New in Theaters: ‘Happy Valley’

Painting over Jerry Sandusky at the Penn State mural in 'Happy Valley' (Music Box Films)

Painting over Jerry Sandusky at the Penn State mural in ‘Happy Valley’ (Music Box Films)

The newest documentary from Amir Bar-Lev (The Tillman Story) is another troubling story about an insular culture reacting with fury to a scandal that threatens their self-created mythology.

I reviewed Happy Valley as part of the DOC NYC festival. It’s opening this week in limited release; my review of Happy Valley (as well as the D.C. punk documentary Salad Days, which also screened at DOC NYC) is at PopMatters:

If Amir Bar-Lev’s superb Happy Valley is any indication, the arguments in the Penn State community over the Jerry Sandusky scandal will not be ending anytime soon. As with most scandals that flare into the national consciousness amid intersecting nodal points of volatility (regional identity, sexual crimes, sports), what actually happened ultimately has little to do with how it plays out with public opinion. Just so, the film sidelines some of the who-what-when to examine the lingering dust clouds of disappointment, rage, and conspiratorial invective…

Here’s the trailer:

New in Theaters: ‘The Homesman’

Tommy Lee Jones in 'The Homesman' (Roadside Attractions)

Tommy Lee Jones in ‘The Homesman’ (Roadside Attractions)

In the quasi-Western The Homesman, Tommy Lee Jones plays a claims-jumper in 1850s Nebraska who gets roped into helping a tough-minded spinster (Hilary Swank) cart three insane women to safety in Iowa. Jones, who looks less and less comfortable in modern garb these days, also directed and co-wrote the screenplay.

The Homesman opens this week. My review is at Film Journal International:

“I live uncommonly alone,” says Mary Bee Cuddy (Hilary Swank) in Tommy Lee Jones’ adaptation of Glendon Swarthout’s novel about a raw frontier where solitude and madness are constant companions. The Homesman tries to cut a mordant, witty Coen Brothers line between tragedy and comedy and can’t quite manage either. More particularly, it never knows quite what to make of Cuddy, who is at once valorized as a heroically staunch figure and at the same time mocked for her stiff manner and panicky ways…

Here’s the trailer:

New in Theaters: ‘The Better Angels’

Braydon Denney as young Abe Lincoln in 'The Better Angels' (Amplify)

Braydon Denney as young Abe Lincoln in ‘The Better Angels’ (Amplify)

Everybody knows that Abraham Lincoln was raised in a log cabin in Indiana. But it’s still jarring to consider how a man raised in the middle of nowhere with little schooling by probably illiterate parents became one of the nation’s greatest and most erudite leaders. A.J. Edwards’ beautifully abstract, Terence Malick-ian film about Lincoln’s childhood explores that mystery with only limited success.

The Better Angels opened yesterday in limited release. My review is at Film Journal International:

Abraham Lincoln is remembered as one of the nation’s most facile writers and speakers. Yet in this dreamy black-and-white tone poem about Lincoln’s childhood in a dirt-floor cabin in the Indiana woods, the future president says barely a word. It’s an intriguing gambit from debut director A.J. Edwards, the mirror opposite of the standard Spielbergian biopic, and ultimately not a successful one…

Here’s the trailer:

New in Theaters: ‘National Gallery’

nationalgallery1

A Q-tip can fix the grandest painting in ‘National Gallery’ (Zipporah Films)

Every year or so, Frederick Wiseman produces another documentary, normally of unusual length, that sneaks behind the scenes of institutions ranging from the University of California-Berkeley to a boxing gym. His newest spends three hours wandering like a fascinated ghost around London’s National Gallery. It’s not his best, but still a fascinating piece of work.

National Gallery is opening this week in limited release. My review is at Film Racket:

National Gallery follows the Wiseman style, its sprawling and octopus-like nature weaving the everyday with the sublime. The film starts and ends with a flutter of stills showing highlights from the Gallery’s 2400-odd paintings; heavy on the Masters, with a spray of Impressionism, lots of Turner. It’s a feast in and of itself. Wiseman then moves into the business of day-to-day work at the Gallery, which occupies a grand position on the north side of Trafalgar Square. That includes everything from the workers waxing the floors and dusting to the administrators quietly arguing in conference rooms to the tour guides explaining the holdings to some of the five-plus million visitors who come through the doors every year…

You can see the trailer here:

New in Theaters: ‘The Great Invisible’

'The Great Invisible' (Radius-TWC)

‘The Great Invisible’ (Radius-TWC)

thegreatinvisible-posterThe Deepwater Horizon oil-rig explosion was just about the worst environmental catastrophe the country has ever seen. Margaret Brown’s new documentary explores how it happened and what has been done (or more properly, not been done) to ensure it never happens again.

The Great Invisible is opening this week in limited release. My review is at Film Racket:

The hot lowlands sprawling around where the Mississippi River flows into the Gulf of Mexico seem both disaster-prone and fated to be ignored when it comes time for clean-up. When the Deepwater Horizon oil rig exploded on April 20, 2010, 11 workers were killed and millions of gallons of oil dumped into the gulf. It was the biggest oil spill in American history. That was horrific enough. But then came the investigations, the lawyers, and the intransigent power of a massive industry apparently powerful enough to devastate an entire coastal economy and yet still convince people that punishing it would only hurt themselves…

You can see the trailer here:

Now Playing: ‘The Overnighters’ Shows the Dark Underbelly of the Oil Boom

A church becomes a sanctuary in 'The Overnighters' (Drafthouse Films)

A church becomes a sanctuary in ‘The Overnighters’ (Drafthouse Films)

The oil boom in the Bakken shale of North Dakota has had a broader effect than just the local economy. Because of the Wild West boomtown pressures, rents have skyrocketed in the small prairie towns nearest the fields, leading to homelessness among the many workers flooding here from around the country. A fascinating new documentary about one town describes the struggles between a Lutheran minister who opens his church to those jobhunters without a place to sleep, and a town and congregation who are nervous about the new arrivals.

The Overnighters is now playing in limited release and should likely be broadcast on public television next year. My review is at Film Journal International:

The prospect of plentiful jobs paying $100,000 has brought a Wild West mentality to this spare and abstemious high-plains town, with all the economic pressures and outer-world decadence that entails. Rents have tripled and quadrupled, forcing out longtime residents and leaving the new jobseekers nowhere to stay. Concordia, the local Lutheran church, has become something of a temporary shelter for some of those migrants. They bed down on the pews, on the floor, in their cars in the parking lot. This strikes some of the parishioners as excessive. Some say they feel uncomfortable or unsafe in their own church. Referring most likely to the uptick in crime that the oil rush of new money brings, one refers to the men as outsiders “who rape and pillage and burn.” Their tenor varies from quiet to loud, but overall the response is: Stay away….

You can see the trailer here:

New in Theaters: In ‘Evolution of a Criminal’ the Director Tells How He Became a Bank Robber

Bad decisions in 'Evolution of a Criminal' (Independent Lens)

Bad decisions in ‘Evolution of a Criminal’ (Independent Lens)

Darius Clarke Monroe was a straight-A student from a tight-knit family in Houston; the last kid anybody would have picked to become a criminal. But nevertheless, he and two friends left high school one day to rob a bank. Evolution of a Criminal is Monroe’s confident, morally astute documentary about what led up to and followed that life-changing decision.

Evolution of a Criminal is opening this week in very limited release and will be broadcast on PBS in the near future.

My review is at Film Journal International:

As in Night of the Gun, where journalist David Carr reported his past history as a violent drug addict as though he were covering any other story, Monroe approaches the bank robbery that changed his life with a similar degree of distance. The background he paints through closed-framed, emotional interviews shows a vibrantly family-filled childhood in a quiet Houston neighborhood. His mother and father and other relatives describe a bifurcated existence, where his lively confidence was shadowed by worry about the family’s severe financial problems. After a robbery leaves the family devastated—the thieves actually broke through his bedroom ceiling—Monroe’s jokes to his mother Sigrid about robbing a bank to help her out take on a more insistent edge. Like just about everybody else Monroe talks to, she can’t believe that her friendly, outgoing, well-behaved boy would ever do anything of the sort….

You can see the trailer here: