2 Days in New York

Le Week-End Movie

Roger Michell’s Le Week-End is a far darker and less conventional film than its twee, Notting Hill name-dropping advertisements suggest. Its depiction of a bickering older couple stuck together on a perfunctory second honeymoon is hardly another indie grab for the Best Exotic Marigold Hotel crowd to once again sightsee vicariously through British screen veterans. Rather, the couple’s failure to connect is presented as an existential crisis borne by their inability to overcome one another’s revisited insecurities and tics. Their disconnection is a reluctantly accepted marker of dwindling self worth in the face of a life run embarrassingly short of its rich potential. Jim Broadbent‘s Nick at one point dances alone to Bob Dylan’s “Like a Rolling Stone” around the lavish Parisian suite he can’t afford, earbud cords bopping atop his undershirt while he sips on minibar whiskey. Abruptly, he stops. A former ‘60s radical, Nick has seen his dreams of revolution give way to practical compromise (including, apparently, marriage itself), professional disappointment, and aging out of hipness, until the very sounds of social change fit neatly into a library of songs for a portable Apple product. Le Week-End never fully paints a scope of the couple’s past, but instead lets their history emerge as infectious burdens upon the present. A glut of other indies have similarly tackled the topic of longterm relationship difficulties, offering depictions of complex couplehoods that serve as a corrective Hollywood’s convention of seeing marriage as love’s definitive triumph over conflict. While many of these “relationshit movies,” […]

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Jeremy Renner in The Bourne Legacy

Christopher Nolan’s The Dark Knight Rises was king of the hill for three weeks, but this weekend found it at the bottom of an inescapable prison. By “inescapable prison,” I mean in 3rd place with another $19.5m and a cumulative $835m worldwide gross, so no one is eating soup and cabbage at Warners or anything. The Campaign – featuring Will Ferrell and Zach Galifianakis punching babies for votes – took 2nd with an opening draw of $27.4m domestic. The unsurprising winner, however, was The Bourne Legacy which scored $40.2m here in the States and a worldwide total of $48m. That’s a better opening than The Bourne Identity but it’s a bit behind the two other franchise entries. Again, not surprising. In slightly smaller releases, the Meryl Streep/Tommy Lee Jones marriage drama Hope Springs came in 4th place with 1,000 or so fewer theaters, taking $15.6m. Travis Pastrana’s stunt-fueled Nitro Circus: The Movie 3D took $1.1m from 800 theaters for a debut at 13th place, but in super limited releases, Julie Delpy’s follow-up 2 Days in New York brought in $27,000 on only 2 screens, beating the per screen average of every other movie this week. A close second on that front? The US release of Max and the Junkmen (Max et les Ferrailleurs) which earned $13,000 off just one screen at the Elinor Bunin Monroe Film Center, only 41 years after its original release abroad. [Box Office Mojo]

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2 Days in New York

Editor’s note: With 2 Days in New York opening in limited release this Friday, here is a re-run of our review from Sundance, when it was the only film that could perk an exhausted Kate up on Festival Day 26. This review was originally posted on January 29, 2012. Picking up a few years where her 2 Days in Paris left off, Julie Delpy‘s 2 Days in New York has moved the sometimes-messy life of Marion (Delpy) to Gotham. Marion has now taken up with Mingus (Chris Rock, playing a pitch-perfect straight man), a former co-worker who offered dry humor and personal understanding when her previous relationship crumbled. The pair live together in a cozy and artistic apartment, joined by Marion’s young son Lulu (Owen Shipman) and Mingus’ daughter Willow (Talen Ruth Riley). As calm and lovely as their life together seems, everything is about to be tested over a brief two-day period, marked by the arrival of Marion’s insane family, the opening of an important gallery exhibition of Marion’s photos, and the unspoken pressure that one of Marion’s other artistic endeavors is putting her under.

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2 Days in New York

While she’s best known as an actress (Before Sunrise, represent!), Julie Delpy has, in recent years, been making the transition to becoming a writer/director as well. Probably her best known work so far is her 2007 relationship comedy Two Days in Paris, which was kind of a comedy of manners where Delpy’s character and her boyfriend (Adam Goldberg) went to Paris to visit her crazy family and have some uncomfortable run-ins with her ex-boyfriends. 2 Days in New York seems to be a sequel in the classic sense. It tells basically the exact same story, except in reverse. This time the crazy family and the awkward ex-boyfriend are coming to New York to visit her and her new boyfriend (Chris Rock). It’s kind of like how Linda Kozlowski was first shocked by Crocodile Dundee’s Outback home and then Crocodile Dundee was shocked by her New York home. Kind of.

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Earlier this week, our own Cole Abaius announced the first wave of this year’s Tribeca Film Festival‘s film lineup. That assault was impressive enough, complete with lots of compelling picks in the World Narrative Feature Competition, World Documentary Feature Competition
, and Viewpoints sections, but today’s release of the final feature film sections is a whole other volley of firepower. With today’s announcement of their Spotlight, Cinemania, Special Screenings, and the 2012 Tribeca/ESPN Sports Film Festival, the fest has completed their feature announcements – and made me start to wonder if I should try to hit Gotham for the festival, running April 18 – 29. Picks that stand out to me already include the delightful 2 Days in New York, Chicken With Plums, Don’t Stop Believin’: Everyman’s Journey, The Giant Mechanical Man, Headshot, Lola Versus, Take This Waltz, Your Sister’s Sister, and Sleepless Night. Check out the full list of films (along with Tribeca-provided synopses) after the break.

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Last week, the 2012 Sundance Film Festival announced their first wave of programming, featuring twenty-six titles that will be screening in competition. They followed that with the announcement of their Spotlight, Next, Park City at Midnight, and New Frontiers films. It was two days of absolute madness and glee, and the festival sagely waited a few days, giving us the buffer of a weekend to catch our collective breath, before breaking out the big guns. The Premiere and Documentary Premieres. That’s a bit clunky – so the Premieres! The Premieres are here! Per usual, here’s a list of films that immediately jump out at me: Julie Delpy’s follow-up to 2 Days in Paris, the Delpy and Chris Rock-starring 2 Days in New York, Nicholas Jarecki’s Abritrage (which stars one of last year’s break-out stars, Brit Marling, in her fist big-time feature role), Lee Toland Krieger’s Celeste and Jesse Forever (which stars co-writer Rashida Jones), Stephen Frears’ Lay the Favorite, Josh Radnor’s second film Liberal Arts (also starring one of last year’s big stars, Elizabeth Olsen), Spike Lee’s Red Hook Summer, Stacy Peralta’s Bones Brigade: An Autobiography, and Amy Berg’s West of Memphis. Check out the full list of Sundance Film Festival Premiere picks after the break.

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