The sumptuous BARRY LYNDON is a treat for the eyes and ears
BARRY LYNDON (Stanley Kubrick, 1975)
Academy Theater at Lighthouse
111 East 59th St.
Monday, May 21, $5, 7:00
www.oscars.org
Stanley Kubrick’s lush, romantic epic, Barry Lyndon, is one of the most elegantly visual pictures ever made. Based on William Makepeace Thackeray’s 1844 serialized picaresque novel The Luck of Barry Lyndon, Kubrick’s extravagant three-hour tale follows the shenanigans of one Redmond Barry, played with endless charm by Ryan O’Neal. The man soon to be known as Barry Lyndon has a remarkable knack for survival — or maybe it’s just plain old Irish luck — as he rises in English society via a series of duels (with epees, guns, and bare knuckles), military battles (the Seven Years’ War), and, most prominently, sexual conquests. Consisting of two sections, “By What Means Redmond Barry Acquired the Style and Title of Barry Lyndon” and “Containing an Account of the Misfortunes and Disasters Which Befell Barry Lyndon,” the film features glorious music by Bach, Vivaldi, Handel, Mozart, Schubert, and the Chieftains in addition to absolutely divine locations that lay the groundwork for the sumptuous Oscar-winning art direction by Ken Adam, Vernon Dixon, and Roy Walker and cinematography by John Alcott; virtually every scene contains beautiful shots based on famous paintings, a treat for the eyes and the ears. (Leonard Rosenman took home an Academy Award as well for his adapted score.) The overly long story does drag at times, but it flows better once you get used to O’Neal in the title role. The underappreciated film also has a great supporting cast, with Marisa Berenson as Lady Lyndon, Patrick Magee as the Chevalier de Balibari, Hardy Krüger as Captain Potzdorf, Steven Berkoff as Lord Ludd, Leonard Rossiter as Captain John Quin, and Gay Hamilton as Nora Brady. Barry Lyndon will be screening May 21 at the Lighthouse as part of the Academy of Motion Picture Arts and Sciences’ ongoing Monday Nights with Oscar series and will be introduced by director Bennett Miller (Capote, Moneyball).
Writer-director Panos Cosmatos’s debut feature is a creepy homage to those rainy Saturday afternoon low-budget horror movies of the 1970s. Paying tribute to such films as John Carpenter’s Dark Star, Don Coscarelli’s Phantasm, Richard Fleischer’s Soylent Green, Dario Argento’s Suspiria, and even Stanley Kubrick’s 2001: A Space Odyssey, Cosmatos has created a mysterious psychological thriller set in a futuristic past, going from 1983 to 1966, with cinematographer Norm Li alternating between black-and-white scenes to a world bathed in a lurid red, ruled by a cosmic white pyramid. Michael Rogers, sporting the best hairstyle this side of Javier Bardem in No Country for Old Men, stars as Barry Nyle, a psychiatrist whose only patient, kept trapped in a padded cell, is Elena (Eva Allan), a frightened young woman trying to regain control of her life — something that Nyle is not about to allow. Beyond the Black Rainbow is a head trip of a flick, a midnight movie with a thumping electronic score by Sinoia Caves, wonderfully cheesy production design by Bob Bottieri, and some classically inexplicable moments filled with strange close-ups, blurry visions, and appropriately substandard acting. Just listening to Nyle breathe deep and heavy is a hoot. We have no idea what the movie is about, but that didn’t detract from our enjoyment of it; in fact, it might have helped.
Whoever first said that you can’t put a square peg in a round hole was clearly not a Hollywood producer. In the big-budget Battleship, writers Jon and Erich Hoeber (Red) and director Peter Berg (Friday Night Lights, The Kingdom) transform the old-fashioned, ultra-low-tech board game Battleship into a massive sci-fi action thriller that is pretty much as dumb as you would expect but not quite as stupid as you would hope. Which is not saying that it is not both dumb and stupid, but it will also unexpectedly grab you upon occasion. Taylor Kitsch stars as Alex Hopper, a young ne’er-do-well who is forced to join the Navy by his older brother, Commander Stone Hopper (Alexander Skarsgård), after everything else in Alex’s life has gone wrong. Just as he’s about to be tossed out of the Navy as well, Alex — who has fallen in love with blonde physical therapist Samantha Shane (Brooklyn Decker), the stunningly beautiful daughter of the tough-as-nails Admiral Shane (Liam Neeson) — must suddenly turn into a leader as the Pacific Fleet comes under attack from what appears to be alien invaders. Taking multiple pages out of such disaster flicks as Armageddon, Pearl Harbor, The Day After Tomorrow, and the 1998 Godzilla, Berg has made an utterly predictable movie with inane dialogue, absurd subplots, cool explosions, and a booty-shaking soundtrack (by composer Steve Jablonsky, with guitar by Tom Morello along with an overdose of classic rock). The casting is often more interesting than the film itself, with Rihanna as Petty Officer Cora Raikes, Army veteran and double amputee Gregory D. Gadson as Lieutenant Colonel Mick Canales, and Japanese star Tadanobu Asano (Ichi the Killer) as Captain Nagata. As far as the film’s relationship to the board game goes, the alien bombs are shaped like Battleship pegs, and there is one scene in which a computerized numbered and lettered grid is used to try to track down the enemy. What’s next? Pong: The Movie? Actually, it looks like there are plans to turn Asteroids and Space Invaders into films. We kid you not. And as far as Battleship is concerned, we can’t even consider it sunk, as it has already grossed more than $200 million overseas. And if you sit through all of the credits, you’ll be rewarded by a bonus scene that just might make you think that a sequel is possible.
In his hysterical 2001 black comedy The Royal Tenenbaums, eclectic indie auteur Wes Anderson (The Darjeeling Limited, Fantastic Mr. Fox) created one of the kings of dysfunctional film families. Directly inspired by J. D. Salinger’s Glass clan (Franny and Zooey, Raise High the Roof Beam), the Tenenbaums of New York City have more than their fair share of distress. After being kicked out of the house for being a lousy father and husband, Royal (Gene Hackman) returns, claiming he is dying of stomach cancer. His wife, noted archaeologist Etheline (Anjelica Huston), is now seeing her accountant, the straitlaced Henry Sherman (Danny Glover). Finance wiz Chas (Ben Stiller) is having difficulty getting over his wife’s death in a plane crash, becoming absurdly overprotective of his two young sons’ (Grant Rosenmeyer and Jonah Meyerson) safety. Tennis prodigy Richie (Luke Wilson) is recovering from a very public breakdown and soon has to admit to himself that he is madly in love with his adopted playwright sister, Margot (Gwyneth Paltrow), who is married to strange neurologist Raleigh St. Clair (Bill Murray) and having an affair with longtime family friend and Western novelist Eli Cash (cowriter Owen Wilson). Narrated by Alec Baldwin, The Royal Tenenbaums completed an impressive opening hat trick from Anderson, who had previously made Bottle Rocket (1996) and Rushmore (1998). The marvelously funny flick is screening May 19 & 20 as part of the Museum of the Moving Image series “Wes Anderson’s Worlds,” which is being held in conjunction with the opening of Anderson’s latest, Moonrise Kingdom. The festival begins May 18 with Rushmore and continues through May 27 with screenings of all of his feature-length films, each of which will include a video introduction from Anderson.