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The Top Ten Adaptations of 2015

When it comes to movie adaptations, this year was such an embarrassment of riches that making a top-ten list of best adaptations proved a tough task – if also a fun one. (No one’s ever going to pity a film critic for having to revisit movies she loves.) Of course, every top-ten list is sure to enrage as many people as it pleases, so read on and then tell me: What would be on your list of best 2015 adaptations? Here’s what I have on mine.

10) “45 Years”
Amid all the “Exotic Marigold Hotel”-style films about the Endearing Habits of Elders comes this shadowy and formidably honest portrait of an aging couple who discover they may not know each other as well as they’d thought. Sixties icons Tom Courtenay and Charlotte “The Look” Rampling star in this deft adaptation by screenwriter/director Andrew Haigh (“Weekend,” “Looking”) of David Constantine’s short story “In Another Country.” A final scene comprises the best minute of acting in 2015 cinema.

9) “Carol”
Adapted from Patricia Highsmith’s groundbreaking 1952 novel, director Todd Haynes’s latest film is easily the most hopeful love story of the year. Cate Blanchett stars as a married socialite with red lipstick to match her talons; all kewpie doll eyes and tiny pouts, Rooney Mara plays the shopgirl with whom she has an affair. Though this at times devolves into a Douglas Sirk museum, it also is a stunningly rendered paean to the courage that intimacy universally requires.

8) “The End of the Tour”
Though it may prove less satisfying to ardent fans of the late author David Foster Wallace, this adaptation of David Lipsky’s book, Although Of Course You End Up Becoming Yourself, about a five-day interview he conducted with the Infinite Jest author, offers flashes of insight that far outstrip its source material. Starring Jason Segel as Wallace and Jesse Eisenberg as Lipsky in a feat of casting that’s almost too on the nose, it it is directed by James Ponsoldt (“The Spectacular Now,” “Smashed”), who excels at exposing self-delusions with the gentlest of bedside manners. Continue Reading →

‘45 Years’: Rampling’s Many Looks

“45 Years” opens with a sixty-something woman walking briskly along an English country path. It is a grayish morning but not an unappealing one, and she is humming “Smoke Gets in Your Eyes” as she walks her dog on a leash. The song proves prescient: She greets her postman, enters her modest Norwalk home, hands the mail to her husband as he is groggily sipping his tea, and then watches her life explode, though it takes the duration of the film for her to realize what she has witnessed.

The woman is Kate (Charlotte Rampling), and her husband, Geoff (Tom Courtenay), has just received a letter stating that the body of his long-lost sweetheart has been discovered, perfectly preserved, in a Swiss glacier fifty years after she went missing on an Alpine hiking holiday the two had taken together. “It was a fissure – like a narrow crack in the rock,” says Geoff of the fault that claimed the woman’s life, but he may as well be describing the fault that will now splinter his marriage. Kate, with whom he is poised to celebrate his forty-fifth anniversary, has heard virtually nothing of this girlfriend he calls “his Katya” and for whom he has been named next of kin. Thus this film, directed and adapted by Andrew Haigh from David Constantine’s very fine short story “Under the Dam,” is a ghost story with no real ghost, not to mention an infidelity tale with no real infidelity. Continue Reading →

The Ragged Glory of ‘Chi-Raq’

Nobody crafts an opening credits sequence like Shelton “Spike” Lee. In “She’s Gotta Have It,” photo stills of old-school Brooklyn are accompanied by his father, the legendary jazz composer Bill Lee. BK local Rosie Perez busts out her hip hop-boxing moves to Public Enemy’s “Fight the Power” at the start of “Do the Right Thing.” “Clockers” starts with a montage of taped-off Gowanus crime scenes as Marc Dorsey sings “People in Search of a Life.” Kids run through the Crayola-hued streets of 1970s Fort Greene as The Stylistics sing “People Make the World Go Round” in “Crooklyn.” “Da Sweet Blood of Jesus” begins with the gorgeously fluid dancing of Charles “Lil Buck” Riley set against the Red Hook waterfront. It’s one of the auteur’s many signatures: that big, beautiful heart worn proudly on his sleeve from the moment he fires each film’s starting pistol.

Relatively speaking, the opening credits sequence of “Chi-Raq” is pretty straight-up. I suspect this is not just because it is set in Chicago but because Spike is grinding his biggest axe since 2006’s very fine “When the Levees Broke: A Requiem in Four Acts,” which channeled the righteous anger of New Orleans residents after Hurricane Katrina. In bold, primary hues, the lyrics of “Pray for My City” – It’s Chi-Raq and my city’s lost/ I can’t fall victim to Satanflash – flash across the screen as they’re rapped by Nick Cannon, who plays the film’s titular character, the head of a fictional gang known as the Spartans. His street moniker stems from Chicago’s insidious nickname, which references that the number of the city’s homicides surpasses the number of American soldiers dead in Iraq. Continue Reading →

"All, everything I understand, I understand only because I love."
― Leo Tolstoy