AfroPixFlix Reviews

Eat Pray Love (2010)

Eat, Pray, Watch

[7/10 · 7 May 2014]

This romantic comedy with edges of somber notes is saved by superb editing. It departs from the novel by de-emphasizing the drug-dependencies of the protagonist. This is a shame, because the appealing message of breaking free from the western culture's mantra of "a pill for every ill" is obscured. This film is a good recommendation for those who struggle with self- forgiveness, which at times is probably everyone if we own up to it. The danger is that there's not so much attention paid to making things right with those whom we have hurt. In other words, the film is a journey toward inward peace, without examination of the concomitant virtues of reconciliation (not always an option), restoration, or a simple, straightforward apology. Because the protagonist has come to grips with her own transgressions doesn't mean that others in her past life have. I won't spoil the end, but the quick seven-second shot at the end of the film lacks full development. This is understandable, though, since no film could provide the nuancing that a good novel can. The colors, sounds, and moods of international travel pop in this film, which, like the book, borders on morphing into a travelogue, which was probably the whole point. AfroPixFlix feels at one with seven forks here.

Where Do We Go Now? (2011)

We Go to Watch This, That's Where We Go Now

[6/10 · 5 May 2014]

As dogged a reality as it seems, men cause most all of the world's greatest problems (whether this would be true if women were in control is up for debate, but the facts are what they are). This film showcases the extremes that women will go to in a fictitious Lebanese village to divert mutual annihilation that is almost certain to come when a youth is killed. Sectarian violence between orthodox Christian and Muslim threatens the near-idyllic setting. All around, men kill other men based on religious beliefs that neither follows. Demonstrating the fallacy of holy wars, the women go to grave lengths--including switching alliances and hiring belly dancers--in order to buy their village a bit more time on planet earth. This darkly humored flick has soaring moments (mostly around the co-conspiratorial holy men) and those that flop (the brief hashish musical number). All in all, worth a duo of trinity forks from the highly co-existent AfroPixFlix.

Bad Teacher (2011)

Flunked ut

[1/10 · 26 April 2014]

Weak effort by all concerned except for a handful of supporting cast bit players. Diaz plays a character with hardly any redeeming qualities whatsoever, and her one-time real-life beau, Timberlake, is cast in a role which adds zilch to the weak plot. Has all the earmarks of a character written into the script at, ah-hem, "someone's" request. His role as the love interest of two competing teachers could have been supplanted with a more believable competition for teacher-of the-year. The acting is not at all A-list quality, the plot is thin, and without anything going for it but crudeness, this film is totally passable. Demote it down and ultimately out of the queue matriculation list. AfroPixFlix flunks this with a solitary fork, one suitable for tossing this down the cafeteria garbage chute, right along with the creamed corn casserole. Boo.

The Past (2013)

Smorgas-bored

[2/10 · 26 April 2014]

The Past manages to bring out the worst in two types of cinema. French film has a reputation of lingering in the drollness of minute expository detail, languished silences, and camera shots of people breathing through their mouths at sidewalk cafes. Iranian cinema often edges toward melodrama and contains plot crescendos that are disappointingly predictable. If you tune into The Past, then load up on hot chai or café au lait (the film's in French), because you'll need it to stay awake. There's nothing particularly groundbreaking about the storyline here. A pretty woman who has strung together a lifetime of bad relationships with men who, for whatever reason, abandon her. The two men in her life, a former husband and one next in line, are deft at pointing out everyone's mistakes except their own. Except for the three children--the film's biggest casualty--everyone with more than three speaking lines turns out to be a class "A" jerk. And what's with Farhadi's obsession with camera shots involving people struggling to talk to each other through glass? We got the "seeing isn't communicating" message after the first scene at the airport, Mr. Director, so let's move on. A bland flick whose only redeeming quality is it's multiculturalism. That being the case, AfroPixFlix plucks just two picks and recommends checking out a perky National Geographic selection instead.

Wadjda (2012)

Worth a good viewing

[8/10 · 26 April 2014]

Superb introduction to life in Saudi from a feminist's perspective, including the vulnerability that women and girls experience in all walks of life. It seems a bit preachy at times, but that's understandable: there's a lot of ground to cover in a short amount of time. Regarding the plot, it's comparable to most other feature films that focus on adolescent girls' struggle to fit into a repressive culture. Whale Rider (New Zealand), Yesterday (a rare Zulu film), and The Day I Became a Woman (Iran) instantly come to mind. The challenge set before the girl (in this case a Koran proficiency contest) is a MacGuffin to lead us through the journey of cultural biases against women and girls. Fortunately, men alone aren't painted as the chauvinists; some (not all) women in the school system are the hypocritical despots. The DVD I viewed did not contain any "making of featurette" or director's commentary (I can't speak for the Blu-ray, since I didn't receive it), which is a shame, as we'd all benefit from understanding the hurdles a female director must scale in order to bring something as brave and tactfully done as this to light. Please check it out. You'll learn a lot. AfroPixFlix suffrages forth with eight picks.

August: Osage County (2013)

The Meanest Reunion of All involves FAMILY

[8/10 · 17 April 2014]

When you think of great dysfunctional family plays set to film, you think of Edward Albee (Who's Afraid of Virginia Woolf?), Tennessee Williams (Streetcar Named Desire), and now August: Osage County by Tracy Letts. There's so much palpable tension reeking from every word here that you need to cool off with a mint julep midway through. This is a study of meanness. No, I mean real meanness. The type that comes from the enemies who know best where to strike to kill: your family. Set in the hot, flat, and insular Oklahoma plains, this drama is a splendid canvas upon which master actor Meryl Streep showcases her skills (she nailed the Okie drawl, BTW). Thirty years ago, Oklahoma was also the setting of one of her early masterpieces, Silkwood. She's returned with a cast of crazies whipped up with tornadic force by America's treasured writer Letts (also an Oklahoman). Being a better stage production than film, this work seems claustrophobic at times, but that works to its advantage. After all, you can't escape a nutty family! As a bonus, it features a brief appearance by Sam Shepard (Paris, Texas) as the force whose departure everyone must reckon with. Is there such a thing as a generation curse for hell- raising? AfroPixFlix says check out this sad yet witty drama and see for yourself.

Linsanity (2013)

Be Like Lin

[8/10 · 15 April 2014]

"I want to be like Mike...but I PRAY to be like Lin!" How often do you meet a sports figure whom you really, really like? One forged so solidly in his faith that you can gain inspiration from every phase of his life, not just the limelight? Fortunately for us, Lin's family had so much footage that it seems we saw this kid grow up next door to us. That's the mark of good parenting and good editing and directing on the part of Evan Jackson Leong. Lin's character hasn't changed, though his circumstances have been whirlwind. How inspirational for the world to see how someone from such a humble background can become propelled to the heights of international fame. The watchword: be ready. This may be a spoiler, both for the film and the game of life, but the good guy wins here, and it isn't a fluke. Lin won by hard work, persistence, and the grace of God. Lin stayed faithful. Let's hope (yes, and pray) that Lin and so many other athletes (and budding chemists, plumbers, and CPAs) will keep trying, believing, and teaching us the importance of walking by faith, not by sight. (That's in the Rulebook, 2 Corinthians 5:7) AfroPixFlix offers eight forks (and they're not pitchforks) for this one. See it. Share it. Talk it up, fans.

Joy Road (2004)

Road Worthy

[7/10 · 15 April 2014]

Gripping multi-faceted tale filmed with all the grittiness that contemporary Detroit can offer. It's a courtroom drama, following the reluctant legal hero as he honors his family and the neighborhood that rejected him in his youth. But it's also a street justice flick, making use of Detroit's desolate setting as a backdrop for the double-crossing warlords. Moreover, it's a tale of corporate intrigue, uncovering the distanced puppeteer that draws in the big bucks while its impoverished, unknowing victims struggle. This corporate robber-baron facet is a delightful twist that would have benefited from expansion in the film, particularly if it had been highlighted in the riveting final courtroom scene. Director-writer Harry Davis delivers this marvelous film deftly, nuancing the unblinking ruthlessness of Training Day or Goodfellas with the character- driven narrative of New Jack City or A Few Good Men. Although the bumpin' musical soundtrack is apt for most every scene, the film's only technical shortcoming is the wavering, whispering sound that relegates some characters' lines to oblique mutterings. Further, the sinewy storyline nearly loses itself in a large number of characters who probably could have been consolidated. Still, AfroPixFlix plants seven joyful-roadie fork tines in this film. Looking forward to more films from this gifted filmmaker. See it!

Far from Heaven (2002)

Far From Boring

[6/10 · 15 April 2014]

Great film that transplants modern day complexities into the idyllic settings of 1950's films. Actually, it brings to the surface issues that were greatly suppressed, yet existent, in that era. Of course, everyone should know that racial discrimination was both overt and pervasive in every corner of America. But what about homosexuality? Probably so, but hardly tackled by the cinema. Borrowing heavily from Douglas Sirk's 1955 film ALL THAT HEAVEN ALLOWS, starring, ironically, the closet gay Rock Hudson, FAR FROM HEAVEN has a deliciously saturated color palette and languishing camera lens to tease out the storyline. Well-acted by the trio of Moore, Quaid, and Haysbert and a bevy of idiosyncratic bit players, this is one film you shouldn't avoid. ALL THAT HEAVEN was a good template for Haynes to use, as it gave white viewers an opportunity to have a "black experience," by showing the lunacy of discrimination based on things that make no difference. FAR FROM HEAVEN brings that experience to a new level. Six-forked AfroPixFlix says don't let this gem stray far from your queue.

Four Lions (2010)

Zaps Your Sensibilities and Funny Bone

[7/10 · 15 April 2014]

Now here's something well worth an open-mended person's time. Buffoons, for the most part impressionable wannabees, royally mess up while thinking they're doing something for the good of the world. If you dare, get out of your comfort zone and substitute their jihad for any type of fundamentalism that has an intolerant edge to it. Those groups or movements will attract the impressionable, the zealots, and the misguided dangerous people ready to explode their "fringe" positions. But this film is entertaining for its downright belly laughs of humor. Unfortunately, the sound editing and rapid fire (no pun intended) line deliveries make parts of it hard to understand. If you can tolerate subtitles, use them even if English is your native tongue. Otherwise, you may miss some really funny lines. Be prepared for an ending that gets sublime. It's really the only socially-responsible way to end this great work, despite it being a downer you'll feel while the smiles haven't yet faded away from your face. Chris Morris is superb as a writer and director, and he should continue tackling these tough subjects, AfroPixFlix sez.

Once Upon a Time in Anatolia (2011)

Once Upon a Sleeper

[2/10 · 15 April 2014]

The film's McGuffin is the search for where a body lies, and the raison dêtre is just…hmm, good question. Oh my, what a pitiful film. There are endemic limitations here that much better films scale handily, so don't be bullied into thinking this must be good art, despite what the critics say. AfroPixFlix had a foreboding feeling when the beautiful cinematography graced the screen during the very first scene. It featured three friends saying jovial but incomprehensible things to each other inside a dingy room. A gorgeous ensuing shot has one character standing outside with a barking dog and ambient traffic noise. These were portents to the strengths and weaknesses of the entire very, very long film right away. Great scenery and cinematography, but abysmal script writing, if there was a script. The thing just plods along to demonstrate that watching paint dry can be scenic if you have the right lighting and paint color, and maybe a stiff shot of milky and potent raki. If you treasure rustic Turkish countryside settings in darkness and dawn, then view this film without sound or subtitles. Perhaps go as far as placing a weather- beaten picture frame around your screen and throwing a Constantinoplean-themed party. Opa! Your guests might enjoy the sights, but the plot? How forgettable, if ever grasped. How introspection leads to isolation and realization of how whole classes of society are repressed? Too obfuscated by director Ceylon here. Rather, his unavoidable fixation is with a plethora self- absorbed Turkish public servants who crowd into cars to investigate a murder that really isn't a mystery at all. The only mystery is why AfroPixFlix wasted 157 minutes of precious life watching this. AfroPixFlix shovels about two kilos of dates and a forkful of dirt on this funereal Turkey.

A Band Called Death (2012)

Death Surviver

[9/10 · 15 April 2014]

If, by the title, you suppose this is a documentary about sour grapes, i.e., some pre-Ramones, The Clash, or even The Sex Pistols punk band that never got its props, you're mistaken. There's not an iota of bitterness among these guys who stubbornly defied all odds, most of which were housed in their home town Motor City. I mean, what could have possessed three black teenage brothers to think they could form a prototype punk rock band just blocks away from Berry Gordy's mellow soul factory known as Hitsville USA? Having nothing more than British rock band singles, insurance-money instruments, and cloud formations to guide them, DEATH did it. (Note to my friendly reviewers: they weren't just the prototypical "black" punk rock group, but the forerunning "punk rock group" of any color...period.) But being so original, so very far ahead of the curve, came at a cost. Now therein lies the supremely inspirational message of "A Band Called Death" that anyone can leap into like a mosh pit. It took thirty-five years--35 friggin' years!--before surviving brothers Bobby and Dannis got their recognition. Sadly, David, the group's visionary, passed away years earlier, emotionally drained and physically terminal. Although only old tapes of David are featured in the film, his haunting presence throughout the film is undeniable. By the time you hear David's son share his emotions about hearing his deceased father's voice on a cult-hit record, you'll choke back tears. Even if you're not a punker, a funker, or a rocker, you owe it to yourself to check out this inspiring documentary. Dreams deferred don't always shrivel, sometimes they hibernate. So if you miss DEATH's story this time around, the group will wait, patiently, for as long as it takes. They're accustomed sleepers. But mark AfroPixFlix's words (and his nine forks of good judgment), you'll not long be able to escape DEATH's grip.

Mandela: Long Walk to Freedom (2013)

Mandela Lives! (well, sort of)

[8/10 · 15 April 2014]

We live a marvelous era. Access to the personal lives of leaders, whether magnanimous or despotic, has never been so wide open. This feature film demonstrates this, and fortunately, it was made during the life of one of the most inspiring leaders in modern history, "Mandiba." Director Chadwick's deft nuancing shows that Mandela's commitment to forgive his white South African oppressors was not born exclusively of a kind, benevolent spirit. His reasoned decision was more complex. Like Lincoln's sinuous commitment to free American slaves despite his personal ambivalence, Mandela's love of his country trumped his admitted urge toward vindictiveness. There's a palpable sense of evolution in this film, and although it's a tad long, the transformative depth of Mandela's character is available for all to see. Equally commendable is the colorization of Winnie Mandela's character. Unlike other depictions of the more strident leader's call for uncurbed retribution, this film offers context. Her reasons for shading more toward violence are personal, unassailable, and as well-grounded as a mother's love for her children. Without Naomie Harris' respectful portrayal of Winnie and Idris Elba's haunting revitalization of President Mandela, it's hard to imagine this film being done acceptably. AfroPixFlix goes all eight 'fro picks on this one.

The Trials of Muhammad Ali (2013)

A Vindicating Victory lap and Ali Shuffle

[8/10 · 15 April 2014]

Marvelous documentary revealing little known aspects of this iconic American's journey. As a teenager, Ali was backed by a coterie of rich, white Kentucky financiers with a keen eye for picking Kentucky Derby winners and one promising prize fighter. Like the rest of the world, they had no idea that Ali (then known as Cassius Clay, named after an abolitionist) would blossom into a veritable goldmine. Yet Ali remained "unbought" throughout his career, refusing to curb his personal convictions for anyone. Arguably, his unblinking allegiance to the Honorable Elijah Muhammad may have been misplaced, but, as the film shows, it was strains of this dogged allegiance to principle that led the Supreme Court to reverse Ali's draft dodger conviction. The film wastes too much time on self-important talking heads (including a family member and Nation of Islam representatives) who appear to overstate their influence on the now stoic Ali. The film also lingers a bit long with Malcolm X's concurrent struggles with the NOI and not long enough with the troubling period when Ali, broke and title-stripped, embarked upon awkward college lecture and way, way off-Broadway tours. It closes with a tearful tribute from his daughter and brother (who bears a striking resemblance to Ali), and a full-circle romp back to the Olympics, from whence his public persona emerged. This isn't a fight film, it's an exonerative victory lap by "The Greatest" that merits eight heavyweight forks from AfroPixFlix.

Call Me Kuchu (2012)

Call Me Surprised

[7/10 · 15 April 2014]

Moving beyond tears, and the shocking ending caught me by surprise. Empathy goes a long way, but this film shows that, empathy, like charity, must begin at home...along with compassion, tolerance, and fairness. Whether its fear, errant biblical application, or plain stupidity that motivates a nation to "out" suspected homosexuals, things need to change there in Uganda. Note the word "suspected," since some citizen's names and photos have been published in the Ugandan scandal-rag "Rolling Stone" and targeted for prosecution and murder. Of course, it's easy to pick on Uganda. The whole world is filled with intolerables and people who support them, but let's face it, you got to pt out the biggest fires first, and Uganda is a raging inferno. I realize that this film probably won't be seen by those who most need to see it, and if perchance they do, it'll just harden their stone quarry mid-sections. But AfroPixFlix says see this. Be aware.

Beasts of the Southern Wild (2012)

Southern Trip Adviser

[6/10 · 15 April 2014]

Traveling to Louisiana, and I don't mean N'Awlins, is like taking a trip outside the country. But it IS the country, and that's what makes it so utterly compelling a place to visit. The food and language are unique and so are the sensibilities. BEASTS is a splendid junket for people who want to wade in the swampland and appreciate for a brief spell of time the hardships and conviviality of the people in the Bathtub, which many will recall from the heartbreaking videos post-Katrina. There's a stubbornness and mysticism that seeps through the film. Unfortunately, the mysticism could have been less stark and graphic here, and by that I mean the "beasts" that are roused from ice. I won't spoil it, so see the film and you'll understand what I mean. The CGI comes off as cheesy, even from a child's perspective (which you're invited to take throughout the film). AfroPixFlix took a jaunt to the Big Easy right after seeing this and felt the need to feed this beast only six afro forks. And you? Bon appetite!

Les Misérables (2012)

If you overlook most everything, it's pretty good

[6/10 · 15 April 2014]

You know it was bad when the singing messed up the musical. How much credit can you give a film when it's only success is based on the work of someone who lived 150 years ago (I'm NOT referring to Andrew Lloyd Webber!). A lot! All six stars are based on the superbly crafted story. The stars stayed in the sky (thanks, Javert!) because of the CGI effects here. Great direction...except one thing: the hand-held camera was woefully overused. Nevertheless, you MISERABLE aficionados should add this production to your stable of depictions and you'll be LESS MISERABLE over time. AfroPixFlix masters up his house with six forks flung far.

Iron Island (2005)

Ship Ahoy! This one's sails big time

[10/10 · 21 May 2011]

You will not find a better metaphorical study of Post-revolution Iran than this film, one so threatening that the Iranian authorities tossed famed director Rasoulof into the brig. A self-absorbed captain of a stalled and sinking ship runs his vessel like a clueless despot, ripping off hard-working but naïve passengers. Exploited onboard youth get meaningless education, and a lovelorn adolescent who bolts for a better life gets tortured, mostly to deter other kids. The lying captain inefficiently uses the scant ship resources, like steel and oil, and misapplies the proceeds to strand his impoverished subjects in an arid land. There is a bud of hope at the end, but like reality, if you blink you will miss it. AfroPixFlix drops a 10-forked anchor.

Baadasssss Cinema (2002 TV Movie)

Sho-nuff Throw Down ,Run Down, and Final Come Down!

[9/10 · 10 May 2011]

Cold-blooded balance of entertainment and academic perspectives on the so-called blaxploitation urban films of the seventies. This is not only useful as a seminal film rundown, but also for its educative industry participant interviews. Two, of Pam Grier and Quentin Tarrantino, are respectively honest and energetic. Others, of Fred Williamson and Gloria Hendry, reek of bitter, unfounded entitlement. BAADASSSS also delves into the debates on the responsibilities, or lack thereof, this genre had to the broader socio-political context. Here, reviewer Elvis Mitchell provides especially introspective guidance. AfroPixFlix throws down 9 sho-nuff greasy cake-cutters for this Isaac Julien reel deel.

Luxury Car (2006)

Sedan Secrets

[6/10 · 29 April 2011]

Like UNIFORM, this visually-beautiful film demonstrates the struggles of modern-day Chinese people. The protagonist, an attractive so-called bar girl, has left her rural roots to find big city success. She hides her less-than-noble occupation from her father, who searches for her brother, also a city newcomer. Most of the film dwells on their cat-and-mouse game of secrets, but there is an amazing connective scene after the one-hour mark. It takes place in a luxury car, and its four passengers each harbor unspoken individual turmoil. Thereafter, the film races to an ending fitting of 3 luxury AfroPixFlix detanglers. Luxury Car (Jiang cheng xia ri) 2006; Director/Writer: Chao Wang

Women Without Men (2009)

Man-aging pretty badly

[8/10 · 29 April 2011]

More of a visual impressionist than storyteller, Shirin Neshat uses the thread of magic-realism to weave together vignettes of five besieged Iranian women. The film beautifully depicts the early fifties era in Iran, during the Mohammad Reza Shah Pahlavi coup and rebellion against American-British usurpation. Men fare badly in this feature, with maybe one silent gardener playing a benign male role. Neshat has a gifted eye, so check out the extra features for her detail-rich explanations of film nuancing. AfroPixFlix finds 8 fig-forks for this film-festival feature.Women Without Men (Zanan-e bedun-e mardan) 2009; 91 mins Directors: Shirin Neshat, Shoja Azari Writers: Shoja Azari, Shirin Neshat

My Mexican Shivah (2007)

Stick a coupla forks in it...this one's a goner!

[2/10 · 28 April 2011]

Consider the setting. We are in Mexico. A wildly popular Jewish thespian with a track record of infidelity falls flat dead at a party. In accordance with Jewish custom, the party revelers and his family "sit Shiva," a seven day period of mourning in which the deceased's loved ones cover all mirrors, adhere strictly to kosher dietary laws, and shun things like medical care. I won't say more than just that the fireworks begin when the mistress of the dead thespian arrives. Our primary focus is how the daughter and son of the deceased react to the "other woman," an attractive lady in her own right. The storyline is an inspired concept…but it falls as flat dead as the thespian. While it is a humorous way of introducing us to a unique ceremony in a unique setting---complete with a Mariachi band in the last segment---the whole film comes off as a mildly funny soap opera. Not in the league of MY BIG FAT Greek WEDDING, but may find a welcome niche audience. AfroPixFlix prods two lonely forks here…just enough to make sure this thing is dead.

The Mirror (1997)

Keep It Rolling!

[8/10 · 28 April 2011]

One of the most brilliant movies you'll ever see! Before the 38-minute mark, you will be caught up in the drama of a lost little second grade school girl wandering along the perilous traffic of Teheran. After the 38-minute mark, one of the most incredible experiences in cinema begins: the meltdown of Mina the Diva. This tiny, squeaky voiced actress refuses to participate in the film anymore, and 4 minutes after her meltdown, director Panahi makes a split second decision that changed the film and his career: KEEP FILMING. The next hour is filled with more drama than any script could ever create: (a) Mina sheds her scarf, an arm cast and clothing before she storms off the bus in a rebellion as bold as a student uprising during the Revolution, (b) After yelling to the camera man to LAY OFF, Mina darts through traffic as the camera tries to keep up with her, but in her haste to flee the set, she keeps the mike on and we hear her footsteps and conversations she has with people as she tries to navigate her way home—she really does get lost, (c) we have scary scenes when we can't see Mina, but hear cars screeching to a halt: maybe she has she been hit (d) we hear some shady men talking to her, and we wonder is this a child threatened with abduction (e) on the bus and in taxi rides that Mina takes, we hear the true undercurrents of Iranian society regarding the tension between modern women and traditional men, (f) we learn of how compassionate some people can be towards keeping the world's most precious asset, our children, safe. I will not spoil it, but the natural ending to this tale is great. This is one of the best films you can all year. So AfroPixFlix says see it!

Crimson Gold (2003)

Golden Flix...You'll love it

[9/10 · 28 April 2011]

Incredible. Director Jafar Panahi pours you into the psyche of Hussein, an impoverished Iranian pizza deliveryman with dreams of a wealthy life. It dawned on me that I had seen strains of his character before, in the great American story of Bigger Thomas in Richard Wright's NATIVE SON. TAXI DRIVER, of course, is comparable, but far less subtle. Hussein's character is multi-layered, and you can easily miss Panahi's whispered clues to his past. Hussein was once a "saintly" war veteran and probably smart student who had health problems requiring cortisone treatments. The results were obesity and depression. He desires to be married to his best friend's sister, another marvelously understated character. Hussein's quest to give her lovely and expensive things becomes his driving want, and his final experience with a Westernized rich kid tips the balance. This film is nothing without Hossain Emadeddin, the actor playing Hussein. His pudgy-faced character stoically endures the spite of arrogant merchants and bullying cops. You can feel an eruption coming. If you recall Jackie Gleason's "The Poor Soul," you will see remnants of the silent, trudging character all over Emadeddin's role. Further out---you may think I'm crazy---but the character has Notorious B.I.G.'s JUICY all over it in physicality and motivation. Back to earth, Panahi's technical skills soared since that fateful moment in THE MIRROR when he decided to keep the camera rolling when the little girl actor essentially quit the set. CRIMSON GOLD's opening has a masterful long-take of a robbery, using a darkened doorway as a frame-within-frame that opens us to street onlookers mirroring our anxiety. An ingenious device to sandwich action between two sets of viewers. The film may seem plodding, but every frame is a gem. A favorite.

Children of Heaven (1997)

The Gift of the Magi-esque

[7/10 · 27 April 2011]

Anyone who was touched by O. Henry's short story "The Gift of the Magi" will like this wonderful film. An accidental loss of his sister's shoes causes this little boy to go through enormous lengths to make things right again. The stern father's transformation into a gentle, loving provider is also endearing, and provides some refreshing hilarious scenes. This is a film is a universal tale about families, especially poor families, and how the sacrifice of self for the betterment of others becomes the cement that bonds good people together. This film, and another Iranian film Baran, demonstrate the wonderful storytelling movement afoot in post-revolutionary Iran. Anyone in the family who doesn't mind subtitles should enjoy this one.