Songs, his 2007 musical, French writer-director Christophe Honore updated such 1960s bonbons as The Umbrellas of Cherbourg for our age of expanded erotic frankness and possibility. Beloved, Honore's second musical, goes even farther, layering death, AIDS and Sept. 11 among the merry melodies.
This stylish film is enormous fun, whirling and warbling across four decades of amour. But it stumbles a few times in its last half-hour and ultimately seems a little too frisky for the graver issues it addresses.
The words "inspired by true events" are the first things to appear on screen in Compliance, Craig Zobel's queasy thriller of discomfort. I knew that this was the case going in, and had heard the basic facts of the "strip-search prank-call scam" that serves as the movie's inspiration. But I didn't know the full details — and as an ever-increasing load of humiliation and indignity was piled on the teenage fast-food worker at its center, I found myself getting angry with the film, assuming that Zobel was amping up the severity of real events for dramatic effect.
Irane (Golshifteh Farahani) is the one who got away from violinist Nasser Ali (Mathieu Amalric) — and her loss consumes the musician in Chicken with Plums, a new film from Marjane Satrapi and Vincent Paronnaud.
Credit Patricia Kahn / Sony Pictures Classics
When he returns to Tehran after his touring days are over, Nasser Ali is pushed by his mother into a marriage with a woman (Maria de Medeiros) he doesn't love.
A parable of art and love, and a political allegory to boot, Chicken with Plums centers on an Iranian musician who wills himself to die. Yet the story that then unfolds, mostly in flashback, could hardly be more vital and engaging.
A matinee idol for the age of HDTVs and "retina displays," Robert Pattinson has a face that seems to require a higher resolution — glossy and ghostly pale, all sleek lines and alabaster skin. As Edward Cullen, the emo vampire in the Twilight saga, Pattinson plays a creature so immaculately inhuman that he literally sparkles in the sunlight. Edward may be over a century old, but Pattinson has become a thoroughly modern, even futuristic teen heartthrob, looking at all times as airbrushed as his many Entertainment Weekly covers.
The monosyllables fly fast and furious in The Expendables 2. It's the joints that are a little creaky, but what would you expect from this sequel to the 2010 blockbuster in which a cadre of aged action stars, led by Sylvester Stallone, gathered to fire guns, blow things up and beat the living daylights out of assorted baddies?
In Robot & Frank, a robot cares for an aging ex-burglar who has dementia. Frank Langella, who plays the burglar, says his character "becomes fond of the robot only because it is a tool for his wicked, wicked ways."
Credit Joe Fornabaio
Frank Langella, who earned an Oscar nomination for his portrayal of Richard Nixon in Frost/Nixon, stars in the new film Robot & Frank, about an aging ex-burglar. He says he was drawn to the unsentimental role.