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Arts

Group of friends brings on Curse of the Slasher Nurse

A group of friends goes out to a secluded cabin in the woods—no other cabins within screaming distance, one of the friends claims—for a weekend of laid-back partying. As night falls and the group gets to some slightly drunken, scary storytelling, a tale about a woman who’s broken out of a psychiatric hospital becomes a bit too real.

So begins Curse of the Slasher Nurse, a new take on the classic slasher film, written, acted, directed and produced by a group of horror movie fanatics in Orange, Virginia.

Curse of the Slasher Nurse
Violet Crown Charlottesville
October 28

Dave Kerr, Amber Fulcher, Kea Raines and Josh Shifflett grew up watching 1980s flicks like Friday the 13th, A Nightmare on Elm Street, Child’s Play and others with suspenseful, gory storylines in which psychopathic serial killers stalk and murder their victims, usually with bladed weapons. There was something appealing about the combination of feelings that these movies brought out in them, of being scared, amused and curious all at the same time.

After seeing plenty of bad slasher movies and feeling bored by current trends in the genre, the four friends decided to make their own slasher flick, one that in true classic fashion included plenty of blood, bad decisions, a little nudity and a good dose of comedy. So, they rounded up about $5,500 and some volunteer actors to film Curse of the Slasher Nurse in and around Orange.

Recent horror films like Hostel focus too much on trying to scare an audience that has already seen it all, says Kerr, who wrote and directed Slasher Nurse. These so-called “horror porn” movies are about maximum scare instead of suspense and, as a result, can come off dry in more ways than one—Kerr says that some modern horror films use too much CGI (and low-budget, bad CGI at that) while others, like the 2009 remake of the 1980 classic Friday the 13th, use too little blood.

And when there’s too little blood, the Slasher Nurse folks say there’s less room for comedy. Part of the delight of old slasher movies is the amount of blood—“there’s so much blood, blood everywhere, and if you really think about it, you wonder where all that blood is actually coming from,” says Fulcher, Slasher Nurse actor and producer. Sometimes there’s just no way all that gore came from a single severed hand.

Slasher Nurse special effects artist Raines (who also plays the titular title character) used about three gallons of fake blood, adding a little gelatin to it in some cases to make it more realistic. Fake blood is designed to splash and splatter like real blood, and it always looks better than CGI, says the longtime horror fan who’s been doing special effects for films and photography for about 10 years. Raines makes her own fake blood and for the lead character used latex, cotton balls and cotton pads, clay, paint and a variety of other supplies to create the nurse’s diseased skin mask, a severed arm, intestines, eyes, brain matter and more.

While Curse of the Slasher Nurse emulates many of its crew’s favorite horror films, it departs from the slasher tradition in one significant way: The film has an adult female killer, whereas most feature adult male killers (Freddy Krueger, Michael Myers, Jason Voorhees, Chucky). Pamela Voorhees, Jason’s mother in Friday the 13th, is an exception.

The slasher nurse is “quite fearful,” says Fulcher. And Kerr promises creative kills, too—the nurse doesn’t murder any of her victims in the same way, he says, all in an effort to have audiences yell “Don’t open the door!” and “Look behind you!” in between handfuls of popcorn (and the occasional chuckle over cheesy acting and an excessive use of fake blood).


Mental notes

What to watch for during your next slasher movie marathon:

Producer/actor Amber Fulcher recommends films that showcase classic slasher qualities: Nightmare on Elm Street, Behind the Mask, My Bloody Valentine, Prom Night, Sleepaway Camp

Writer/director Dave Kerr suggests some movies that you may have overlooked: The Burning: A commonly overlooked movie that “stacks up well.” My Bloody Valentine: Never got the sequel it deserved…mainly because they unmasked the killer. Behind the Mask: A departure from the usual slasher archetype. Slaughter High: Another underrated film. The actor who played the killer died by suicide not long after the movie wrapped. Silent Night, Deadly Night: This takes “something loved by everyone and turns it into something horrifying,” says Kerr.

Kea Raines says keep your eyes peeled for super freaky special effects scenes in: Evil Dead (2013 remake): There are two good ones here, when Mia splits her tongue with the knife, and when The Abomination cuts himself in half with a chainsaw while the sky rains blood. Bride of Chucky: Tilly’s bathtub electrocution. The Devils Rejects: Dr. Satan rips out nurse Marcia’s throat. Psycho: Norman Bates stabs Marion Crane in the shower.

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Arts

Dire consequences: Al Gore’s agenda is discouraged by current climate

The impact of An Inconvenient Truth, the award-winning film released in 2006, was almost unprecedented for a documentary. There had already been a conversation around climate change, but many advocates and people generally in favor of promoting the notion that it was human-supported often lacked cohesion. One could always cite scientific consensus, but before director Davis Guggenheim and former vice president Al Gore teamed up for that film, the information had not been popularized or made into a single reference point complete with real-world predictions and examples.


An Inconvenient Sequel: Truth to Power

PG, 100 minutes

Violet Crown Cinema


Conversely, those who deny the human impact on climate now had a much easier target in Gore—his personal failings were the failings of the entire movement, his investment portfolio somehow proves that all of climate change advocacy is a racket, and it’s all just an attempt at relevance following his defeat in the 2000 election.

The legacy of An Inconvenient Truth is no small part of its successor, An Inconvenient Sequel: Truth to Power. Directors Bonni Cohen and Jon Shenk follow Gore as he continues his efforts to educate the public, inspire and train further advocates and promote renewable energy policy. Gore is seen giving his ever-changing slideshow presentation, including one in Miami, which he gives moments after walking through the streets following a massive flood. He sees the melting glaciers of Greenland, meets with heads of state and their surrogates and scrambles to cut deals to make the installation of solar energy more affordable.

Much of the film’s focus is on the effort to pass the 2015 Paris climate accord—the same one President Trump is pulling us out from. India is the big holdout in the talks, presenting an argument against the agreement that is more compelling than the denial from the right wing: Adopting these systems places an unequal burden on developing nations that do not have the credit of the industrialized world. Gore scrambles to make a deal between India and solar company SolarCity, and this helps to end the stalemate.

Much of the film’s focus is on the effort to pass the 2015 Paris climate accord—the same one President Trump is pulling us out from.

Any effort to win the climate debate is to be admired, and for this reason An Inconvenient Sequel cannot be wholly dismissed. Gore’s predictions of rising tides and worsening storms have come true, and his personal reflections on hopelessness and despair are fully relatable for those who cannot grasp why anyone would knowingly endanger our planet and our future for the sake of political posturing.

That said, the focus on Gore’s personal crusade is partially what makes the final result so murky. As a man, he is determined to focus on the issues rather than himself, using his high profile to do good in the world. But the film personalizes that which Gore himself is attempting to depersonalize; these things make Gore frustrated, that’s why they are bad. Gore likes these things, that’s why they’re good. SolarCity as a company—and Gore’s relationship to it—ought to be more fully described if we are to believe it is part of the solution. In other words, we are expected to already agree and support both Gore and SolarCity from the beginning.

As this film was already in full production in 2015, it is clear Trump was not on the filmmaker’s minds. The supposed “truth to power” comes as Gore goes to meet with the president-elect in Trump Tower. Trump had to figure in somehow, but for all the time spent on pursuing truth no matter the opposition, it is clear that this film is incomplete. He spoke truth to some power with the Indian delegation, which had legitimate issues. Left unaddressed is how to speak truth to power that is as reactionary and self-destructive as the current administration.

A film like An Inconvenient Sequel: Truth to Power needs to exist, and everyone involved ought to be commended for trying. But with the thesis suggested by its title left dangling and its hasty, premature resolution, all we are left with is a reminder of how good the first movie was. The stakes are too high for half-measures; we need to do better than preaching to the choir, inconvenient though it may be.


Playing this week

Alamo Drafthouse Cinema

377 Merchant Walk Sq., 326-5056

Annabelle: Creation, Birth of the Dragon, Dunkirk, Free Victory: The Great Dictator, Good Time, The Hitman’s Bodyguard, Ingrid Goes West, Logan Lucky, The World’s End

 

Regal Stonefield 14 and IMAX

The Shops at Stonefield, 244-3213

All Saints, Annabelle: Creation, Birth of the Dragon, Despicable Me 3, Dunkirk, The Emoji Movie, Girls Trip, The Glass Castle, Good Time, The Hitman’s Bodyguard, Ingrid Goes West, Logan Lucky, The Nut Job: Nutty by Nature, The Only Living Boy in New York, Spider-man: Homecoming

 

Violet Crown Cinema

200 W. Main St., Downtown Mall, 529-3000

Annabelle: Creation, The Big Sick, City of Ghosts, Dunkirk, The Glass Castle, Good Time, The Hitman’s Bodyguard, Ingrid Goes West, Logan Lucky

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Arts

ARTS Pick: Summer in Paris

Longing to escape the bright, hot, cheery sunshine? Violet Crown Cinema welcomes you into the dark by way of the first installment in its Summer in Paris film series. Focusing on crimes of passion and anchored by Panique, the 1946 murder mystery starring Michel Simon as a loathsome Peeping Tom framed for murder by the object of his obsession, the two-part series will feature eight films. The 1991 black comedy Delicatessen moves the series’ second half into the macabre.

Through August 24. $9, times vary. Violet Crown Cinema, 200 W. Main St., Downtown Mall. 529-3000.

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Arts

Movie review: Disney’s live action Beauty and the Beast is a diverse reboot

The idea of a live-action remake of Disney’s Beauty and the Beast is no better or worse than any of the mouse’s many examples of mining its own vault for new material, yet from the moment it was announced, it was met with over-excitement and unnecessary scorn. The cast, the songs, the very concept were under massive scrutiny from supporters and detractors alike. There’s nothing being done to this story that hasn’t already been tried in Maleficent, Kenneth Branagh’s Sleeping Beauty and, no doubt, many more to come, yet this generated far more commotion, good and bad, than any Disney reboot in recent memory.

Beauty and the Beast
PG, 126 minutes
Regal Stonefield 14 and IMAX, Violet Crown Cinema

Now that it’s out, how does it hold up? Those who dislike the concept will find nothing to change their mind—a remake devoid of new substance other than an unnecessarily elaborate backstory, a cast with completely uneven singing ability and a series of notable decisions that feel more like calculated risks for maximum ticket sales than genuine inspiration. Fans, meanwhile, will probably have a new favorite movie, with likable lead actors, moments of genuine pathos and the first consciously inclusive fairy-tale blockbuster that makes a point of proving that LGBT characters and interracial romance are not box office poison. (If the enthusiastic and nonjudgmental reaction of the kids behind me is any indication, we have reason to be optimistic about the future.)

The film begins with a handsome yet self-centered prince (Dan Stevens) hosting a lavish ball, when an enchantress curses him, his castle and all of its inhabitants to teach him the meaning of inner beauty. (Of course she only does this after turning into a beautiful woman first, a trope Disney has not yet learned to avoid.) Cut to Belle (Emma Watson), a girl not entirely understood by her fellow “provincial” villagers. She lives with her father (Kevin Kline) and is constantly pursued by the egotistical Gaston (Luke Evans). You know the rest.

In the end, Beauty and the Beast is exactly what you think it will be plus exactly what Disney said would be different. Your kids will love it, you will probably forget it.

Director Bill Condon’s respect for his protagonists, as well as the audience, is apparent in the consistency of their characterizations. That she falls in love with the beast is not portrayed as her sacrificing her individuality or free will, and the romance has less of a Stockholm syndrome feel to it than the animated film (though not the sophistication of Jean Cocteau’s 1946 film, from which both borrowed many visual cues). Watson is a delight, bringing intelligence and depth to Belle even if her vocals and solo numbers don’t stand out. Stevens successfully finds the many levels to the beast as he struggles with the man he once was, though the CG makeup is a distraction rather than an improvement. The supporting cast as enchanted furniture (Ewan McGregor, Ian McKellen, Audra Macdonald, Gugu Mbatha-Raw, Emma Thompson and others) is uneven but mostly endearing. The only technical drawbacks are the staginess and being far too dark (literally, it’s difficult to see).

As for the social content-—Disney’s main selling point after the public rejected the original music—it’s there, it’s refreshing and it’s interestingly forgettable. For those who don’t follow movie news, the character of LeFou (Josh Gad) was announced to be “exclusively gay,” a strange choice of words but an accurate statement nonetheless. He is in love with Gaston, and it is not ambiguous. But it is also not as prominent as Disney made it seem, with occasional fleeting moments that are mostly silly. One groundbreaking aspect they have not advertised is possibly due to spoilers, but the diverse cast and mixed-race romances are accepted as a fact of life, an issue Disney has wrestled with and apparently decided to tackle with full force. It will be interesting to see how they incorporate this into future films.

In the end, Beauty and the Beast is exactly what you think it will be plus exactly what Disney said would be different. Your kids will love it, you will probably forget it. It’s not revolutionary, but trying to improve on-screen representation with dated source material is refreshing and the fact that the movie isn’t horrible is a nice bonus.


Playing this week

Regal Stonefield 14 and IMAX
The Shops at Stonefield, 244-3213
Before I Fall, The Belko Experiment, Get Out, Hidden Figures, Kong: Skull Island, The Lego Batman Movie, Logan, The Shack  

Violet Crown Cinema
200 W.
Main St., Downtown Mall, 529-3000
Get Out, Hidden Figures, I Am Not Your Negro, Kong: Skull Island, Logan, The Sense of An Ending

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Arts

Manchester by the Sea sails on love and loss

Tragedy and comedy are, in fact, bedfellows when both are taken very seriously, and rarely is this relationship captured as well as it is in Manchester by the Sea. Writer-director Kenneth Lonergan’s meditation on love, loss and moving on strikes this balance with ease, and it’s a masterpiece in its own right for its emotional depth, stylistic restraint and masterful navigation of a story that might have veered into cloying or mawkish territory in lesser hands.

Manchester by the Sea follows the story of Lee Chandler (Casey Affleck), who comes home to the North Shore of Massachusetts after the sudden death of his brother, Joe (Kyle Chandler), to look after Joe’s teenage son, Patrick (Lucas Hedges). Until then, Lee had been eking out a living as a janitor in Quincy, a suburb south of Boston and about as far away as a person can get from Manchester while remaining in culturally familiar territory. Between getting yelled at by tenants and fixing problems beyond his job description, he also resists friendly advances yet picks fights with strangers. We initially know little about Lee’s story, except that he has suffered a great loss and that the last place in the world he wants to be is back in Manchester, let alone taking custody of a 16-year-old he had no hand in raising.

Manchester by the Sea
R, 137 minutes
Regal Stonefield 14 and IMAX, Violet Crown Cinema

Lonergan is keenly aware of the link between location and memory, telling much of Lee’s story through flashback when it is most emotionally relevant and not a moment sooner. The names of many Massachusetts towns appear frequently, but not as a play for local credibility. Audiences won’t need a map to make sense of the emotional geography—Quincy is the place Lee went to escape his problems, Essex is the neighboring town that may as well be on another planet for its economic differences. Manchester is the place where no one forgets the past, which is great for Patrick, a hockey star with a local band and two girlfriends, but a nightmare for Lee.

Lonergan also pays very close attention to the ways people react to the things they can and cannot control. When the film opens, we see Lee in a series of situations where he has no choice but to suffer the abuse of his tenants. Later that night, he turns down an obvious advance from a woman in a bar because responding would mean opening up to someone—an unpredictable undertaking—while he has no problem fighting strangers because that situation follows a predetermined pattern. When Lee is given custody of Patrick, his first decision is to bring him back south to live in Boston, thereby uprooting his entire life. Any requests that might make Lee vulnerable are refused, but he has no problem being Patrick’s chauffeur, no matter how inconvenient. And as we learn the truth of why Lee left, we learn the underlying reason for his fear of powerlessness and resistance to leaving anything to chance.

Manchester by the Sea is a thoughtful, intelligent film with excellent performances and characters you will want to spend as much time with as Lonergan allows. It is funny in expected places and is easily one of the best films of the year, if not the decade.


Playing this week

Regal Stonefield 14 and IMAX
The Shops at Stonefield, 244-3213
Allied, Almost Christmas, Arrival, Doctor Strange, Fantastic Beasts and Where to Find Them, Hacksaw Ridge, Incarnate, Miss Sloane, Moana, Nocturnal Animals, Office Christmas Party, Trolls

Violet Crown Cinema
200 W. Main St., Downtown Mall, 529-3000
Allied, Arrival, Doctor Strange, Fantastic Beasts and Where to Find Them, Loving, A Man Called Ove, Moonlight, Moana, Office Christmas Party

 

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Arts

The rare quality of A Man Called Ove

Leave it to the Swedes to make a comedy-drama about an elderly widower’s unsuccessful attempts at suicide into the feel-good movie of 2016. A Man Called Ove strikes a rare balance between sardonicism and optimism, between hope and hilarious misanthropy, and succeeds thanks to excellent performances and a thoughtful story that would have drowned in sentimentality in less capable hands than writer-director Hannes Holm’s.

A Man Called Ove
PG-13, 116 minutes
Violet Crown Cinema

We meet Ove (Rolf Lassgård) as he argues with a checkout clerk over the meaning of a coupon to save money on flowers—flowers, as it turns out, that are meant to be left on his wife Sonja’s grave as part of his regular visits. He then unloads his frustration with the situation to Sonja as he sweetly confesses that he misses her, promising to be reunited with her soon. This is a perfect introduction to Ove, his worldview, what he values and how deeply he feels. The trouble comes when his inability to leave well enough alone collides with his desire to leave a world that seemingly has nothing more to offer him, when he sees his neighbor is incapable of backing a car with his trailer hitch at the exact moment he is attempting to hang himself.

Bit by bit, Ove becomes involved in his neighbors’ lives and problems, sometimes reluctantly but often out of frustration that they cannot follow the rules or complete household tasks themselves. Gradually, his suicide attempts become more infrequent as he becomes a steady part of their lives, particularly Parvaneh (Bahar Pars), an Iranian woman who both enjoys Ove’s company and refuses to relent to his stubbornness. A mother of two, soon to be three, and a caretaker of sorts to her less-than-handy husband, her tolerance for nonsense is even lower than Ove’s, but her enormous capacity to empathize motivates Ove to peel back the layers of his entrenched personality.

You can see how A Man Called Ove could have easily given way to sappiness, as the story of a rough but sensitive man from a previous generation whose defenses gradually get worn down. Where the film stands apart is in the way it explores how he became so closed off to begin with—giving the character more depth than if he had simply been an ornery old man. Ove revisits his past when he has a moment to reflect, usually as an attempt on his life nears success or when he’s feeling vulnerable with Parvaneh. She becomes something of a daughter to him, a fact that is significant as we learn about his relationship with his father, why he and Sonja never had children and the gradual way in which the young man with an enormous work ethic who married the woman of his dreams became the rules-obsessed, aggressive loner we see today.

Among the most remarkable aspects of A Man Called Ove is the way it balances all of the emotions of both its leading man and its diverse supporting cast. Laugh-out-loud moments bleed into near-tragic events without a drastic shift in style or tone, as director Holm tells the story in a mostly subdued manner that is befitting Ove himself. His suicide attempts are never stopped by cold feet or regret, but by an immediate reminder of his use in today’s world, and his portrayal by Lassgård is second to none. Sensitive, insightful, funny and intelligent, A Man Called Ove is a wonderful film that defies all expectations.


Playing this week

Regal Stonefield 14 and IMAX
The Shops at Stonefield, 244-3213
Allied, Almost Christmas, Arrival, Bad Santa 2, Doctor Strange, The Edge of Seventeen, Fantastic Beasts and Where to Find Them, Hacksaw Ridge, Incarnate, Moana, Rules Don’t Apply, Trolls

Violet Crown Cinema
200 W. Main St., Downtown Mall, 529-3000
Allied, Arrival, Bad Santa 2, Blue, Doctor Strange, Gimme Danger, The Handmaiden, Loving, Moana, Moonlight, Rules Don’t Apply

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Arts

Warren Beatty takes on the legend of Howard Hughes

The great Warren Beatty returns after a 15-year hiatus with Rules Don’t Apply, a Howard Hughes-centered passion project that has existed in the Hollywood icon’s mind since the early 1970s. Beatty rarely commits to a project halfway, and his fascination with the subject, setting and era of the film is evident in both his performance as the infamous industrialist-engineer-film producer and his energetic direction that draws terrific performances from a remarkable cast. Beatty’s enthusiasm for the subject is palpable and occasionally infectious, but it is also the film’s greatest weakness—the final result rarely has an opportunity to breathe or develop a life of its own, resulting in a fun movie with a lot to say but lacking much of a point.

Rules Don’t Apply follows the intertwined lives of Hughes (Beatty), his personal assistant, Frank Forbes (Alden Ehrenreich), and aspiring actress Marla Mabrey (Lily Collins). Marla arrives in Hollywood with her mother (Annette Bening) to live the life of a contract star in Hughes’ roster, though almost immediately the arrangement appears less glamorous than originally promised. There is a beautiful house, a guaranteed stipend regardless of work performed and Frank’s services as a personal chauffeur. But face-to-face meetings with Hughes are virtually nonexistent, contracts are lowered out of windows onto the street to be signed and no real film work ever appears to get done. Marla never receives a screen test until she complains, but it is quickly apparent there is no film on the horizon.

Rules Don’t Apply
PG-13, 126 minutes
Violet Crown Cinema and Regal Stonefield 14 and IMAX

Frank, meanwhile, is an aspiring real estate developer who hopes to use his new position to gain Hughes’ trust and investment in a promising plot of land. The chemistry between Marla and Frank is palpable, but both are under contract to not engage in romantic relationships, as they are often reminded by coworker Levar (Matthew Broderick). It is Marla who writes a song inspired by Frank’s motivational words to her, “You’re an exception. The rules don’t apply to you.”

Hughes, the inspiration for the film and the man who brought these characters together, is largely absent for the first half hour or so of Rules Don’t Apply—fitting not only for his character but for the title, as he is a man who lives his life without the burden of any rules on behavior. A meeting between Hughes and Marla seems promising, but torn alliances and diverging ambitions complicate matters beyond repair. Beatty shows some affinity with the eccentric recluse, even if their biographies could not be more different. Discussions of legacy and immortality appear throughout, and it is only in these moments that the frenetic pace slows down and makes us listen instead of merely observing.

Rules Don’t Apply is an amiable and thoughtful look at the ways social and legal constraints can interfere with our ability to lead a happy, safe life, especially when they exist to do just the opposite. The lack of a central idea becomes apparent when the film veers between fiction and docudrama without committing to either, as whatever message Beatty wants to convey becomes muddled. Though not a full return to form, it is a return nonetheless, and a bad Beatty movie is still better than most. The rules don’t apply to him, either.


Playing this week

Regal Stonefield 14 and IMAX
The Shops at Stonefield, 244-3213
Allied, Almost Christmas, Arrival, Bad Santa 2, Billy Lynn’s Long Halftime Walk, Doctor Strange, The Edge of Seventeen, Fantastic Beasts and Where to Find Them, Hacksaw Ridge, Moana, Trolls

Violet Crown Cinema
200 W. Main St., Downtown Mall, 529-3000
Allied, Arrival, Bad Santa 2, Doctor Strange, Fantastic Beasts and Where to Find Them, Hacksaw Ridge, The Handmaiden, Loving, Moana, Moonlight, White

Categories
Arts

The Innocents challenges the structure of faith

Director Anne Fontaine’s The Innocents takes place in Warsaw in December 1945, when much of the world was ecstatic at the conclusion of World War II, yet those most affected were too deeply traumatized to feel anything close to relief. And for many in the occupied territory of Poland, the horrors continued long after hostilities had technically ended.

Based on a true story, The Innocents follows a young French doctor working for the Red Cross, Mathilde (Lou de Laâge), who is asked by a nearby convent to assist them through a difficult ordeal. Many of the nuns are pregnant after having been raped by Soviet troops, and to add to their torment, they must keep this fact a secret for fear of being persecuted and having their convent closed. It falls on Mathilde to fulfill her duties to the Red Cross while secretly attending to these young women, which is unfortunately made more difficult by the convent’s authoritative, paranoid abbess.

Fontaine keeps the film’s horrific events, both described and depicted, and the broader message in equal focus at all times. As a story, The Innocents is a sensitive recounting of women’s hardship that reminds us that the wounds of war never fully heal, while as a film, it’s a thoughtful investigation into places where abstract notions and material reality intersect. If one is genuine in whatever it is she believes, how necessary is it to be obedient to the structure of that belief? The convent’s abbess is something of a terror, seemingly more concerned about avoiding scandal and maintaining devotion to her authority than to the physical and mental wellbeing of those in her care.

Mathilde faces her own struggle between ideals and implementation; she is a Communist—though not a card-carrying one, she is eager to point out—yet has no love for the Soviets, who are responsible for the horror at the convent and who nearly have their way with her at a roadblock. Her respect for the health and free will of the nuns is more valuable to her than her disagreement with their faith and her constant annoyance with the abbess. As much as possible, Fontaine makes each individual nun her own fully developed character where other filmmakers may have made them one-dimensional for the purpose of evoking sympathy. Some are fully committed to their vows, others would rather return to the outside world, while some are unsure of their faith yet cherish the structure of life in the convent.

As is often the case with historical films, it could be said that the ending of The Innocents is a little too convenient and loses some of the direction that propelled it beyond similarly themed period pieces. However, the characters and their struggle are so engrossing and beyond the standard pity-me tropes, one might not mind the tonal shift. The Innocents places intelligence, ideas and emotional solidarity on equal levels. Beliefs matter, structures designed to implement them matter, but establishing human connections in unlikely places and ensuring one another’s welfare matters more.

Playing this week 

Regal Stonefield 14 and IMAX
The Shops at Stonefield, 244-3213

Bad Moms, Ben-Hur, Don’t Breathe, Equity, Florence Foster Jenkins, Hands of Stone, Kubo and the Two Strings, Mechanic: Resurrection, Morgan, Nerve, Pete’s Dragon, Sausage Party, The Secret Life of Pets, Southside With You, Star Trek Beyond, Suicide Squad, War Dogs 

Violet Crown Cinema
200 W. Main St., Downtown Mall, 529-3000

Don’t Breathe, Don’t Think Twice, Florence Foster Jenkins, Hell or High Water, Kubo and the Two Strings, The Light Between Oceans, Pete’s Dragon, Sausage Party, Southside With You, Suicide Squad, War Dogs