OKGazette.com - Drama http://www.okgazette.com/oklahoma/articles.sec-130-1-drama.html <![CDATA[The Swimmer - Lap up this Lancaster obscurity.]]> What's an old-school Hollywood legend like Burt Lancaster doing on a label like Grindhouse Releasing? After viewing The Swimmer, I still don't know. As odd as the 1968 obscurity is, it's still too classy to be caught dead in a grindhouse theater. What matters ultimately is that it's on Blu-ray at all.]]> <![CDATA[The Snake God - ]]> I love the Mondo Macabro label, but with its last three releases, it seems to have only one thing on its mind: spelled S-E-X. There was Countess Perverse, then How to Seduce a Virgin and now 1970's The Snake God.]]> <![CDATA[The Canyons - True to its title, the film is a void.]]> Paul Schrader’s The Canyons opens and closes with a montage of abandoned movie theaters. For this film in particular, that choice strikes one as symbolic in several ways: not only as a comment on the state of the industry, but on the state of The Canyons itself. You’re unlikely to find many 2013 films this empty.]]> <![CDATA[Samson & Delilah - Down and out in Down Under.]]> Samson & Delilah portrays a community so minute, so insular and so far removed from ours, it may as well be science fiction. Neither a documentary nor a remake of Cecil B. DeMille’s 1949 biblical epic, this Cannes Film Festival honoree depicts the dull, dreary life among dwellers of the Central Australian desert.]]> <![CDATA[Lovelace - Only skin 'Deep.']]> In telling the story of X-rated superstar Linda Lovelace, the biopic Lovelace poses an interesting structure. Its first half makes her brief pornographic life seem like it's all bells and fireworks; only after 45 minutes pass do co-directors Rob Epstein and Jeffery Friedman go back to fill in details conveniently glossed over, casting a rather ominous veil over what we've already seen.]]> <![CDATA[How to Seduce a Virgin - Not an instructional video — sorry, kiddos.]]> One need not wait long for the really weird to rear its head in a Jess Franco flick. In the case of 1974's How to Seduce a Virgin, it's all of four minutes, when Martine flashes back to that time she cut off her lover's manhood with a straight razor — y'know, the good ol' days. ]]> <![CDATA[Redemption - And we're not talking coupons.]]> It just figures that as soon as Jason Statham was given the opportunity to act — really, truly act — the picture would be denied a wide theatrical release. Such is the case with the Expendable Transporter's new-to-Blu Redemption, deserving of the full audience his more mainstream work usually gets.]]> <![CDATA[Behind the Candelabra - It tickles the ivories.]]>

Michael Douglas deserved the Emmy he won earlier this week for Behind the Candelabra. For one thing, while watching him play Liberace, I forgot I was watching him play Liberace. 

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<![CDATA[The Kings of Summer - A well-seasoned dramedy.]]> Tired of rules and overbearing parents, best buds Joe (Nick Robinson, TV's Melissa & Joey) and Patrick (Gabriel Basso, Super 8) decide they aren't going to take it anymore. Thus, The Kings of Summer run away from home and build one of their own from scrap material, deep into the woods where their folks cannot find them. ]]> <![CDATA[In the House - Sit, please! And stay a while.]]> Pay no mind to the bland prepositional phrase serving as the title for In the House; the film by celebrated French writer/director François Ozon is built with plenty of layers.]]> <![CDATA[The Bling Ring - Kids do the darndest things.]]> <![CDATA[The Bling Ring - Kids do the darndest things.]]>

Even my children's worst moments are still above the best moments of the snotty, self-absorbed, home-schooled brats of The Bling Ring, Oscar winner Sofia Coppola's follow-up to 2010's snooze-worthy Somewhere.

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<![CDATA[An American Hippie in Israel - Psyche-dull-ic.]]>

If you don't already hate hippies, An American Hippie in Israel just might shove you into that corner. The 1972 oddity by first- and last-time filmmaker Amos Sefer is as odd as it is unsubtle; this is a film that runs its lone point into the ground with the weight of … well, the steamroller that flattens the flowers in the opening credits. Get it?

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<![CDATA[An American Hippie in Israel - Psyche-dull-ic.]]> <![CDATA[The Accursed - Not quite as bad as its title would suggest.]]> No sooner has an annual meeting of war pals began that host Col. Price (Donald Wolfit, Lawrence of Arabia) announces to the gathered guests, all men but one, that a traitor lurks among them. He suspected as much, but having one friend show up with a knife in his back, literally, sealed the deal. Whoever is to blame most certainly is … wait for it … The Accursed!]]> <![CDATA[Blancanieves - Heigh-ho, heigh-ho, it’s off to the arthouse we go.]]>

Once upon a time, the idea of a film being silent, foreign and — steee-rike three! — black and white equated to box-office poison. Then 2011’s The Artist won five Academy Awards, including Best Picture; earned $133 million worldwide; and lived happily ever after.

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<![CDATA[The Iceman - Just chill.]]>

By now, playing the nice guy with a dark side must be old hat to Michael Shannon, to the point of typecasting. Think of Take Shelter. Think of HBO's Boardwalk Empire. That's how you'll think of The Iceman.

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<![CDATA[Drinking Games / From the Head - No budget? No problem!]]>

For no-budget cinema, the single location is a godsend. Set a movie entirely or mostly in one spot — one room, even — and you jussssst might be able to afford to put your thinly veiled autobiographical story onto film (OK, technically video). Such is the case for two new indie offerings: Drinking Games and From the Head.

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<![CDATA[Amour - Brace yourself for an unflinchingly honest love story.]]> Austrian filmmaker Michael Haneke isn't the obvious choice for a movie about love at its weightiest and most profound. In previous works like Funny Games, The Piano Teacher and Caché, he has crafted cinematic nipple twists that tweak audiences while examining humankind at its cruelest.
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<![CDATA[The Brontë Sisters - Poetry in emotion.]]> Originally released in 1979, André Téchiné’s The Brontë Sisters takes the previously highly fictionalized story of the Bronte sisters and imposes an auteur’s vision. ]]>