Sami (E. J. Assi) and Najlah (Nada Shouhayib) slowly grow close in Arab-American rom-com DETROIT UNLEADED
DETROIT UNLEADED (Rola Nashef, 2012)
Cinema Village
22 East 12th St. between University Pl. & Fifth Ave.
Opens Friday, November 22
212-924-3363
www.cinemavillage.com
www.detroitunleaded.com
Expanded from her 2010 short film of the same name, Rola Nashef’s first feature, Detroit Unleaded, is a well-meaning if ultimately standard romantic comedy set within the Motor City’s Arab-American community. Described by Nashef, who was born in Lebanon and raised in Michigan, as a melding of Clerks, Do the Right Thing, and My Big Fat Greek Wedding, the film stars E. J. Assi as Sami, a Lebanese American teenager preparing to go to college in California when his father, Ibrahim (Akram El-Ahmar), is suddenly shot and killed at the family’s gas station / convenience store. With no other choice but to take over the business, Sami soon finds himself behind newly installed protective glass, using a buzzer to let customers into his store. He works with his cousin Mike (Mike Batayeh), who will sell just about anything and has big plans for their operation. Bored and lonely, Sami is surprised when the pretty Najlah (Nada Shouhayib) begins to show an interest in him, although she’s hands-off when it comes to any physical contact, fearful of what her big brother, Fadi (Steven Soro), would do if he finds out she might have a boyfriend. Meanwhile, Sami starts giving his mother, Mariam (Mary Assel), driving lessons so she can begin putting her life back together. Assi and Shouhayib are charming in their film debuts, displaying an endearing chemistry, but the narrative staggers whenever side characters are involved, from Najlah’s friends to the various oddballs who come into the store. Even Mariam’s story feels stagnant and stale. While it’s interesting getting an inside look at the battle between the old ways and the new generation in the Lebanese-American community in Detroit, the film settles on some clichéd plot twists, leading to an ending that will have audiences scratching their heads, wondering if a scene or two was missing. Winner of the Grolsch Film Works Discovery Award at the 2012 Toronto International Film Festival, Detroit Unleaded opens on November 22 at Cinema Village, with Nashef participating in a half dozen Q&As on Friday, Saturday, Sunday, joined by Assi, Batayeh, and Shouhayib at some of them.
Director Benjamin Heisenberg and star Andreas Lust take viewers on a breathless thrill ride in The Robber. Adapted from Martin Prinz’s novel about real-life 1980s Austrian marathon champion and bank robber Johann Kastenberger, The Robber focuses on Johann Rettenberger (Lust), a grim, ultra-serious man who has just been released from prison after serving six years for armed robbery. Although he tells his parole officer (Markus Schleinzer) that his thieving days are over, Rettenberger seems unable to stop grabbing his shotgun, donning his trademark facemask, and stealing cars and robbing banks. But his motives remain unclear, as he merely stashes the cash under his bed, not using it for himself or giving it away. He initially does not appear prone to violence either, but his cold-blooded stares and inability to really connect with others signal a man threatening to explode at any moment. When not robbing banks, Rettenberger is either training for or running in marathons, a skill that also helps him avoid the police. Despite Rettenberger’s intensely secretive personality, a social worker named Erika (Franziska Weisz) falls for him, putting him up in her house while she imagines he is looking for work and trying to get his life back together. But not even love can warm the frigid heart of this stone-cold thief.
Stanley Kubrick’s harrowing Paths of Glory, based on the novel by Humphrey Cobb, is quite simply the best English-language antiwar film ever made. Kirk Douglas stars as Colonel Dax, a French military man who disagrees with his superiors’ insistence on sending his men into certain annihilation in order to take a worthless hill during World War I. Dax’s verbal battles with Generals Broulard (Adolphe Menjou) and Mireau (George Macready) are unforgettable, as are the final scenes, in which three random men are chosen to pay the price for what the generals call cowardice. Filmed in stunning black and white, Paths of Glory puts you right on the front lines of the folly of war. Kubrick, who wrote the unrelenting script with Calder Willingham and Jim Thompson, also made the best film about the cold war (Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb), the Roman slave revolt (Spartacus), and, arguably, the Vietnam War (Full Metal Jacket). One of the most emotional, powerful stories ever put on celluloid, Paths of Glory is screening for free on November 22 at 7:00 as part of the New-York Historical Society’s Bernard and Irene Schwartz Classic Film Series and will be introduced by author Michael Korda (Ike: An American Hero, With Wings Like Eagles: A History of the Battle of Britain) with a focus on “WWI and Its Legacy in Film.” 
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