Archive | Reviews

One Way to Go: ‘Jimmy’s Hall’

Leave it to Ken Loach to find the pink-o heart of a “Footloose”-style story. In his documentaries and narrative features, the activist director has been a champion of the working class since 1967. Now, in his twenty-fourth and possibly final film (rumors are swirling about his retirement), he has fashioned a fictionalized portrayal of the real-life Jimmy Gralton, a working-class hero who launched a dance hall in a 1930s rural Ireland town against the wishes of local Church officials. A sort of thematic sequel to the 2006 Cannes winner “The Wind That Shakes the Barley,” this arcane chapter in twentieth-century history touches upon all the classic Loach themes – individual liberty, institutional oppression, and, oh yes, collective organizing – while still taking time to smell the Irish roses.

The film begins as Jimmy (Barry Ward, channeling a grizzled glamor that’s all too rare in American male stars) returns to “his two Mas”: Ireland and his mom, who is played by the stalwart Aileen Henry. A decade before, he’d fled to New York when his dance hall had been shut down during the Civil War of 1922-23; while there, he’d developed a passion for jazz that is summoned here in swoony archival footage. Now back, Jimmy claims he just wants to help out on the family farm, but bored teens soon enough lure him into resuscitating his hall as an education center for dance, music, art, sport, and talk – the Celtic basics, in other words. Not surprisingly, the “masters and pastors” (as one character calls resident bigwigs) are not amused. Though the war is technically over, this nation is still stratified by politics and religion, and the Catholic Church considers all matters of education to be under its jurisdiction. Its disapproval, as spearheaded by the glowering Father Sheridan (Jim Norton, an impressive John Lithgow stand-in), gains momentum as Jimmy and his center gains popularity. Complicating matters is Oonagh (Simone Kirby), Jimmy’s former love who’s now married with children. The two were forced to part ways when family matters prevented her from accompanying him to the United States but they still carry torches for each other. Continue Reading →

The Other America of ‘Stray Dog’

“Stray Dog” is a quietly extraordinary documentary about American life today. Like director Debra Granik’s last feature, the 2010 Oscar-nominated indie “Winter’s Bone,” it is set in a financially challenged rural Missouri community, and its titular character is the appropriately nicknamed Ron “Stray Dog” Hall, a biker and Vietnam veteran who is as grizzled as he is unfailingly open-hearted. When we first meet the pot-bellied sixtysomething, he’s decked out in leather, tattoos, and stars-and-stripes patches, and is smoking and sharing moonshine with his war buddies. That’s about the extent to which he and his clan conform to coastal stereotypes about the Heartland poor, a demographic this film investigates with a plainspoken generosity that mirrors its protagonist. Continue Reading →

A Midsummer Night’s Best

It’s that time of year, at least in the Northern Hemisphere. The days are long, the weather is glorious, and gardens are overflowing with bounty that hasn’t yet over-ripened on the vine. In short, it’s A Midsummer Night’s Dream time, that moment in the year that inspired Shakespeare’s most joyously subversive comedy. About four Athenian lovers, six amateur stage actors, and the fairies who control them during a magical night in a forest, Midsummer is an oft-quoted yet oddly underestimated meta-play about the intersection of romance, gender, identity, power, performance, and fate – ideal fodder for Hollywood adaptations, in other words, though the quality of those adaptations is markedly uneven. Here’s our oh-so-subjective list of the best Midsummer-inspired films; suffice it to say it doesn’t include the hamfisted 1999 adaptation starring a deer-in-the-headlights Calista Flockart, the 2001 “10 Things I Hate About You” knockoff “Get Over It,” or this winter’s buffoonishly wrongheaded “Strange Magic.” Continue Reading →

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