theognis-80821

Women in a Mennonite community are subdued by the menfolk with animal tranquilizer, then raped with uncommon brutality. They meet in a barn to discuss their options, which are to "stay and fight or leave." Their talks fills nearly all of the 104 minutes. Treated like animals, herded, bullied, and required to serve, they wonder about the nature and motives of those who have abused them. Their religious convictions verge on psychosis, so just as the film lacks context, it also lacks universality in its themes. Although writer/director Sarah Polley gets fine performances, the endless chatter, mumbling narrator and lack of conflict earns little interest. If I were an exhibitor, I would show this film on a double bill with "Ms. 45" (1981), about a twice raped mute woman, who stays and fights.

This facile romantic comedy features a wealthy, misanthropic, obsessive-compulsive writer of romance novels (Jack Nicholson), who begins to engage with others, with help from the gay artist next door (Greg Kinnear) and his favorite waitress (Helen Hunt). If there's hope for oddball Melvin Udall, there's hope for us all. The sets, costumes, and general production values reek of money, not as typical of New York as much as a sound stage, but this is a pleasant fantasy of people reaching out. Writer/director James Brooks offers plenty of twists and turns to intrigue the audience before bringing us to where we expected.

This is the greatest ghost story ever made. From its German expressionist opening to its magnificent ending, it recounts the tale of Johnny McQueen (James Mason), the local leader of an "illegal organization" in Northern Ireland. A robbery is planned in the home of his beloved, Kathleen Sullivan (Kathleen Ryan), but, despite the time in prison and hiding which weakened him, he feels obligated to do his job. Shot, severely wounded and doomed, most of the film resembles a prolongation of the great final sequence of John Huston's masterpiece, "The Asphalt Jungle" (1950). Director Carol Reed's brilliant staging and compositions make Kathleen the primary character for what follows. DP Robert Krasker wonderful photography and a fine score by William Alwyn enhance its emotional depth. Carol Reed had a special talent for making gentle people powerful: Mason and Ryan here, Ralph Richardson in "The Fallen Idol" (1948), Joseph Cotton in "The Third Man" (1949) and Burt Lancaster in "Trapeze" (1956). Sir Carol Reed was unique.