Frustrating History

The Last Days begins with a statement from a Hungarian Jew who survived the Holocaust: As World War II began to slip away from Hitler, the German führer chose to kill Jews with renewed urgency instead of fortifying his battle troops with death-camp soldiers. Why? This documentary never tries to explain. Implicitly, the movie says Hitler hated Jews more than he cared about winning the war. Perhaps that’s the only possible answer. But as glibly as it’s offered here, it’s deeply unsatisfying.

Paul Auster’s Locked Room

There is the sneaking suspicion reading The New York Trilogy, Paul Auster’s collection of short novels, that the works are related. The hunch is not only that the stories are related thematically or in their ultimate message or outcomes – they most certainly are – but that they represent a single, cohesive work rather than three repetitive novellas.

Ebert’s Game: Still Hidden

cache-4.jpgIn his “Great Movies” article on Caché, Roger Ebert teases that he found a key to understanding this ever-mysterious movie: “How is it possible to watch a thriller intently two times and completely miss a smoking gun that’s in full view? Yet I did. Only on my third trip through Michael Haneke’s Caché did I consciously observe a shot which forced me to redefine the film.”

A Movie for One

In Palindromes, writer/director Todd Solondz has a wonderfully oddball conceit: Eight actors of widely disparate ages, races, body types, and dispositions – and even one boy – play 13-year-old Aviva Victor over the course of the movie. It’s obviously meant as a jarring, difficult film, but it’s curiously tame, the function of a concept in search of something to say.