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  • Cat on a Hot Tin Roof

    Cat on a Hot Tin Roof

    ★★★½

    Many may not be aware that Cat on a Hot Tin Roof has been adapted on screen not once, not twice, but three times, actually. Besides the 1958 movie, the play was adapted in 1976, and then again in 1984, both of which were shown on television. The ‘70s version in particular caught my attention because of one very interesting bit of casting: Natalie Wood as Maggie the “Cat” (Laurence Olivier as Big Daddy ain’t too shabby, either). Good thing…

  • Penelope

    Penelope

    ★★½

    An nth attempt at a Natalie Wood sex farce wherein our leading lady steals from people and robs a bank at gunpoint in an effort to gain the attention and affection of her busy husband. The film is a decent time-waster for lovers of all things cute and perky. However, I think only fans of the actress would really appreciate this. All others need not apply, especially since there's just a morsel of genuinely funny jokes. For a more refined comedic portrayal of kleptomaniac tendencies (with far superior Givenchy dresses to boot), seek out How to Steal a Million instead.

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  • Upstream Color

    Upstream Color

    ★★★★★

    Shane Carruth’s alluring Upstream Color is Invasion of the Body Snatchers for the art house crowd, with hogs replacing pods and identity crisis substituting for McCarthyism. That may be an awfully crude comparison but it’s the overall gist I got as I watched this beguiling, beautiful film. One thing’s for sure, the plot’s mind-control science fiction aspect plays only second fiddle to the transcendent yet universal overarching theme of emotional resonance in people in the vein of Henry David Thoreau’s…

  • Post Tenebras Lux

    Post Tenebras Lux

    ★★★★½

    Contemplative cinema can be a bitch. This most elusive of art house varieties has repeatedly rendered me awestruck, but at the same time hopelessly nonplussed all at once. With that said, the sensory experience waiting in store for viewers in Post Tenebras Lux, perhaps the most idiosyncratic and abstract work to date from Mexican, transcendental filmmaker Carlos Reygadas, can be quite overwhelming and intimidating. If one is unfamiliar with the director’s influences—namely Robert Bresson, Carl Theodore Dreyer, Roberto Rossellini, and…