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For much of its two-hour runtime, “BlackBerry” breezes by at a clip, recreating the rise of Research in Motion (the Canadian company’s original name) and the fall of the BlackBerry device as a game-changing mobile brand.
The opportunity to see a movie as tactilely atmospheric as “Mulholland Drive” on a big screen — and in 35 millimeter, no less — can only compare to one’s own dreams in terms of sensory bewilderment.
As in some of the best psychological thrillers, a limited point-of-view brings us closer to the mindset of a main character in crisis, and the filmmakers of “Chile ‘76” make the most of this technique, even if they don’t stick to it completely (as few films can).
One of the greatest achievements of this film about the groundbreaking performer is its discourse on how gender-nonconforming individuals influenced the most revolutionary musical genre of the 20th century.
Through outstanding photography, the director of ‘Godland,’ Hlynur Pálmason, and his cinematographer envelop the viewer in a world of treeless plains, boggy riverine shores, forbidding cliffs, and lonely waterfalls.
Set in Morocco, the film explores the loving relationship between a man and his wife who knows he is gay, and how illness heightens one’s awareness of both the complexity and simplicity of life.
For all the talk of movie theaters as “sacred spaces,” the family bonds are what stick with the viewer.
After a promisingly off-kilter start, a depiction of the life of the Austrian Empress Elisabeth ends up romanticizing addiction and mental illness.
In the end, though, the film is unable to make Mrs. Chatterley more than just a vessel for sexual exaltation, and it fails to reconcile Lawrence’s mind-body musings with how English society was changing in the 1920s.
Based on the renowned novel many of us read in high school or college, the movie retains some of the book’s characters and key events, though it modifies them to create a heightened narrative endpoint.
Carlos Sousa 