When a Danish peacekeeping unit assigned to Afghanistan comes under fire and becomes trapped, Commander Claus Pedersen (Pilou Asbæk) must make some hasty decisions to save the lives of his men, particularly that of a soldier seriously wounded in the firefight (Dulfi Al-Jabouri). But, in the wake of that incident, questions arise about the propriety of those decisions, specifically whether Claus had adequate confirmation of who was responsible for the attack and how he responded to it.
Saul Ausländer (Géza Röhrig) leads a sickeningly ghastly life. As a Sonderkommando in the Auschwitz concentration camp, he’s been consigned to a special prison work crew charged with aiding his Nazi captors in the gruesome task of exterminating his fellow Jews.
In 1947, screenwriter Dalton Trumbo (Bryan Cranston) was one of the most acclaimed and best paid scribes in Hollywood, having achieved success with the scripts for such films as “Thirty Seconds Over Tokyo” (1944) and the Oscar-nominated “Kitty Foyle” (1940).
In August 1974, crowds of open-mouthed New Yorkers were captivated when a little-known French high-wire artist named Philippe Petit (Joseph Gordon-Levitt) undertook and achieved the unthinkable – stringing a cable and successfully traversing the space between the Twin Towers of the World Trade Center, 110 stories (1,350 feet) above the ground.
Kumiko (Rinko Kikuchi) is bored by her life. As a twenty-something Tokyo “office lady,” she sees herself stuck in a dead-end job. She quietly detests the demands and intrusiveness of her condescending boss, Mr. Sakagami (Nobuyuke Katsube), and the incessant phone calls of her nagging mother (voiced by Yumiko Hioki). She’s even loath to address such everyday activities as keeping up her apartment, collecting her mail or spending time with a onetime acquaintance, Michi (Kanako Higashi). In fact, the only things that seem to give Kumiko any pleasure are caring for her pet rabbit, Bunzo, and her pursuit of an unusual hobby – treasure hunting.
It’s a rare occasion when someone comes along who ends up being a genuine game changer in his or her particular field of endeavor. But, when such individuals make their presence felt, they leave an indelible mark on their craft, changing it forever. In the field of film criticism, that distinction belongs to Roger Ebert (1942-2013), who almost single-handedly altered the way we look at movies and whose storied life is now the subject of the engaging new documentary, “Life Itself.”
What makes a good relationship? That’s a question mankind has wrestled with for ages (or at least ever since Woody Allen started making movies), but the answer has always seemed to elude us, shifting like an ever-moving target. And the clarity we seek on this point may be even harder to come by with the release of the latest offering from director Spike Jonze, the romantic comedy-drama, “Her.”
In an age when so many aspects of life seem so inherently transient, it’s hard to fathom how some can persist with dogged determination. This can be particularly maddening when it comes to those we’d rather rid ourselves of, yet they’re almost always the ones that endure the longest. When such circumstances arise, there’s usually some kind of life lesson involved, one that we’d be wise to address, a point driven home in a poignant drama from Denmark, “The Hunt” (“Jagten”), now available on DVD and Blu-ray.
Whenever we see someone rise to greatness, we’re inspired by the impressive personal power that they wield. But managing such power can be a dual-edged sword as anyone can attest who has witnessed its unleashing in the manifestation of terrible atrocities. The challenges associated with this issue can become apparent in a variety of arenas, too, including everything from the world geopolitical stage to the everyday theater of family relations. That point gets driven home with riveting clarity in the dark new comedy-drama, “August: Osage County.”
There’s this thing we call life that we all go through together. Yet, despite its inherent connectedness, sadly, we often fail to see or appreciate this attribute. We tend to look upon ourselves and everything in our existence as separate components loosely linked by certain limited degrees of commonality. And so, when some kind of manifestation arises made up of elements – people, places, things, etc. – that don’t seem to belong together, we find it even more inscrutable, failing to sense the intrinsic validity or value in it.
Movies with conscious creation-related themes fared well once again at this year’s Oscars ceremony in Hollywood on Sunday night. There weren’t many surprises, however, with front-running nominees taking home most of the awards as expected.
The economy has been on everyone’s mind for several years now, and many have justifiably pondered how we got ourselves into this mess. But, as is becoming increasingly clear, the causes go beyond economics, having as much to do with human nature and what we create as it does with money. These questions are examined in meticulous detail in the Wall Street drama, “Margin Call,” now available on DVD.
To be sure, there are some conscious creation themes explored in the film, most notably those related to facing fears, examining unexplored probabilities, understanding the nature of the reality we experience, embracing change by letting go and appreciating the inherent connectedness of all things. However, the passing and often-haphazard treatment they receive reminds viewers of just how many other pictures are out there that handle these subjects much more deftly and substantively.
At its metaphysical core, “The Iron Lady” showcases one individual’s efforts at practicing conscious creation, the philosophy that maintains we each create our own reality. This theme is perhaps best summed up by a quote from the protagonist: “Watch your thoughts, for they become words. Watch your words, for they become actions. Watch your actions, for they become habits. Watch your habits, for they become your character. And watch your character, for it becomes your destiny! What we think, we become.”
In many ways, “Hugo” is a primer on a variety of conscious creation principles. It clearly illustrates how our beliefs and expectations – for better or worse – yield the reality we each experience. Hugo, for example, is so convinced that the completion of his task is essential to his future well-being that he repeatedly draws circumstances to him that make fulfillment of his vision possible. He carries on, despite seeming obstacles, and he’s richly rewarded for his efforts.
Front runners lived up to their billing as Oscar winners Sunday night at the 83rd annual Academy Awards, held at Hollywood’s Kodak Theater. The favorites in virtually every category ended up taking home statues by night’s end, including a number of films with significant conscious creation/law of attraction themes.