Wild Grass – 4

This movie signifies the decline of French civilization, or French cinema, or the career of Alain Resnais. Or maybe, as other reviewers claim, it is a masterpiece. To me, nothing made sense. Unlike Marienbad, where inscrutability created a mood and fomented ratiocinization, here the musical score was unduly portentous and the characters left me cold. I searched reviews to understand the ending, but of course reviews have an excuse for ducking that point. I did find Anne Consigny quite attractive.

Get Him to the Greek – 7.8

A pitch-perfect sendup of the music business, school of Spinal Tap. Numerous laugh-out-loud scenes mixed with man-love, gross sex, and nebbishy boy-girl love – the Judd Apatow formula that I’m a sucker for. Sean Combs was a revelation – give that man an Oscar! – while Russell Brand and Jonah Hill were brilliant. (How did Jonah Hill become the leading man of the moment?) Only the excess of a crockery fight in Las Vegas marred my enjoyment.

I Am Love – 6.5

A bizarre movie, Italian-style. There were shades of Antonioni and Visconti’s The Leopard, with Tilda Swinton as a blonde Russian fitting in or not. Based on the title, I was expecting a moral about love; but love seemed to go in every direction, based on which characters you considered. The director cut away from each scene before it finished, which led to the impression that he cared more for impression, and fashion, and Italianness than making a gripping story.

Please Give – 7

An idiosyncratic story about – or at least, a look at – relationships among five women and one man living more or less next door to each other, very much in Manhattan. Oliver Platt was bit pudgy for my taste, but the five women were pitch-perfect: my fave was Rebecca Hall (again!) in the Charlotte Gainsbourg role, from ungainly to irresistible. I sort of wanted something to happen, but ended up settling for life’s little pleasures.

The City of Final Destination – 5

Five characters of five nationalities in a country estate in Uruguay, struggling over the legacy of a popular one-book author, sounds like the setting for intriguing interpersonal relationships, if not a postmodern Chekhovian roundelay. Unfortunately, only Charlotte Gainsbourg and Anthony Hopkins inhabited their roles in a convincing manner, and too often the acting resembled an early run-through of a tired, very tired, Merchant-Ivory script.  The other characters were one-dimensional, the plot was predictable, and the stakes seemed very low indeed.

Oceans – 5

Not much of a story – in fact, no story – just weak segues in Pierce Brosnan’s embarrasingly anthropomorphic and fey narration. There were plenty of “how-did-they-get-that?!” shots of whales, gannets, and stonefish, but without any common thread the “let’s-save-the-ocean” pitch came across as gratuitous.

Exit Through the Gift Shop – 6

I wish that the star, Thierry Guetta, had been more attractive and that he had been a better videographer, because the story of street art was inherently fascinating; I would have loved a movie all about Banksy, the nominal producer of this film (I have my doubts). As it was, Exit provided an inside, introductory look at one small niche of contemporary art, an agreeable way to pass a couple of rainy afternoon hours.

Shutter Island – 5

If Martin Scorsese is such a great director, why does he cast Leonardo DiCaprio in the psychologically complicated role of Teddy Daniels? Or Mark Ruffalo as his sidekick, for that matter? Perhaps this was an unfilmable story, relying as it does on a shocking twist at the end that works far better on the page. In any case, having read the book and knowing what we did, we both found the plot just too absurd to hold together.

The Secret in their Eyes – 8

A very fine movie with beautiful stars, humor and pathos, engaging plot and a wonderful feel for the exotic Argentine culture. By telling the story through the prosecutor-turned-novelist’s eyes, director Campanella could mix fact, imagination and speculation in a way that kept us guessing, and a little enchanted, too. The “secret” in their eyes was a love story that was never very secret but provided a satisfying, albeit complicated, ending to a movie so much truer than the Streep-Baldwin-Martin tangle.

The Messenger – 6.5

It was fun to watch Woody Harrelson for awhile, but his characterization couldn’t sustain the whole movie, and there really wasn’t much else. The story of two Army men assigned to inform next-of-kin of a death in Iraq, the film thought it was deeper than it was: Sgt. Will’s struggle to regain his humanity after his combat experience was the attempted narrative arc, but neither he nor his story moved me. The number of deaths they got to report in a short time and a small area, each with a dramatic response, was a poetic stretch that added to the hollowness of this story compared to Hurt Locker, Valley of Elah, and even StopLoss.