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Review: Big Mommas: Like Father, Like Son
Reviews
I’ve Loved You So Long
A crass and pretentious soap opera
By
PETER KEOUGH
|
November 4, 2008
I’VE LOVED YOU SO LONG
" alt="photo of 'I’VE LOVED YOU SO LONG'">
1.0
Stars
So which portrayal of a victimized woman will win an Oscar this year? Angelina Jolie in
Changeling
suffers incessantly and unjustly but wears too much make-up. Anne Hathaway in
Rachel Getting Married
doesn’t wear make-up and suffers incessantly but not unjustly, plus she’s always whining. Bets are on Kristin Scott Thomas in Philippe Claudel’s pretentious soap opera
Il y a longtemps que je t’aime:
she doesn’t wear make-up, suffers incessantly and unjustly, and in between her chainsmoking and her catatonic silences whines in French. We’re introduced to Thomas’s Juliette in an endless take where she appears without make-up, chainsmoking in catatonic silence. Having finished serving 15 years in jail for murder, she’s waiting for her sister to pick her up at the airport. What was her crime? Will the icky extended “Benetton family” of sis’s multi-cultural world accept her? The long-anticipated late-inning revelations only underscore the crass manipulation.
French | 115 minutes | Kendall Square + West Newton
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ARTICLES BY PETER KEOUGH
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| February 16, 2012
In a line of fascist-style stagings of the Bard from Orson Welles's 1937 black-shirted Julius Caesar to Richard Loncraine's brown-shirted Richard III (1998), Ralph Fiennes sets his lean and hungry take on Shakespeare's tragedy in a mo dern-day war zone, paring the play to a brisk two hours.
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| February 15, 2012
The most touching love story and best children's movie in a long time, Hiromasa Yonebayashi's adaptation of Mary Norton's book The Borrowers employs old-fashioned animation techniques to create a world that is familiar, uncanny, and luminous.
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| February 15, 2012
The rotten cop flick has become a mini-genre of sorts, a subset of noir, going back at least to Orson Welles's Touch of Evil .
REVIEW: THE OSCAR NOMINATED SHORT FILMS 2012: DOCUMENTARY
| February 10, 2012
The films in this program contain some of the most powerful images to be seen on the screen this year.
See all articles by:
PETER KEOUGH
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