Craig Zobel's Compliance may be the creepiest movie of the year. It has no physical violence, no sex, barely even a raised voice -- and yet it burrows into your brain and keeps burrowing, the longer you watch.
As one would expect from Cronenberg, there are sudden moments of shocking violence to go with the moments of unsexy sex. None of it will distract you from the fact that this limo, like the whole enterprise titled Cosmopolis, is going nowhere.
They take a very specific couple and make them universal. It could be a primer on what couple's therapy is about, how it works and how the results won't always be life-changing breakthroughs -- at least not right away.
Both are about intense relationships between young adults that end -- and yet go on. Both are stories of love that has grown one-sided. And both ache with the unavoidable self-pity that goes along with that kind of situation -- while finding the laughs in that same circumstance.
In a summer of movies made of bombastic special effects and obvious action, Killer Joe still has the ability to surprise by keeping it down and dirty -- though you'll need a strong stomach to make it to the end.
Woody Allen's To Rome With Love is a valentine to that city, rendered through a series of semi-connected stories set in the Italian hub. It's light and frothy, mixing silliness, romance, magic realism and absurdity.
I settled in for the screening of Marina Abramovic -- The Artist is Present, with the same skepticism I'd had when I went to see her retrospective at the Museum of Modern Art, which the film documents.
Nominated for the Oscar as best animated feature (which went to the visually brilliant but drastically unfunny Rango), A Cat in Paris is a slight but entertaining tale, most noteworthy for going old-school, with hand-drawn animation.