April (15) is running from one bad situation into another, hoping to find an answer that doesn't involve nudity, and falls in with a group of confused kids chasing their dreams. The black widow in the web is the sexy, pot-dealing Sally.
Kathryn Vale (Lena Olin) is a reclusive ex-movie star with a dark secret and a daughter hoping to follow in her mother's movie-star footsteps. When Kathryn attempts to make a career ... See full summary »
A fictionalized account of the first major successful sexual harassment case in the United States -- Jenson vs. Eveleth Mines, where a woman who endured a range of abuse while working as a miner filed and won the landmark 1984 lawsuit.
After moving with her mother to a small town, a teenager finds that an accident happened in the house at the end of the street. Things get more complicated when she befriends a boy who was the only survivor of the accident.
The Burning Plain follows the story of several different people separated by time and space -- Sylvia, a woman in Oregon who must undertake an emotional odyssey to rid herself of her past; Mariana and Santiago, two teenagers trying to piece together the shattered lives of their parents in a New Mexico border town; Maria, a little girl who goes on a border-crossing voyage to help her parents find redemption, forgiveness, and love; and Gina and Nick, a couple who must deal with an intense and clandestine affair... because they are both married. Written by
sundance7490 from Scottsdale, Arizona
The title can be translated to Spanish as "El Llano en Llamas", the title of Juan Rulfo's short story collection, one of Mexico's most famous. See more »
In the airborne scene of the crop duster dusting the field, the course and actions of the dusting process were inconsistent with real crop dusting. Spraying began at a point well into the field, and no distinct pattern was set such as to avoid missing or re-spraying spots. See more »
Human Redemption on a Smaller Plain in Arriaga's Tentative Directorial Debut
Screenwriter Guillermo Arriaga's big-screen collaborations with director Alejandro González Iñárritu have produced a trio of highly accomplished films - "Amores Perros", "21 Grams", and "Babel" that juxtaposed several story lines, all tied together by characters who were damaged souls in search of redemption and connection with one another. Although the two had a very public falling-out, Arriaga still appears to be strongly influenced by his former partner's jumbled film-making style as he takes over the director's chair with this 2009 drama. The chief problem, however, is that Arriaga doesn't really show Iñárritu's passion and audacity as he attempts to pull off the considerable demands of a non-linear narrative with conviction. Moreover, Arriaga the screenwriter lets down Arriaga the director with a script that ultimately feels too predictable and contrived despite strong performances from the cast.
There looks to be four separate stories at the outset, which eventually transitions into two. The first involves Sylvia, the manager of an upscale, seaside restaurant in Portland, an extremely pained woman who prefers casual sex followed by self-inflicted punishment. She is obviously anguished over something that motivates her erratic behavior. The second thread takes place in New Mexico near the Mexican border where Gina, an unhappily married mother of four, is carrying on an affair with a local man named Nick, also married with children. The complication here is that her daughter Mariana finds out about the affair and embarks on a relationship with Nick's son Santiago. Meanwhile, in Mexico, a crop-duster plane crash-lands on an open field, as his twelve-year-old daughter Maria watches in horror.
Arriaga's fractured approach works for a little while albeit in an emotionally draining, humorless way. However, when the moment of revelation arrives (and much too early), the plot unravels into a Lifetime TV-movie level of sanctimony obscured by the fiery explosion that gives the movie its name. Proving yet again that a beautiful woman can convincingly expose the torment of a soul under fire, Charlize Theron successfully makes the nihilistic Sylvia an ultimately sympathetic figure. Kim Basinger, looking entirely too stunning and wrinkle-free at 55 to be a K-Mart-shopping housewife, manages to get to the heart of a guilt-ridden woman, even as she shows Gina going through the predictable machinations of her illicit actions.
The stand-out performance, however, comes from Jennifer Lawrence, a Jewel-look-alike, as the troubled teen Mariana, the dramatic pivot for the whole movie. Tessa Ia makes a strong impression as the pensive Maria, while the men barely make a ripple John Corbett as a smitten sous-chef in Sylvia's restaurant, Joaquim de Almeida as the passionate Nick, José María Yazpik as the go-between Carlos, and Danny Pino as the pilot. The one exception is J.D. Pardo who plays Santiago as the impetuous Romeo to Lawrence's Juliet. Robin Tunney shows up in a smallish role as Sylvia's one true friend. Robert Elswit and John Toll share cinematography responsibilities here, and they do an excellent job capturing all the locales. At the end of the movie, I couldn't help thinking that Arriaga's yin was fundamentally missing Iñárritu's yang.
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