The Martian

**Spoiler Alert**

Director: Ridley Scott/Starring: Matt Damon, Chiwetel Ejiofor, Jessica Chastain, Jeff Daniels, Michael Pena, Sean Bean, Kate Mara, Mackenzie Davis, Kristen Wiig, Benedict Wong and Donald Glover

At last; after suffering through so many mediocre Ridley Scott movies, the director finally scores big with his latest film: The Martian. Scott, always one to confuse dazzling special effects for gripping storytelling, finds a happy medium here; making his new film his most complete cinematic effort this century. Science fiction films have experienced a resurgence in recent years with renewed storytelling vigor. Films like Interstellar and Gravity are more recent examples. Scott's film continues that trend with a smart, spellbinding drama that is both powerful and visually captivating.

Based on the novel by the same name, The Martian tells the story of an astronaut named Mark Watney (Matt Damon); a botanist who is part of an expedition exploring the surface of Mars. The NASA team, led by military-affiliated Melissa Lewis (Jessica Chastain; as wonderful as always), finds itself caught in a violent sandstorm that threatens to not only topple their capsule, but to endanger their lives as well. In the struggle to return to the capsule, Watney is blown backward when a satellite dish strikes him; leaving his whereabouts unknown in the howling tempest. Unable to perform a rescue, the team is forced to leave Watney behind as they narrowly escape in their capsule, which transports them to the safe environs of their mother ship, the Hermes.

Back at NASA, Director Teddy Sanders (a terrific Jeff Daniels), Mission Director Vincent Kapoor (an excellent Chiwetel Ejiofor) and Director of PR Annie Montrose (an exceptional Kristen Wiig) break the news of Watney's passing to the world, which causes a global outpouring of grief. Meanwhile, the Hermes crew heads for Earth with heavy hearts.

But the next Martian day, as camera tracks slowly over the red, deserty landscape, we see Watney partially buried in sand; his suit life supports systems still functional. When he awakes, he finds a small, metal rod; formerly part of the antenna, sticking out of his side. In pain and running low on oxygen, he makes his way back to the habitat. Safely inside, he immediately tends to his injury, which involves procedures that are mildly graphic.

Shortly thereafter, Watney begins a videolog of his efforts to stay alive, which also serve as a kind of narration for the movie and a way to make the science and technical aspects accessible to the audience.

What follows after demonstrates Watney's heroic resolve as he makes a vow to stay alive. We see him take stock of the finite food supply, which he determines will keep him alive for a little over 365 sols; the unit of time by which the mission measures days. Realizing NASA has a follow-up, manned mission in four years, Watney formulates a long-term survival plan which involves finding a way to grow food in unsuitable Martian soil and a water source in which to feed it. How he manages to accomplish both is a testament to Watney's mind-boggling ingenuity.

Back on Earth, NASA mission personnel discover that Watney may in fact be alive after watching time-lapse satellite photos of the habitat, which shows the rover Watney has been driving parked in different locations. The possibility that Watney might be alive sets off a firestorm within NASA, which presents Sanders, Kapoor and Montrose with the problem as how to present such a development to the world. When satellite photos also record Watney's peripatetic wanderings in the rover, they begin devising a way to communicate with him, which is mainly abetted by another clever move on Watney's part, which involves a serendipitous moment in the film I won't reveal here.

How Watney communicates with Earth--NASA specifically, is another inspired sequence, which involves the help of the Jet Propulsion Laboratory, who designed most of the mission hardware. The JPL leader, Bruce Ng (Benedict Wong), becomes a key character in the film and an indispensable part of the effort to help Watney.

Aware of Watney's limited supply of food and life support, Sanders, Kapoor and Ng devise a way to resupply him before the next scheduled manned mission. Pushing ahead with a launch that circumvents testing procedures, the rocket fails but help arrives from an unlikely collaborator: the Chinese. Recognizing Watney's dire situation, the Chinese offer NASA a rocket of their own.

Not long after, the Hermes crew is finally apprised of the Watney's situation, which Sanders and Kapoor hoped to avoid. When the Hermes crew suggests a rescue, Sanders rejects the idea; citing the problem of adding an extra 580 sols to their mission. But the Hermes crew decides to forge ahead anyway, aware that their actions will be considered mutinous.

The rescue attempt in the gripping third act entails formidable maneuvering by both Watney and the Hermes crew, as well as the interplay between NASA and the JPL.

Like Interstellar, The Martian offers us a story both visionary and intelligent. Of course it helps to have an imaginative book and a brilliant adaptation from which to draw inspiration. Screenwriter Drew Goddard, who penned Cabin in the Woods and adapted World War Z, is the perfect choice to interpret Andy Weir's book. His dialogue scintillates and he sustains a refreshing level of intelligence; never dumbing the story down for a minute.

So many performances, particularly Matt Damon's, make the story seem so real and heartfelt. I especially enjoyed watching and listening to Jeff Daniels, Chiwetel Ejiofor and Kristen Wiig's verbal sparring.

I had mixed feelings about the disco soundtrack and the use of David Bowie's Starman but both give the film more human color and manage not to be too intrusive.

Polish cinematographer Dariusz Wolski gives us a very realistic-looking Martian landscape; both mysterious and beautiful. I'm guessing the Jordan desert stood in for Mars; the rocky crags can also be seen in Lawrence of Arabia .

NASA may want to thank Ridley Scott for the film. It may single-handedly rekindle interest in a Mars mission.

Aside from the great story, the stunning visuals and the superlative acting, one of the film's major strengths is its ability to stimulate one's interest in science. Botany, physics, astronomy, biology, as well as mathematics and engineering, are made exciting and sexy.

In spite of Watney's troubles, the idea of setting foot on Mars is irresistible. When he sits in the desert, contemplating the alien surroundings, it's hard not to think about how this will become reality in a decade or two.

Scott's film is some kind of marvel and easily one of the year's best. It is an exhilarating adventure and a paean to human tenacity and ingenuity. It is also one of the few films I've seen this year I would consider seeing a second time in a theater. I just may do that.

A Most Violent Year

**Spoiler Alert**

Director: J.C. Chandor/Starring: Oscar Isaac, Jessica Chastain, David Oyeloyo, Albert Brooks and Alessandro Nivola

Director J.C. Chandor, who helmed Margin Call and All is Lost, furthers his artistic ambitions with his new film A Most Violent Year. The film is already awash in Oscar buzz and deservedly so; it is often intense and gritty and is a fearless examination of how our mythical notions about the American dream often ignore its less attractive qualities; opportunism, ethical and moral compromise and hypocritical, capitalistic piety. Not a trace of sentimentality or sunny, optimistic contraband infect the narrative. It is riveting and merciless in its depiction of the baser instincts and drives that motivate humans to not only survive but thrive. And just when you think the film just might grant the audience some surcease from its grim view of free enterprise struggle in early 1980s' New York, it reminds us forcefully how a bloody toll can often be exacted from such ambition.

Abel Morales (a terrific Oscar Isaac), along with his wife Anna (one more superlative performance by Jessica Chastain) own and run Standard Oil, a Brooklyn-based company that is rapidly expanding its client base, which often means running afoul of competition. Abel, though hardly a new arrival to American shores, still carries a conspicuous, immigrant identity.

The time is 1981, New York; statistically the most violent and crime-ridden year in the city's history. When the film begins, we see just how brutal competition in the city can be when a Standard Oil driver, Julian (Elyes Gabel) is assaulted by two gunmen who approach his vehicle as it idles inertly in traffic. The gunmen smash the windows, then pistol-whip Julian, who is left lying in traffic while the men make off with the truck.

Meanwhile, Abel and his staff member Andrew Walsh (Albert Brooks) negotiate a property purchase from a group of Hasidim. The riverfront location Abel covets is strategically economic, for it would facilitate oil shipping and receiving. As the two parties go over the terms and conditions of the transaction, we see how it poses a tremendous risk to Abel. The 30-day due date on full payment creates a narrative ticking clock, leaving Abel (and the audience) to simmer in anxiety.
The contrasting scenes give us some idea of the pressures and dangers Abel faces as he seeks to expand his business.

During his visit to Julian in the hospital, Abel sees his driver's broken jaw and discolored face. He apologizes and tries to reassure Julian. The attack leaves Abel wondering who might have perpetrated the assault, but he quite rightly suspects his competitors though the frightening possibility of mob involvement also heightens audience anxiety.

If the theft of the oil and the property sale aren't enough to trouble Abel, the Assistant District Attorney Lawrence (rising star David Oyeloyo) informs Abel he faces 14 counts of business violations. Abel is well aware that Lawrence has been assigned the unenviable task of cleaning up the sordid oil business. Though Abel insists his business is honest, we know from his office conversations with his wife and Andrew that his business carries a taint.

To fully finance the purchase of the property, Abel, Anna and Andrew have dinner with their banker. Abel's business acumen and unshakable confidence have their desired effect at the table, which leaves him and his wife confident of the bank's support.

Continued attacks on his drivers bring about the intervention of the Teamster's leader Bill O'Leary (Peter Gerety), who wants to arm the drivers; a proposition Abel vehemently rejects; knowing gun violence will most certainly jeopardize his business.

Pressured on all fronts, we learn Abel and his wife are of different minds about how to handle their problems; particularly the assaults on their drivers. Anna is tough, pragmatic and willing to get nasty, where Abel is more circumspect and aware of the consequences of heedless impetuosity. A scene that illustrates this eloquently takes place after the dinner with the banker. Driving on a darkened, snowy road, Abel's car strikes a deer. Sitting stunned while the car rests in the middle of the road, Anna reminds Abel he has to put the suffering creature out of his misery. While Abel tentatively approaches the wounded animal with a tire iron, we hear the jarring report of gunfire. The camera pulls back to reveal Anna discharging several shots into the animal. The darkly comic scene leaves us in awe (and maybe fear) of Anna's decisive aggression. We know their conflicting problem-solving methods will eventually clash.

What Abel fears most comes to pass when Julian draws a gun on assailants as they try to hijack his vehicle a second time on a crowded overpass. He fires the gun several times, which thwarts his attackers but invites the unwanted attention of the police, who give chase to the would-be hi-jackers and Julian alike. The gun incident places Abel and Standard Oil in a compromising position, which is enough to frighten his banker into denying him his crucial loan. Left high and dry, the payment to the Hasidim looms in Abel's immediate future.

In order to stay the Assistant District Attorney's aggressive investigation, Abel is forced to find Julian on his own and convince him to turn himself in. Meanwhile, his desperate, monetary plight forces Abel to seek loans in unlikely and undesirable places. His search for funding runs parallel to his search for the party/parties responsible for the attacks on his trucks.

In a scene highly inspired by the Godfather, Abel calls a meeting of the major heating oil company leaders in the area. Presiding like Don Corleone over the gathering, he makes an insistent plea for the robberies to stop.

Chandor expertly shepherds the story through its maddening convolutions. His fascinating characters and the authentic setting are so warmly conceived, one feels as if the film had sprung forth from 1970s' American cinema, when films like The French Connection and Serpico showed a seamier, less romantic New York. The aesthetic prevalent in those films is very much alive in Chandor's film: natural lighting, grimy backstreets and warehouses contrast strikingly with a city skyline (replete with the former Twin Towers) that seems hopelessly beyond the reach of his characters.

Sidney Lumet is being credited for his influence but William Friedkin and Francis Ford Coppola could share as much. Abel's car chase with a hi-jacked truck and the subsequent foot-chase on a subway platform and train are but a few nods to the French Connection while the aforementioned meeting and Abel's Michael Corleone-like (minus the violent tendencies) control are an allusive nod to Coppola.

In spite of its tight, terrific plot, the fuel that propels the story are the performances. Isaac and Chastain are nothing less than mesmerizing while Albert Brooks seems to have found a new niche playing morally-dubious characters and he does it well. Alessandro Nivola and David Oyeloyo don't skimp on their performances either in their supporting roles.

Chandor keeps the story moving and though the title suggests the film might be bloody, violence never really finds full flower, which is quite surprising; given our expectations.

It is very interesting that Chandor recognizes ethnic minorities as emerging economic and political forces in New York power-struggles. Abel's business ambitions and Lawrence's political aspirations represent the shift in New York's sociopolitical make-up.

Chandor's perspective on capitalism is decidedly cynical. Though Abel represents the best of a sordid lot, he is far from being a figure of unassailable probity. His "the result is never in question, just the path you take to get there," is a euphemized the end justifies the means. He also tells the district attorney he chose the right path to his success; which is ambiguous at best. Note that he says right and not righteous. What is right for Abel isn't necessarily the same as ethical. But A Most Violent Year, like its great 1970s' crime film pedigree, is too smart to believe the American Dream is a moral absolute. Chandor knows it sometimes sullies hands and bends character to its breaking point.

This is a masterful film, told with intelligence and precision. Chandor's talent is beyond question. I hope his next cinematic venture is as absorbing as his latest. He is someone to keep our eyes on.

Interstellar

**Spoiler Alert**

Director: Christopher Nolan/Starring: Matthew McConaughey, Anne Hathaway, Jessica Chastain, Casey Affleck, Mackenzie Foy, Ellen Burstyn, John Lithgow, Wes Bentley, Michael Caine, Matt Damon, Topher Grace, David Gyasi and William Devane

I've wondered for some time if Christopher Nolan might someday join the ranks of cinema's directorial best. I've always thought he was ferociously talented and his style distinctive and singular. After seeing his new film Interstellar, which he penned with his brother Jonathan, I can finally say, with forceful emphasis--yes; he is on his way to entering the Pantheon. I found his new film to be monumental, highly intelligent, moving, visionary and riveting.

When one considers the film in retrospect, it seems incredible that a movie that begins on a country farm surrounded by cornfields could carry us to another galaxy, through a black hole and conclude in a space station in orbit around Saturn. But as the staggering stretches of time and space leave us breathless and our minds expanded, it's the mysteries of humanity that ultimately make Nolan's film an emotionally-rich experience.

The film's pervasive, melancholy tone begins in the opening scenes, where we see a less-habitable Earth of the near future. Though what specifically ails the planet is never overtly stated, we can see from the dust storms that smother and lash a small farming community that things aren't good. We learn that most crops have suffered some sort of mysterious blight, while only corn withstands the blankets of dust that besiege the small town residents.

In this community lives Cooper (Matthew McConaughey), his daughter Murphy (Mackenzie Foy), his son Tom (Timothee Chalamet) and his father-in-law Donald (John Lithgow). Cooper, a former pilot and engineer who now farms to survive, never had the opportunity to parlay his piloting skills into a space mission.

As he and his family endure the ominous environmental plagues, Cooper must also contend with his kid's school teachers, who believe Tom will never be qualified to be anything but a farmer, and look askance at Murph's fascination with NASA's Apollo programs. Her teacher bears a bewildering skepticism and contempt for space travel; going so far as to call the moon landing a fraud perpetrated by the U.S. government.

Strange, ghost-like occurrences begin to take place in Murph's bedroom; phenomena she attributes to the supernatural, which Cooper's rational mind interprets scientifically. Because Murph shares her father's analytical prowess, she believes the manifestation is a coded message in Morse, which offer longitude and latitudinal coordinates to a place not far from their home. When Cooper and his daughter investigate the location, they find a secret government NORAD site and when shown inside, they discover the place is actually a NASA base where a secret project involving space travel is being undertaken.

Leading this project is a brilliant scientist named Professor Brand (Michael Caine), who learns Cooper's piloting skills would be ideal for the mission he is overseeing. The professor explains to Cooper that the Earth's atmosphere is changing molecularly; becoming more nitrogen rich, which will soon make it difficult for humans to breathe and survive. The professor's project, already in advanced stages, involves finding planets suitable for human colonization. When Cooper mentions, quite reasonably, that the planets in our solar system can't support life, the doctor tells him of a worm-hole discovered near Saturn; one most likely placed by an alien race that anticipated mankind's need to abandon the Earth. The worm-hole allows travelers passage between our galaxy and another and on the other side are several planets which are candidates for colonization. These planets happen to be circling a massive black hole--at a safe distance--called Gargantua. It is also explained that several scientists have already traveled to said planets and are exploring them, though their fates remain unknown. Professor Brand offers Cooper the opportunity to travel to the planets, via the worm hole, to follow-up on the erstwhile expedition's progress.

Though eager to pilot a spaceship and satisfy his hunger to travel in space, the trip leaves Murph afraid and angry; knowing she may never see her father again. And when Cooper comes to say goodbye to his daughter, she refuses to see him. While she bars the door, books fall from her bookshelf, further confirming the existence of some sort of poltergeist, though what it actually is becomes clear later in the film.

As the mission to Saturn begins, Cooper is joined by Professor Brand's daughter Brand (Anne Hathaway), Doyle (Wes Bentley), and Romilly (David Gyasi). After their ship breaks Earth's gravitational pull, the crew enters cryogenic freeze for the long voyage. On awakening near Saturn, the crew prepares to enter the worm-hole and when they successfully navigate their way through, they find the black hole and the planets the professor described.

The shot of the Earth from space and the rings of Saturn are lovely and breathtaking. It is particularly humbling to see a massive spaceship reduced to the size of a penny next to Saturn's massive majesty. It is also fascinating that the worm-hole is presented more as a sphere rather than the traditional hole-like, sci-fi conceptions we're accustomed to seeing. Hovering like a ticking clock over these wondrous visuals is the mission's pressing objectives and the imperiled human race back on Earth. Nolan keeps the scientific intricacies of space travel and Einsteinian time-dilation reasonably accessible without drowning the audience in technical jargon.

As Cooper, Brand and the crew visit the prospective planets, they encounter some surprises, some life-threatening setbacks and one of time-dilation's mind-boggling peculiarities (time-dilation dictates that time will slow significantly for those who travel at or near the speed of light while it proceeds normally for observers. If one were to visit a distant star at light speed and return to Earth, the traveler will have hardly aged at all while hundreds or thousands of years may have passed for those on Earth). Because the planets circle a black hole, the more bizarre effects of time-dilation wreak havoc with the crew.

And because of time-dilation, Murph has aged into normally into adulthood (now represented by Jessica Chastain) while her father has more or less remained the age he was when he left Earth. Her transmissions to the Cooper's ship leave him floored when he sees the sobering sight of his aged daughter; who, in relativistic terms, is hardly younger than he.

Back on Earth, Murph has matured into an accomplished scientist who has joined Professor Brand's project and in doing so, she learns (as Cooper and crew discover separately) the mission through the wormhole was a one-way trip, which dashes her hope of ever seeing her father again. The realization has a devastating impact on her and on Cooper alike.

A tragic turn of events on one of the planets threatens the mission, which leads to some life-altering decisions for Cooper and Brand, one of which forces him into the black hole; a phenomenal sequence where travel inside a black hole is beautifully imagined; a trip that ends where one might least expect.

A film like Nolan's only works if the sterile, coldness of space can be countered by a powerful human drama, and it is. The relationship between Cooper and Murph is the dynamic that really drives the film. The desire to see Cooper keep his promise to return to his daughter is powerful, though the unimaginable distance and time between them makes that prospect seem unlikely.

Matthew McConaughey may have given the performance of his career in Interstellar. It's hard to imagine how improbable this role seems when just a decade ago his career was mired in witless, romantic comedies with Kate Hudson. That phase in his career seems as far removed from the present as the black hole is from Earth.

Hoyte Van Hoytema, the cinematographer behind Her and Let the Right One In, has a rich palette from which to work as he captures the dusty brown of a farming town, the cold grays of a icy planet and the lovely, ringed face of Saturn; real and imagined environments he records with an artist's eye.

If the film has a flaw, it might be the later scenes on Earth, which seem to pull us reluctantly away from the unbelievable drama taking place a galaxy away. The scenes of an adult Murph combating her brother to make contact with her father is necessary to the story but it can't match the scenes in space for power or wonder. And of course one could be nit-picky about the science in the film. I doubt anyone in a spacesuit would survive entry into a black hole but why should we be forced to think literally to appreciate the Nolan's imaginative story?

I think Interstellar is a masterpiece; a term I very rarely apply to any film, even great ones. It challenges our intellect and our conceptions of reality while showing us how precious a sight a human face might be when it lies beyond interstellar and intergalactic reaches, and what happens when time dilation allows a young father to visit his elderly daughter on her deathbed. And it asks us to consider the notion that our species may not me meant to occupy this celestial ball forever. Nolan asks us to consider a lot, which is what makes his film a stunning achievement.

The Disappearance of Eleanor Rigby: Them

**Spoiler Alert**

Director: Ned Benson/Starring: Jessica Chastain, James McAvoy, Viola Davis, William Hurt, Isabelle Huppert, Bill Hader and Ciaran Hinds

The Disappearance of Eleanor Rigby: Them is a variation of the film's two other incarnations; Her and Him, which tells the same story but from the different perspectives of the respective characters.

The film already suffers from an unfortunate title. If one had never seen a preview for director Ned Benson's feature film debut, one could think the story a sequel to the Yellow Submarine or a film related to the Beatles.

Jessica Chastain plays Eleanor Rigby, who was christened so after her father showed up for a Beatles reunion that turned out to be a hoax. I guess we can be grateful she wasn't named after some other Beatles' song; I don't think The Disappearance of Rocky Raccoon carries the same gravitas.

After the opening scene where we see Eleanor and her husband Conor Ludlow (James McAvoy) being carried away in the throes of love, we're immediately jarred by what follows. We see Eleanor in an over-the-shoulder shot as she walks along a bridge. She stops, then disappears offscreen. A bystander becomes horrified at what he sees and runs to prevent what becomes a suicide attempt though he fails to reach her in time. She narrowly escapes death after she is pulled from her would-be watery grave.

At this point we don't know why someone so in love would try to off themselves and it is to Benson's credit that he witholds the information, which keeps us intensely curious.

Eleanor, in a delicate emotional state, returns to her parents suburban home to convalesce. Her parents; Julian and Mary Rigby (William Hurt and Isabelle Huppert, respectively) her sister Katy and her nephew provide emotional support as Eleanor recovers.

Meanwhile, her estranged husband Conor desperately tries to keep his failing restaurant in the city afloat but he finds it difficult when his friend and underachieving, uninspired and apathetic chef Stuart (Bill Hader) is more an obstruction than an asset.

As Conor tries to reestablish contact with his wife, Eleanor tries to distract herself by enrolling in a class at city college. Her professor, Lillian Friedman (Viola Davis) was once a colleague of her father's. Lillian is suspicious of Eleanor's motives for taking her course, thinking it might be a lark but accepts her anyway. The two form a friendship over the course of the semester, meeting for coffee after class.

During a moment of subtle exposition, we learn the motive behind Eleanor's suicide attempt: the tragic death of her infant son.

The film does well introducing so many characters; arranging them like satellites around the main protagonists. Eleanor is drawn into the dramas of her family, which are slowly teased out; her father's fear of not providing proper paternal support, her mother's regret about giving up her music to raise a family and her sister Katy's single parent status. But we also learn a little about the people in Conor's life, particularly his father Spencer (Ciaran Hinds); a successful restaurateur who is the object of his son's scorn for his supposed disregard for Conor's mother.

One might think the loss of a child and the subsequent frayed marriage would be enough drama for one film but story insists everyone have their story, which deal with themes of parenting or the lack thereof. This poses a problem for the director; we're asked to feel empathy for so many characters whose stories deserve more time and attention than the film can possibly devote. Though Viola Davis is a powerful presence and her character worthy of screentime, Professor Friedman is little more than a repository of world-weary wisdom for Eleanor but in the end, she dispenses very little that is useful. The same problem applies to the other supporting actors; the three H's: Hurt, Huppert and Hinds, whose stock-in-trade is playing well-rounded characters with depth. If you cast actors as talented as H3, you better serve them characters deep as the Marianas Trench. But given their limited screentime, they are still fun to watch.

The same can be said of Jessica Chastain and James McAvoy. Chastain is a riveting presence in any film. Her luminous beauty and striking red hair almost distract us from her performance, which is typically accomplished. James McAvoy is equally fine but the film as a whole doesn't utilize any of the considerable talents to great effect. It creates interesting situations and backstories but somehow it only touches on them timidly.

It's an error in judgement to sell this movie as a romance. A critic's endorsement is seen on many of the movie posters for the film that read "One of the most romantic love stories ever." Aside from being ridiculous, hyperbolic praise, the statement is also misleading. I wouldn't call a film about a couple dealing with death of their infant a romantic love story, would you? Not that a movie of this ilk needs to avoid romance altogether but this isn't Roman Holiday. Maybe I'm being too unreasonable.

And I have no idea what the Beatles' song has to do with the themes or the narrative in the movie. The use of an iconic rock song in the title smacks of a gimmicky ploy to lure a certain audience. Aside from a few references, the song plays no thematic role in the film.

But ultimately, the problem with the film isn't its silly title. One of the film's major failings is its inability to make one feel anything--aside from a little pity--for Eleanor and Conor's emotional plight and shaky marriage. But I felt little else. I wasn't even interested in the will-they, won't--they issue the final scene addresses definitively.

The song Eleanor Rigby asks, "All the lonely people, where do they all belong?" My response: in a movie that isn't emotionally flat; one better suited to the considerable talents of the cast.