Agora
In the 4th century A.D. the lovely philosopher Hypatia (Rachel Weisz, "The Lovely Bones") taught within the magnificent library of Alexandria. Her class was a mix of pagans, Christians and foreigners, and included her own slave, Davus (Max Minghella, "Art School Confidential"). Orestes (Oscar Isaac, "Robin Hood"), who would later become the Imperial Prefect, tried to woo his teacher, a woman who valued academia and independence above all. All their lives would be changed when Olympius (Richard Durden, "The Jacket"), learning that the Christians were jeering at their statues of the pagan gods, sent the pagans to attack them in the "Agora." Laura: Cowriter (with Mateo Gil, "Open Your Eyes," "The Sea Inside")/director Alejandro Amenábar ("The Others," "The Sea Inside") has made an incredibly moving and current film about religious intolerance and the clash between faith vs. science in ancient times. This Spanish production blows away many of its recent Hollywood counterparts with an amazing visual design featuring flawless matte work and astounding shots from the heavens. Although the film's reception has been decidedly mixed, I am going to start thumping my tub for Rachel Weisz's inclusion in this year's Best Actress list, at the very least. She, and Amenábar's film, moved me to tears. We're introduced to Hypatia as she considers gravity, her concept of which leads to discussions as to whether the earth is flat or round, whether it is earth or the sun which moves and the shape of orbital paths, the circle highly regarded as a perfect figure. She is taken aback when Orestes declares his love for her at the public theater, and she firmly turns him away later in a class. She is also astonished to find that Davus, who is secretly in love with her, has made an orbital model which she champions before her students, leading to lively debate. Her father and teacher, Theon (Michael Lonsdale, "Munich," "The Last Mistress"), has very modern ideas about female independence, but when a crucifix is discovered in his abode, the female slave who finally owns up to Christianity is beaten, much to Hypatia's dismay. Here is a pagan woman whose liberal views could teach the religious zealots around her a thing or two. One of those is Ammonius (Ashraf Barhom, "The Kingdom," "Clash of the Titans"), a man who inspires many showing his faith by walking over hot coals. But, in true Christ-like fashion, he also causes a pagan to burn to death to prove his point (the Christians here are strongly paralleled to today's Taliban). Davus, however, finds himself swayed by the man's words. After the bloody clash in the agora, the pagans lock themselves within their temple, but a ruling exonerating the Christians also give them access to the library. knowing that the Christians will seek to obliterate all things pagan, Hypatia desperately tries to save as many scrolls as possible. In so doing, her words to Davus are sharp, a tipping point driving him to the side of the Christians. In his confusion, though, Davus goes to the beaten Hypatia and grasps her, physically showing his pent up desire. She, in turn, frees him. The scene is very well played (Minghella really comes into his own with this role) and marks the end of Part 1. From the heavens, we zoom down to Alexandria (Amenábar uses high speeds to depict humanity as a swarm of ants) for Part 2, now many years later. The religious climate has been complicated by the arrival of Jews in Alexandria. While Orestes is now Imperial Prefect, the Bishop Cyril (Sami Samir, "Munich") is Patriarch, a Christian political force to be reckoned with. Cyril sees Hypatia, whom Orestes counts on as an advisor, as ungodly and begins to move against her. Weisz is extraordinarily good in this film. Her Hypatia lights from within as her questions lead her to new and perplexing answers. She makes us see the burning for knowledge within her and Amenábar gives her a few set pieces where she can physically act out her theories which are not only elucidating for the audience but a creative way to make theoretical talk visual. The woman is also ahead of her time in treating all kindly and with equality, although the actress stops short of making her a saint (another character is ironically sainted at film's end). But its not just Weisz that makes this film work. The entire cast is terrific beginning with Oscar Isaac who takes Orestes from humiliated lover to the elder statesman who continues to love the same woman from a different place. Max Minghella gives the audience its POV into the Christian mind set and the young actor, like his former mistress, continues to question his believes and the words of Ammonius, which frequently go against the teachings of Christ. Sami Samir is deliciously unlikable as the holy man who uses his position to manipulate himself into power and Ashraf Barhom is his streetwise counterpart. Lonsdale carries himself with a sad dignity. Purists may find that Amenábar has taken too many liberties with history, but many of the events he depicts are possibilities in an unclear history. The character of Davus is a device he uses wisely and if Amenábar chooses to romanticize Hypatia's horrific death, it's a choice befitting his themes and the incredible grace endowed by Weisz. "Agora" is a thought provoking film featuring one of the best acting ensembles of the year. The production is so striking, you'll believe you've actually seen one of the Seven Wonders of the Ancient World. A
Laura's Review: A
Cowriter (with Mateo Gil, "Open Your Eyes," "The Sea Inside")/director Alejandro Amenábar ("The Others," "The Sea Inside") has made an incredibly moving and current film about religious intolerance and the clash between faith vs. science in ancient times. This Spanish production blows away many of its recent Hollywood counterparts with an amazing visual design featuring flawless matte work and astounding shots from the heavens. Although the film's reception has been decidedly mixed, I am going to start thumping my tub for Rachel Weisz's inclusion in this year's Best Actress list, at the very least. She, and Amenábar's film, moved me to tears. We're introduced to Hypatia as she considers gravity, her concept of which leads to discussions as to whether the earth is flat or round, whether it is earth or the sun which moves and the shape of orbital paths, the circle highly regarded as a perfect figure. She is taken aback when Orestes declares his love for her at the public theater, and she firmly turns him away later in a class. She is also astonished to find that Davus, who is secretly in love with her, has made an orbital model which she champions before her students, leading to lively debate. Her father and teacher, Theon (Michael Lonsdale, "Munich," "The Last Mistress"), has very modern ideas about female independence, but when a crucifix is discovered in his abode, the female slave who finally owns up to Christianity is beaten, much to Hypatia's dismay. Here is a pagan woman whose liberal views could teach the religious zealots around her a thing or two. One of those is Ammonius (Ashraf Barhom, "The Kingdom," "Clash of the Titans"), a man who inspires many showing his faith by walking over hot coals. But, in true Christ-like fashion, he also causes a pagan to burn to death to prove his point (the Christians here are strongly paralleled to today's Taliban). Davus, however, finds himself swayed by the man's words. After the bloody clash in the agora, the pagans lock themselves within their temple, but a ruling exonerating the Christians also give them access to the library. knowing that the Christians will seek to obliterate all things pagan, Hypatia desperately tries to save as many scrolls as possible. In so doing, her words to Davus are sharp, a tipping point driving him to the side of the Christians. In his confusion, though, Davus goes to the beaten Hypatia and grasps her, physically showing his pent up desire. She, in turn, frees him. The scene is very well played (Minghella really comes into his own with this role) and marks the end of Part 1. From the heavens, we zoom down to Alexandria (Amenábar uses high speeds to depict humanity as a swarm of ants) for Part 2, now many years later. The religious climate has been complicated by the arrival of Jews in Alexandria. While Orestes is now Imperial Prefect, the Bishop Cyril (Sami Samir, "Munich") is Patriarch, a Christian political force to be reckoned with. Cyril sees Hypatia, whom Orestes counts on as an advisor, as ungodly and begins to move against her. Weisz is extraordinarily good in this film. Her Hypatia lights from within as her questions lead her to new and perplexing answers. She makes us see the burning for knowledge within her and Amenábar gives her a few set pieces where she can physically act out her theories which are not only elucidating for the audience but a creative way to make theoretical talk visual. The woman is also ahead of her time in treating all kindly and with equality, although the actress stops short of making her a saint (another character is ironically sainted at film's end). But its not just Weisz that makes this film work. The entire cast is terrific beginning with Oscar Isaac who takes Orestes from humiliated lover to the elder statesman who continues to love the same woman from a different place. Max Minghella gives the audience its POV into the Christian mind set and the young actor, like his former mistress, continues to question his believes and the words of Ammonius, which frequently go against the teachings of Christ. Sami Samir is deliciously unlikable as the holy man who uses his position to manipulate himself into power and Ashraf Barhom is his streetwise counterpart. Lonsdale carries himself with a sad dignity. Purists may find that Amenábar has taken too many liberties with history, but many of the events he depicts are possibilities in an unclear history. The character of Davus is a device he uses wisely and if Amenábar chooses to romanticize Hypatia's horrific death, it's a choice befitting his themes and the incredible grace endowed by Weisz. "Agora" is a thought provoking film featuring one of the best acting ensembles of the year. The production is so striking, you'll believe you've actually seen one of the Seven Wonders of the Ancient World.
Robin's Review: C-
Young Max (Freddie Highmore) loved spending his summers with his eccentric and loving Uncle Henry (Albert Finney) who taught the boy to appreciate life’s finer things, including the wines produced by his vineyard. Twenty-five years later, Max is a ruthless, take-no-prisoners financier working in the rarefied atmosphere of London’s banking business. His latest coup netted his customers a cool 77 million pounds but his unscrupulous methods have drawn the attention of the powers that be. At the same time, he learns that Henry has died and left him the beloved chateau of his boyhood days. Faced with the prospect of being discredited by others in London’s banking industry, Max decides to take a day or two off to travel to Provence and sell his inherited property. When he arrives, though, he finds the place in woeful disrepair. This news is exacerbated by the appearance of the gruff vintner of the estate, Monsieur Duflot (Didier Bourdon), who claims that Henry promised him that he would always keep control of the vineyard. Compounding this revelation is the arrival of American Christie (Abbie Cornish), a beauty who claims that she is Henry’s illegitimate daughter (and Max’s cousin). While he ponders these new situations, he falls for a gorgeous local café owner, Fanny (Marion Cotillard). Max doesn’t know it but he is about to embrace a world that is the diametric opposite to his affluent banker’s life. We’ve been here before (and better) with the charming stranger-in-a-strange-land tale, “Under the Tuscan Sun,” starring the equally charming Diane Lane. That story brings the unhappy divorcee to the land of the Tuscans, in Italy, where she falls in love with a beautiful but rustic old villa. “A Good Life” is a remarkably similar story directed by Ridley Scott and adapted from Peter Mayle’s best-selling novel, but one lacking the warmth and allure of the earlier film. The problem, I think, lay in casting Russell Crowe as the central character in this fish-out-of-water story. While Crowe excels as a dramatic actor and action hero, he is out of his element as a man who falls for the chateau, Provence and, especially, Fanny. The actor doesn’t have what it takes to give the whimsical performance that the “A Good Life” deserves. This is too bad considering the quality of the supporting cast surrounding the Aussie superstar. Albert Finney, in a cameo role as influential Uncle Henry, embodies the sophistication of the winemaker and lover of life. His appearances are all too brief and, unfortunately, kept in flashback to Max’s boyhood. Young Australian actress Abbie Cornish exhibits the same screen presence she showed in her first starring perf in 2004’s “Somersault.” As Henry’s daughter, Christie, she is the personification of kindness and love, wanting to know, better, her father, but making no claim to the property that, in France, should be hers. Marion Cotillard is dead on as the proprietor of a café whose guard against romantic relationships is worn down as Max realizes that happiness in life is far more important than making a bunch of money. Didier Bourdon, the stubborn M. Duflot, also has a solid presence as the surly winemaker with an important secret. This fine cast overshadows the film’s out of place star. The bland, very predictable story has tech credits that are too good for the tale that is told (from Marc Klein’s adaptation). Cinematographer Philippe Lesourd helps make the Provence locale beautiful and appealing. Production designer Sonja Klaus gives the old chateau and vineyard its own personality and a place I wouldn’t mind living in. The production quality overshadows the predictable screenplay. A Good Year” is a forgettable film that I forgot I saw just a day after screening it. It is little more than a lark for director Scott and star Crowe. They may have had a good time making the film, but I can’t say I did while watching it.