David as an actor or with his character’s titular philosophy of life. Have you caught Robert Kenner’s Food, Inc.? It’s amazing to me that anyone who’s seen this manages to voluntarily set foot in an American supermarket ever again afterward. Rockwell made the moon miner’s plight real, alternately tragic and funny. A movie about one guy locked in a spaceship interacting mainly with his own clone is an iffy prospect at best - I shudder to think of the hamming some actors would do to fill the space. MH: In a somewhat lighter vein, I nominate Sam Rockwell for Moon. Charlotte Gainsbourg gives one of the bravest, no-holds-barred performances I’ve ever witnessed as a mother who loses her child and then her mind in Lars von Trier’s gorgeous and unnerving Antichrist. Tom Hardy is bloody mesmerizing as the title character in the true story of Britain’s most violent prisoner. One of my favorite films of the year is the UK production Bronson. RK: A tie (no, not between Morgan Freeman and Sandra Bullock). Mainly, though, I suspect 2009 will be remembered as the Year of Sports Movies That Purport to Teach Us Racial Harmony Through Refereed Violence. And one Iraq war drama that was actually good. Fox, Coraline - that adults could love, too.
#Antichrist movie age rating plus
On the plus side, we’ve seen a bunch of kids’ and animated films - Up, Where the Wild Things Are, Fantastic Mr. But I agree that this year’s cinematic pickings were lean. MARGOT HARRISON: If the larger field of nominees gives some quirkier, less Oscar-bait-y films a chance, I’m all for it. I mean, it was great that Eddie Murphy kept it to one movie, but, aside from that, I’d call it a fairly so-so year overall, wouldn’t you? Either that or they thought the awards broadcast just hasn’t been running quite long enough - who can say? I don’t know about you, but the past 12 months haven’t exactly left me with the impression we’ve entered the dawn of a new cinematic golden age. Apparently someone felt that 2009 gave us an unprecedented glut of classics. In any case, all the ideas of the film are so extravagantly and feverishly expressed that one fears that von Trier, always working on the edge, has finally become unhinged.RICK KISONAK: So, the Academy has doubled the number of Best Picture nominees from five to 10 this year. (“Nature is Satan’s church,” the wife utters apocalyptically at one point.) This focus on nature subsequently gets conflated with human nature and finally with female nature, where von Trier’s careerlong misogyny comes into fullest bloom.
The film’s most successful thematic confrontation is that between frail reason (embodied in the pathetic, infantilizing attempt by the husband, who’s a psychotherapist, to treat his deeply disturbed wife with cognitive therapy) and the uncontrollable forces of emotion and mystery that emerge victorious.Īnother powerful idea, that nature is cruel and vicious and completely antithetical to human welfare, seems to align von Trier with the German visionary director Werner Herzog. Or horror, as when genitals are scissored off, masturbation produces blood rather than semen and holes are drilled into legs. Hence, many of von Trier’s more outrageous, ultra-serious symbolic moments (such as a talking fox, its guts half ripped out, muttering “chaos reigns” in an “Exorcist” voice) will - and did, in the press screening - undoubtedly provoke unintended laughter. Clearly, or rather not so clearly, von Trier is working in a full-out symbolic vein here, as did Strindberg late in his career, but alas, the film medium inevitably carries with it, like an albatross, a heavy charge of realism. In discussing this self-styled “most important film of my career,” von Trier has referred to the forbidding Swedish playwright August Strindberg. The fact that the first three are “Pain,” “Grief” and “Despair” does not bode well. At this point, von Trier switches to color and his signature chapter headings. Bereft, they retreat to Eden, their ironically named cabin in the woods, to recuperate from their loss. As we learn in a rather pretentious prologue shot in slow-motion and black and white, their toddler son has fallen to his death through an open window while they were making love. “Antichrist” is relentlessly and solely focused on a married couple, played by Willem Dafoe and Charlotte Gainsbourg.
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