The Oscars are a week gone already, and the film world has settled into that soothing lull between awards circuit madness and the summer blockbuster explosion. Things will ramp up again very soon with “Captain America 2” on its way in early April, but in the meantime here’s a few rhythmically-inclined teasers to remind you that even now in the quieter weeks, the music never stops.
Lenny Abrahamson’s absurd-looking story of a musician who prefers to hide behind a bizarre fishbowl head had its share of defenders and detractors at Sundance, and indeed it strikes me as a conceit that could either turn out brilliantly or insufferably precocious. But I’m enthusiastic after this first look, which proves that Michael Fassbender is an unearthly charismatic performer even when he’s got nothing but his voice and body language. I’m a fan of all the ensemble, in fact – Maggie Gyllenhaal is at her best in the dry, incisive mode she’s showing off here, Scoot McNairy is the kind of character actor that delivers no matter thankless role he’s given (hello, “Non-Stop”), and Domhnall Gleeson is proving to be a likably offbeat leading man. As long as the black comedy outweighs the self-conscious quirkiness, this could be a winner.
Doremus isn’t really stretching himself in terms of style in his follow-up to 2011 Sundance sleeper “Like Crazy” – the melancholic, hesitant mood and deceptively controlled camerawork here seems much the same as his debut. The melodrama has been ratcheted up a notch, though, moving from the perils of modern long-distance relationships to the turmoil of a music teacher falling for the foreign exchange student he and his wife are hosting. Both Guy Pearce and Felicity Jones look relaxed with Doremus’ improvisational approach to his scripts – Pearce even manages to deliver that clunky, trite “you don’t seem as young as you actually are” line with authenticity. There’s a literary sort of emotional truth that helps “Like Crazy” mostly ring true, even when the plotting tips toward the incredulous – can Doremus bring that same touch to “Breathe In,” with what looks like an even more overdone narrative?
The Broken Circle Breakdown
The Foreign Language Film category at the Oscars is always an opportunity for a few adventurous titles to get their name out to a wider audience that would otherwise never ever hear of them. Titles like “The Great Beauty” and “The Hunt” had at least a little exposure to art-house viewers, but even the most dedicated cinephiles might have been hard-pressed to tell you anything about Belgium’s submission, a bluegrass-infused relationship drama that quietly earned a fair amount of acclaim on the festival circuit last year. Be forewarned, I read that “Broken Circle Breakdown” is far more “Blue Valentine” than “Crazy Heart” – but as a huge fan of the former, I have no problems with that, and this stylish little teaser has certainly piqued my interest.