Sunday Similar Subjects

Welcome to a weekly feature here at Movies With Abe. After spending a number of weeks looking at actors who tend to play the same characters, it’s time to spotlight two films (or three, in this case) with eerily similar plots that came out at roughly the same time. There are surprisingly more examples than might be obvious, and this series will examine the similarities and differences between the two (or three), and how their simultaneous releases affected each other.

Sexy Beast / The Score / Heist

Release dates: June 13, 2001 / July 13, 2001 / November 9, 2001

The similarities: All three films featured major heists involving supposedly retired thieves looking for their last big score. They were all heavy on the male stars and featured at least one big-name Oscar winner in a lead role.

The differences: The first was a stylized British film with Ray Winstone in the lead and Ben Kingsley on tap as the violent gangster, the second reunited Robert DeNiro and Marlon Brando (in his last film role) along with con artist Edward Norton, and the third brought together Gene Hackman and Danny DeVito. British director Jonathan Glazer helmed the first, Frank Oz the score, and David Mamet the third.

The releases: None of them did particularly well at the box office. The first film, an independent British release, netted nearly $7 million in the U.S. while the second made just over its $68 million budget back, and the third made $23 million, falling very short of a $39 million budget. The first was the most well-received, earning Ben Kingsley an Oscar nomination for his performance. The other two received decent reviews.

Which one is more likely to be remembered? The only true gem among them was “Sexy Beast,” which is remembered far more for Kingsley’s performance than for anything else, despite the fact that it was a quality English crime thriller. I don’t think “Heist” made much of a mark, though “The Score” is notable for its “Godfather” reunion of sorts and a superb performance, as usual, from Edward Norton.

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in theatres as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing

The Yakuza and the Mermaid and My Life as Abraham Lincoln (mixed bag): This eclectic double feature from a husband-and-wife team presents intriguing and hypnotic stories of writers facing the products of their work manifested in their daily lives. Both are fascinating concepts whose translation to screen is less than coherent. Now playing at the Cinema Village. Read my review from yesterday.

New to DVD

The Avengers (recommended): This mega-spectacular has to be exciting simply because it amasses such a terrific collection of superheroes. Its action-centered moments are stellar, and the character interaction is excellent too. A must-see for any Marvel comics or superhero fan, and the sequels are going to be superb as well.

Damsels in Distress (recommended): This witty Whit Stillman comedy is a curious and individualistic take on love, life, and depression, featuring a strong female cast led by Greta Gerwig in her first big lead role. It’s odd at times, but overall engaging and endearing.

Goodbye First Love (recommended): This French romance from director Mia Hansen-Love (“The Father of My Children”) features a strong central performance from Lola Créton, and a realistic and thought-provoking commentary on love and relationships. It may not be the best relationship film ever made, but it’s certainly a worthwhile one.

Now on Netflix Instant Streaming

Headhunters (highly recommended): This Norwegian film subtly morphs from comedy to thriller, and it’s extremely engaging throughout. The Scandinavian cast, which includes Nikolaj Cosetr-Waldau from “Game of Thrones,” is terrific, and the movie boasts an excellent script and superb editing.

Double Feature with Abe: The Yakuza and the Mermaid / My Life as Abraham Lincoln

The Yakuza and the Mermaid – Directed by Chris Benker
My Life as Abraham Lincoln – Directed by Shari Berman
Released September 28, 2012

This strange double-feature premieres today at the Cinema Village in New York City. These two films, from husband Chris Benker and wife Shari Berman, both explore the lives of writers whose imaginations begin to take over their lives. In Benker’s film, the writer’s characters become frustrated with his meddling in their lives and plot to kill him. In Berman’s, protagonist and aspiring author Cindy is obsessed with a play about Abraham Lincoln in which she starred as a young child to the point that memories manifest themselves in the middle of interactions with other people. Both films are equally odd and told in a style that is not particularly attached to a chronological narrative. They’re prone to extended hallucinations and meditations on life. In the former film, one character, known as the Mermaid, launches a sociology experiment in which she leaves random notes for people telling them she knows what they did and that they must come meet her in an effort to draw out their darkest secrets, and in the latter, Cindy herself becomes involved in an increasingly worsening situation involving the death of a new acquaintance, where she must struggle to determine what is real and what she has invented. Both stories are extremely intriguing, but neither is effectively tethered to reality in a manner that makes much sense, creating a dizzying, intoxicating, ultimately unfulfilling experience.

C+

Thursday Theoretical Oscar Category

Welcome to a weekly feature here at Movies With Abe. In my love for everything Oscar, it’s always fun to speculate on who or what might have been included given different circumstances. Though there are twenty-four fields recognized on Oscar night, that still neglects a handful of key players. As a result, I’d like to take a look each week at imagined categories, and who or what might have benefited from their existence.

The category: Best Limited Performance

Why it should exist: This is actually a crucial category since “supporting” isn’t a very definitive term, meaning that actors with essentially bit parts like William Hurt (“A History of Violence”) and Mark Wahlberg (“The Departed”) get lumped in with people who actually appear throughout most of their films. It’s a great way to single out scene-stealers and reward them for outstanding work in a small yet significant role.

Why it doesn’t exist: Aside from the obvious problem of adding additional acting categories, would a screen time limit need to be imposed? Would there be one category, or two, one for men and one for women? Could actors be nominated in supporting and here (I vote no, which means some of my nominees below would have only been recognized here)? On top of that, there are just too many contenders since this opens up the field infinitely.

Who might have been nominated the past five years:
2011: Kathy Bates (Midnight in Paris), Adrien Brody (Midnight in Paris), Judy Greer (The Descendants), Charlotte Rampling (Melancholia), Mark Strong (Tinker Tailor Soldier Spy)
2010: Joel Edgerton (Animal Kingdom), Rooney Mara (The Social Network), Cillian Murphy (Inception), Guy Pearce (The King’s Speech), Pete Postlethwaite (The Town)
2009: Judi Dench (Nine), Michael Fassbender (Inglourious Basterds), Heath Ledger (The Imaginarium of Doctor Parnassus), Sophia Loren (Nine), Rosamund Pike (An Education)
2008: Patricia Clarkson (Vicky Cristina Barcelona), Tom Cruise (Tropic Thunder), Viola Davis (Doubt), Emile Hirsch (Milk), Michael Shannon (Revolutionary Road)
2007: Sacha Baron Cohen (Sweeney Todd), Ruby Dee (American Gangster), Vanessa Redgrave (Atonement), Paul Schneider (The Assassination of Jesse James), Tilda Swinton (The Curious Case of Benjamin Button)

Wednesday Oscar Retrospective: The Real Best Pictures of 2005

Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The Real Best Pictures is the seventh in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

For this feature, imagine that an Oscar nomination for Best Picture was cumulative rather than based on votes in just that category. That means taking into account how well a film performed in other categories, and how many Oscars it eventually took home. Like the other series before it, this one is highly speculative, but the point is just to have fun, so chime in with your thoughts in the comments!

And the nominees were… Brokeback Mountain, Capote, Crash, Good Night and Good Luck, Munich

The keepers, no questions: This was one of the only times in recent history (before the Best Picture field was expanded to more than five nominees) that all five Best Picture nominees were also nominated for Best Director. Additionally, all five of these nominees were recognized with nominations for their screenplays, which doesn’t suggest that any of them would have been snubbed.

The question marks: Neither “Good Night and Good Luck” nor “Munich” won any of their categories, which indicates that they weren’t as popular as the other three nominees.

The losers: None this year.

The new inclusions: The one category that wasn’t as enthusiastic about most of the Best Picture nominees was Best Film Editing, in which only “Crash,” the winner, and “Munich” were nominated. I don’t think “Cinderella Man” was ever a serious contender for Best Picture, but both “Walk the Line” and “The Constant Gardener” may have come closer.

The new nominees: Same as the old nominees in this case!

Come back next week for a look at the Real Best Pictures of 2004!

Tuesday’s Top Trailer: The Details

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

The Details – Opening November 2, 2012

I didn’t think that this week’s choice could get any weirder than last week’s (“Cloud Atlas”), but it seems that I was wrong. This movie, whose plot is kicked off by the infestation of raccoons in a couple’s backyard, takes a million different tangential routes in its trailer, covering so much ground and even going back over to feature scenes again in just over two minutes. There’s cat murder, infidelity, pianos falling on people, and plenty more. Writer-director Jacob Estes’ previous film was “Mean Creek,” which I never saw but is supposed to be a dark and disturbing portrait of revenge being sought on a bully. This seems like a far lighter, wackier version of that, as Tobey Maguire’s adulterer finds his life torn apart after an affair with Kerry Washington, the wife of one very angry Ray Liotta. Elizabeth Banks is Maguire’s wife, Dennis Haysbert has a beard, and Laura Linney gets to freak out after staying calm as Cathy on “The Big C” for a few years now. I’m not sure how this story will all tie together and where the piano falling on Maguire fits in, but this looks too eccentric and interesting to miss.

Monday Movie Moments: Kill Bill Vol. 1

Welcome to a weekly feature here at Movies With Abe. There are great movies, and then there are great scenes. Ideally, the two come as a package deal, but sometimes there’s just a scene that’s memorable all by itself. Each week, I’ll be taking a look at a formative movie moment that may be notable for its style, content, technique, or something else altogether. Minor spoilers will be referenced in this edition of the series, so please stop reading if you’ve somehow avoided seeing the movie in question.

Last week’s entry involved some bloody violence, and so do this one, which starts with Uma Thurman’s the Bride, her hospital gown and mouth covered in blood, throwing off her predatory attacker. Having woken up only moments before from a deep coma, it doesn’t take long for the Bride to figure out just what was going on and to regain some basic movement, though standing up turns out to be more difficult than she had imagined. As a result, we’re treated to one of the most fabulously choreographed scenes from either of the “Kill Bill” films, which is saying something. Michael Bowen’s Buck has no idea what he’s in for when he casually opens the door to check on his customer, and this is one of the best instances of director Quentin Tarantino reusing music from the past, which in this case is “Seven Notes in Black” by the Vince Tempera Orchestra. It works magnificently as a score for Buck’s awe and amazement as the camera pans down and gets a perfect shot of Buck’s cross as the Bride is revealed to be lying on the ground behind him with a knife. This episode also showcases Thurman’s acting abilities, as she mocks Buck’s signature line right before she kills him by slamming his head in a door and then takes his car. This is a fantastic film, and this is one of its subtler, most effective scenes.

Movie with Abe: About Cherry

About Cherry
Directed by Stephen Elliott
Released September 21, 2012

This drama is about more than just Cherry, but she’s certainly its center, and it’s a fitting title to describe the line of work in which she finds herself. Eighteen-year-old Angelina (Ashley Hinshaw) heads to San Francisco with her wiling friend Andrew (Dev Patel) in order to make money and soon ends up moonlighting at a strip club while she spends most of her time starring in pornography, using the name Cherry for her roles. It’s a film about the lives Angelina/Cherry impacts, one that starts out slowly but eases into a deeply intense, serious relationship drama with a handful of great performances.

What’s interesting about this film is that, though Cherry dives into a world with which she’s entirely unfamiliar and even more naively hopeful, she isn’t treated to a rude awakening where something horrible happens and she realizes she’s on the wrong track. Instead, her career and success show her the true nature of other people, and the film includes several intense scenes in which characters demonstrate their ugly and selfish traits in the most unkind manner. While some may argue that Cherry’s continued happiness and pleasant experience in such an industry is unrealistic, it’s refreshing to see this story told differently, emphasizing other fallibilities of growing up too quickly.

The film’s subject matter presents the opportunity for excellent performances, and its actors certainly deliver. James Franco is effective as a wealthy lawyer who takes a strong but healthy interest in his latest waitress, Patel is endearing as her best friend who is clearly in love with her, and Lili Taylor dives in fully to play Angelina’s broken-down mom. Hinshaw, who has few film credits to her name, is astonishing as Angelina, wearing a sweet smile on her face as she wades into unfamiliar waters and transitioning from living one life to a double life. She’s matched well by Heather Graham, who shines as actress Margaret not only in her passionate pornography video narrations, where the intensity of her connection to her job is revealed, but also in the way that she becomes fascinated, like everyone else, with Cherry. Diane Farr is also terrific as Margaret’s high-powered attorney girlfriend, Jillian, who is less than impressed by Margaret’s pride in her line of work.

“About Cherry” is a contemplative look at one young woman’s immersion in an industry where her body is her best asset, far more complex and thoughtful than such a subject could prove. It’s at its very best when characters are revealing their true selves and airing all of their emotions and frustrations. Its ultimate direction isn’t quite as clear, with an unhurried start and some important gaps in its timeline, but the impact of the individual scenes make up for it, as well as sterling cinematography that makes the story feel even more intoxicating. Hinshaw and Graham’s spectacular performances help to make this an extremely memorable entry in the cinematic commentary on the business of pornography.

B

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in theatres as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing

The Brooklyn Brothers Beat the Best (highly recommended): This offbeat dramatic comedy features superb performances from Ryan O’Nan, who also writes and directs, and Michael Weston as an unlikely band duo determined to succeed despite the world’s perception of them. Arielle Kebbel is excellent as well. Now playing at the Village East Cinema in NYC. Read my review from yesterday.

About Cherry (recommended): This drama about a young woman who moves to San Francisco and gives starring in pornography a try features a magnificent breakthrough lead performance from Ashley Hinshaw and a great supporting turn from Heather Graham. The film isn’t always as fast-paced or fascinating, but it has its moments. Now playing at the IFC Center in NYC. My review will be up tomorrow.

New to DVD

The Babymakers (mixed bag): This R-rated Broken Lizard comedy has the makings of a funny movie, but it doesn’t deliver the laughs by offering a relatively tame and unexciting story featuring affable enough lead performances from Paul Schneider and Olivia Munn.

Chico and Rita (recommended): This surprise nominee for Best Animated Film does a marvelous job capturing the romance and passion of the relationship between its two protagonists. It’s a movie explicitly for adults, highlighted by musical performances.

Detachment (highly recommended): This drama about education from director Tony Kaye is a harrowing, thought-provoking, strongly-executed film. Adrien Brody delivers a terrific lead performance, and is surrounded by a tremendously talented cast. It may be bleak, but it has an important message, presented via a fictional narrative. Also available via Netflix.

Octubre (recommended): This Peruvian entry for Best Foreign Film is the sober but eccentric tale of two remarkably diverse people attempting to figure out how best to coexist and locate the mother of a child whose father is unequipped to handle raising his daughter. Its pacing is slow, but it’s worth a look for fans of foreign cinema.

Salvation Boulevard (anti-recommended): This zany religious comedy goes downhill incredibly fast moments into its run, and doesn’t recover at any point after that. Jennifer Connelly and her onscreen daughter Isabelle Fuhrman are trying hard, but no one else gives much effort, which, coupled with a poor script, doesn’t offer a particularly meaningful experience.

Now on Netflix Instant Streaming

American Violet (mixed bag): This 2009 drama examines cultural and race issues and features a handful of well-known performers, but there’s little about it to distinguish it or make it memorable. Its themes are far superior to its execution.

Movie with Abe: The Brooklyn Brothers Beat the Best

The Brooklyn Brothers Beat the Best
Directed by Ryan O’Nan
Released September 21, 2012

Here’s an example of a film whose title is relatively unhelpful in describing the content of its film without knowing just who or what the Brooklyn Brothers are. Fortunately, this comedic drama unfurls its story in a particularly delightful manner, showcasing the increasingly depressing life of Alex (Ryan O’Nan), whose temper, combined with the poor manner in which he is treated by his employers and others, continually causes his jobs to disappear. A chance meeting with an excessively eccentric musician who plays exclusively on kids’ toys, Jim (Michael Weston), changes everything for the better, though that’s hardly clear right away. This movie is the ultimate endearing underdog story.

O’Nan, who broke out in 2010’s “The Dry Land” as a soldier dealing with PTSD upon his return to the United States, steps behind the camera to direct this music-fueled road movie about two loners. In his acting performance, O’Nan is rarely enthusiastic but does an extraordinary job of crafting a compelling character, rarely seen performing acts of kindness or even courtesy but empathetic nonetheless. His screen partner, Weston, best known for memorable guest spots on shows like “Six Feet Under” and “Scrubs,” is equally fantastic, using Jim’s energy and uninhibited hopefulness to motivate both him and those around him. The true breakout of the film is Arielle Kebbel, who, with little more than half a dozen CW series on her resumé, easily jumps into the role of the band’s manager-turned-groupie, Cassidy, who starts out sarcastic and disbelieving but soon can’t help showing her genuine interest in this unlikely duo.

The excellent chemistry of the film’s primary cast is what defines the movie, but they’re all working with a superb script, penned by O’Nan himself. Alex sometimes stutters his thoughts as he finds himself insulted by others, but has no qualms about sharing his gloomy perception of the world, most notably in the songs he sings, which start out positive and quickly turn to themes of betrayal and death. Jim, on the other hand, approaches Alex with a sense of extreme urgency, demanding that he get on board with his idea of an unbeatable band duo. Cassidy’s introduction is very memorable as well, and there isn’t a dull moment in the film. There’s plenty of comedy to be found in the rich, entertaining script, and these three actors handle the mood, a slightly optimistic and off-beat search for happiness, marvelously. The film beats to its own drum just like its characters, and it turns out to be a warm and inviting movie with plenty of great music to boot.

B+

Thursday Theoretical Oscar Category

Welcome to a weekly feature here at Movies With Abe. In my love for everything Oscar, it’s always fun to speculate on who or what might have been included given different circumstances. Though there are twenty-four fields recognized on Oscar night, that still neglects a handful of key players. As a result, I’d like to take a look each week at imagined categories, and who or what might have benefited from their existence.

The category: Best Blockbuster

Why it should exist: Expanding the Best Picture field to more than five nominees has allowed for a “people’s choice” award of sorts, and it’s worthwhile to recognize not only intimate independent films, but also the big-budget movies that draw millions of people to the theatres each year. This could also be a huge pull for new audiences to watch the Oscars since it would reward films that a wider spectrum of films people know.

Why it doesn’t exist: It’s likely that many feel that box office successes earn their due through dollars rather than critical praise, and it’s not entirely common that high gross numbers and quality coincide, especially not on an Oscar-worthy level. There could also be overlap with the Best Picture category, which isn’t necessarily problematic but is noteworthy.

Who might have been nominated the past five years:
2011: Bridesmaids, The Hangover Part II, Harry Potter and the Deathly Hallows – Part 2, Rise of the Planet of the Apes, Sherlock Holmes: A Game of Shadows
2010: Harry Potter and the Deathly Hallows – Part 1, Inception, Iron Man 2, Shrek Forever After, Toy Story 3
2009: Avatar, The Blind Side, The Hangover, Harry Potter and the Half-Blood Prince, Star Trek
2008: The Dark Knight, Indiana Jones and the Kingdom of the Crystal Skull, Iron Man, Kung Fu Panda, Wall-E
2007: The Bourne Ultimatum, Harry Potter and the Order of the Phoenix, I Am Legend, Ratatouille, The Simpsons Movie.

Wednesday Oscar Retrospective: The Real Best Pictures of 2006

Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The Real Best Pictures is the seventh in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

For this feature, imagine that an Oscar nomination for Best Picture was cumulative rather than based on votes in just that category. That means taking into account how well a film performed in other categories, and how many Oscars it eventually took home. Like the other series before it, this one is highly speculative, but the point is just to have fun, so chime in with your thoughts in the comments!

And the nominees were… Babel, The Departed, Letters from Iwo Jima, Little Miss Sunshine, The Queen

The keepers, no questions: Best Picture winner The Departed was the clear favorite, and Babel was also lauded with a number of nominations, as was The Queen.

The question marks: It won two awards, but Little Miss Sunshine only earned two other nominations. Two acting mentions and a screenplay nod aren’t enough to suggest true love outside of the Best Picture category.

The losers: Clint Eastwood’s Japanese language Letters from Iwo Jima netted just four nominations, none of which were in the acting categories, and won just one award, for Best Sound Editing.

The new inclusions: That would be surprise snubee Dreamgirls, which, after winning the Golden Globe for Best Motion Picture – Comedy/Musical, found itself nominated for eight Oscars, but not for Best Picture, Best Director, or Best Adapted Screenplay.

The new nominees: Babel, The Departed, Dreamgirls, Little Miss Sunshine, The Queen

Come back next week for a look at the Real Best Pictures of 2005!

Tuesday’s Top Trailer: Cloud Atlas

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Cloud Atlas – Opening October 26, 2012

This film is a tough one to tackle. Its trailer has to be one of the most confusing ever released, mainly because it doesn’t attempt to form a narrative but instead just presents its extremely strange assortment of actors, characters, and everything in between. It seems to be something like a mix between “The Fountain” and “The Tree of Life,” with considerably bigger star power and more players in the mix. Tom Hanks, Halle Berry, Jim Broadbent, Jim Sturgess, Hugo Weaving, and Hugh Grant are just a handful of the more well-known faces playing at least a few characters each, if their costumes and the IMDB credits are any indication. As adapted from the novel by the Wachowski brothers, best known for the “Matrix” saga, this could prove to be very exciting. A 164-minute runtime hardly seems surprising given the breadth of material, people, and locations presented in the trailer. I wouldn’t expect it to make much sense or to be terribly coherent, but I think it looks too fascinating and intriguing to pass up. Let’s hope its mesmerizing nature overcomes any plot densities.

Monday Movie Moments: The Departed

Welcome to a weekly feature here at Movies With Abe. There are great movies, and then there are great scenes. Ideally, the two come as a package deal, but sometimes there’s just a scene that’s memorable all by itself. Each week, I’ll be taking a look at a formative movie moment that may be notable for its style, content, technique, or something else altogether. MAJOR SPOILERS will be referenced in this edition of the series, so please stop reading if you’ve somehow avoided seeing the movie in question.

After featuring the 2005 Best Picture winner last week, let’s jump ahead to 2006, when Martin Scorsese finally got his Oscar for the brilliant gangster movie “The Departed.” Based on a 2002 film called “Infernal Affairs” from Hong Kong, screenwriter William Monahan took a terrific story of parallel moles and turned it into an authentic American film with a style of its own. Leonardo DiCaprio and Matt Damon were perfectly cast as a cop going undercover in the mob and a mobster serving as a cop, respectively. This scene, which comes near the end of the film, expands on the corresponding scene in the Hong Kong original considerably, in a furiously fast and astounding flurry of bullets. Watching DiCaprio’s Billy drop with a bullet straight to the head the moment the elevator is the first utter shock, and it doesn’t stop after that, as Damon’s Colin takes a moment to process just what’s happening and hasn’t even fully comprehended it when James Badge Dale’s Barrigan pops Anthony Anderson’s Brown in the head. At that point, Colin understands and decides that three dead men can’t contradict his story, giving Barrigan a taste of his own medicine. The only thing that improves upon the scene is the film’s ending in which Colin contends with the one person who actually knows what happened. There’s simply nothing like it, and this is a superb illustration of why this really is Scorsese’s shining career achievement.

Sunday Similar Subjects

Welcome to a weekly feature here at Movies With Abe. After spending a number of weeks looking at actors who tend to play the same characters, it’s time to spotlight two films with eerily similar plots that came out at roughly the same time. There are surprisingly more examples than might be obvious, and this series will examine the similarities and differences between the two, and how their simultaneous releases affected each other.

Casino Jack and the United States of Money / Casino Jack

Release dates: May 7, 2010 / December 17, 2010

The similarities: Both films, which boast nearly identical titles, chronicled the rise and fall of lobbyist Jack Abramoff, who was convicted and sent to prison as a result of the numerous laws broken in his construction of an empire.

The differences: Purely stylistic: the former was a documentary, helmed by Oscar winner Alex Gibney, and the latter was a narrative film, directed by George Hickenlooper, who passed away before the film was released, and starring Kevin Spacey, Barry Pepper, and Jon Lovitz.

The releases: Neither film had a wide release, with the former playing in 21 theatres and the latter in 60. The former took in just over $175,000, and the latter netted under $2 million worldwide. The former, a Sundance Film Festival entry, received far more positive reviews than the latter, though the scripted version earned lead actor Kevin Spacey a Golden Globe nomination for Best Actor in a Motion Picture – Comedy/Musical.

Which one is more likely to be remembered? Given Alex Gibney’s strong documentary resume, which includes “Taxi to the Dark Side,” “Client 9: The Rise and Fall of Eliot Spitzer,” “No End in Sight,” and “Enron: The Smartest Guys in the Room,” will probably earn his Jack Abramoff documentary a place in the library of history, while Kevin Spacey has done much better work than his exuberant performance as Abramoff in an overdone and mediocre movie.

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in theatres as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing

As I’m no longer in New York and not yet in Los Angeles, I’ll have to wait at least another week to see The Master, which looks incredible. I also wouldn’t mind seeing Finding Nemo 3-D since it’s just a pleasant, charming movie.

New to DVD

Elles (recommended): This NC-17 rated French drama starring Juliette Binoche features an Elle reporter preparing an article about two very different prostitutes. It’s most effective when it really captures the personalities and inner thoughts of its characters, and definitely has its powerful moments. Also available via Netflix Instant Streaming.

We Have a Pope (recommended): This sweet and endearing film from director, writer, and star Nanni Moretti follows a newly-elected pope who panics and attempts to explore what normal life would be, leaving his fellow clergy members and his therapist to try to figure out what will come next. It’s a highly enjoyable, harmless, warm film.

Now on Netflix Instant Streaming

The Grey (recommended): This thriller essentially functions as a vehicle for Liam Neeson to be awesome as his oil rig worker and companions are chased through the snowy Alaskan wilderness by wolves following a plane crash. It’s a lot of fun, and quite a stressful experience.

Rocky (recommended): This 1976 Best Picture winner, along with four of its sequels, is now available to stream so that viewers at home can watch Sylvester Stallone go up against bulky foes over and over again.

Friday Familiar Faces: Julianne Nicholson

Welcome to a new weekly feature here at Movies With Abe! There are plenty of actors out there who people recognize by face but can’t identify because they just don’t tend to get the leading roles. There is a fantastic book (and website) dedicated to this phenomenon, appropriately titled “Hey! It’s That Guy” and touting the fantastic J.T. Walsh as the ultimate recognizable everyman.

This series will spotlight an actor or actress who has recently turned in a notable or scene-stealing performance and showcase some of their best cinematic appearances. More than other any feature, this series will merge the worlds of television and film as needed to highlight a performer’s best and most recognizable work.

Julianne Nicholson

Where you’ve seen her most recently: She had an arc on the second season of HBO’s “Boardwalk Empire,” and has also guest-starred recently on USA’s “Royal Pains” and “Covert Affairs,” and CBS’ “The Good Wife”

Where you might have first seen her: Probably on TV in the late 1990s or early 2000s, or in either of the 1999 films “Curtain Call” or “Love Letter”

Other notable appearances: She’s been a regular player on a handful of TV shows, including “Ally McBeal,” “The Others,” “Presidio Med,” “Conviction,” and “Law and Order: Criminal Intent.” She had a banner film year from 2006 to 2007 with “Flannel Pajamas” and “Puccini for Beginners” (for which she earned an AFT Award nomination), and had the lead role in John Krasinski’s “Brief Interviews with Hideous Men”

What you might expect from her: Somewhere between a sweet-natured, soft-spoken woman trying to find happiness and a determined, dedicated person working ardently towards what she wants.

Movie with Abe: Beauty is Embarrassing (Capsule Review)

Beauty is Embarrassing
Directed by Neil Berkeley
Released September 7, 2012

It’s important when making a documentary about a person to establish his or her character immediately, to give audiences a reason to connect and to keep watching. “Beauty is Embarrassing,” a chronicle of the life of artist Wayne White, accomplishes that superbly, featuring clips of White showcasing his work and swearing frequently as he describes his individuality. It seems clear from the outset that White is not someone who feels held back by society, and who is firmly committed to being as free-spirited as he desires. As the film progresses, however, it becomes set on White’s career-making participation as a puppet designer for “Pee-Wee’s Playhouse,” and becomes focused on his interactions with others and his distancing from society. Wild and unfiltered as he may be, hearing White defend his beliefs, or, rather, emphasize that he doesn’t care if you don’t like what he thinks, is far more fascinating than a more biographical, in-depth look at his history. This documentary’s title comes from one of White’s works, and correctly acknowledges that, in this case, the man and the myth are more interesting than the true story. The film’s first twenty minutes understand that, but delving into White’s history is much less engaging than just seeing him in action.

B-

Wednesday Oscar Retrospective: The Real Best Pictures of 2007

Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The Real Best Pictures is the seventh in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

For this feature, imagine that an Oscar nomination for Best Picture was cumulative rather than based on votes in just that category. That means taking into account how well a film performed in other categories, and how many Oscars it eventually took home. Like the other series before it, this one is highly speculative, but the point is just to have fun, so chime in with your thoughts in the comments!

And the nominees were… Atonement, Juno, Michael Clayton, No Country for Old Men, There Will Be Blood

The keepers, no questions: Winner No Country for Old Men was clearly a popular favorite, as were Juno and There Will Be Blood.

The question marks: It garnered all the requisite major nominations, but Michael Clayton wasn’t nearly as beloved in other categories as the other nominees.

The losers: Much as I think its place was deserved, it’s clear that voter enthusiasm for Atonement wasn’t strong enough to merit a secure spot in the top category.

The new inclusions: There were a few films vying for the Best Picture race in 2007, like Sweeney Todd, Into the Wild, and American Gangster. The only one that came anywhere near the top race was The Diving Bell and the Butterfly, with its four major nominations.

The new nominees: The Diving Bell and the Butterfly, Juno, Michael Clayton, No Country for Old Men, There Will Be Blood

Come back next week for a look at the Real Best Pictures of 2006!

Tuesday’s Top Trailer: Butter

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Butter – Opening October 5, 2012

The first thing I thought of when I saw the poster for this film was the Nigel Slater biography “Toast,” which also involves a fascination with food. This American film, however, features butter and the obsession some people have with sculpting things out of the dairy product. What it also boasts is an utterly fantastic cast. Ty Burrell and Jennifer Garner are both well-known for their TV work, and the notion of them overplaying contestants seems absolutely perfect. Olivia Wilde looks like she’s having a blast playing a stripper hell-bent on destroying Garner’s Laura Pickler (a great name) after Laura catches her having an affair with Burrell’s Bob. Also among the film’s stars are Hugh Jackman, Alicia Silverstone, Rob Corrdry, and Kristen Schaal – an odd bunch, to be sure – and twelve-year-old Yara Shahidi, who has made a number of television appearances and a part in the Eddie Murphy starrer “Imagine That,” and has what is essentially the lead role here. It should be interesting to see what she can do opposite such an eclectic cast. The film’s R rating – for sexual content and language – suggests that this won’t be an excessively tame portrait of an overeager society, and instead might be a bitingly funny parody of those that get a bit too into the competition.

Monday Movie Moments: Crash

Welcome to a weekly feature here at Movies With Abe. There are great movies, and then there are great scenes. Ideally, the two come as a package deal, but sometimes there’s just a scene that’s memorable all by itself. Each week, I’ll be taking a look at a formative movie moment that may be notable for its style, content, technique, or something else altogether. Minor spoilers will be alluded to in each edition of the series, so please stop reading if you’ve somehow avoided seeing the movie in question.

This 2005 Best Picture winner is probably best remembered as the film that most believe should never have defeated frontrunner “Brokeback Mountain.” While Ang Lee’s portrait of forbidden love was heartfelt and beautifully-filmed, Paul Haggis’ ensemble drama doesn’t get nearly enough credit. This is one of those films where the large popcorn I enthusiastically purchased beforehand went almost entirely untouched, because devastating revelation after devastating revelation kept me from reaching into the bag. The marvelous complexity of interesting lives and moments is well-illustrated in this scene, in which Persian immigrant Farhad tracks down Daniel (Michael Pena), the locksmith who was working on fixing his store door a day earlier and pulls on a gun on him, demanding money after a break-in at his store as a result of his broken door cost him everything. As Daniel’s young daughter witnesses this from inside her home, she runs out to her father, bringing him the invisible cloak he told her about that keeps him safe from harm. There’s a moment of instant devastating grief as a shot rings out when she runs into his arms, immortalized by the image of Daniel crying out on one of the film’s posters. Because everything in the film is connected, she’s fine since Farhad’s daughter purchased blanks because she was against the idea of buying a gun. Therefore, the cloak worked, protecting Daniel, his daughter, and Farhad from an irreversible act. The film is full of such scenes, which to those unimpressed may seem overdone, but it’s hard to argue with their emotional impact.

Sunday Similar Subjects

Welcome to a weekly feature here at Movies With Abe. After spending a number of weeks looking at actors who tend to play the same characters, it’s time to spotlight two films with eerily similar plots that came out at roughly the same time. There are surprisingly more examples than might be obvious, and this series will examine the similarities and differences between the two, and how their simultaneous releases affected each other.

Hollywoodland / The Black Dahlia
Release dates: September 8, 2006 / September 15, 2006

The similarities: Both films, which were based on true events, followed curious people as they pried into uncertain, highly publicized deaths of actors in the 1940s and 1950s, respectively, discovering much more at play than publicized. Both were melodramatic, bleak portraits of Hollywood in the middle of the century.

The differences: The former featured one solo detective, played by Adrien Brody, looking into the alleged suicide of actor George Reeves, played by Ben Affleck. The latter had a dynamic duo, Aaron Eckhart and Josh Harnett, investigating the murder of a young woman, played by Mia Kirshner. The former had more to do with a major cover-up, while the latter featured a bunch of seriously crazy people.

The releases: Neither film performed spectacularly, though the former managed to make just a bit more than its budget domestically ($14 million), while the latter barely made its budget with all of its international profits ($49 million). The former was decently well-received by critics, while the latter garnered less favorable reviews. Ben Affleck scored a Golden Globe nomination for the former, while the latter netted an Oscar nod for Best Cinematography.

Which one is more likely to be remembered? I saw both during the first month of my freshman year of college in New York. I remember the former as an underrated and highly compelling thriller, while the former was an awful, deranged mess much like many of its characters. I’m not sure that many people remember either one.

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in theatres as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing

This week’s notable new film is The Words, with Bradley Cooper, something that I’m not rushing out to see but imagine might be decent.

New to DVD

The Five-Year Engagement (recommended): This spring comedy about extremely delayed nuptials is best represented by its stars Jason Segel and Emily Blunt, who aren’t overly sentimental in their romance and create a very funny and charming film utilizing a simple premise and a strong ensemble. It’s not necessarily their funniest movie, but it’s definitely a worthwhile comedic entry.

Now on Netflix Instant Streaming

The African Queen (recommended): This 1951 classic from John Huston won Humphrey Bogart his lone Oscar, for Best Actor, and features an equally memorable turn from Katharine Hepburn as the two bicker their way through Africa during World War I. It’s a highly enjoyable and entertaining film.

Braveheart (recommended): This 1995 Best Picture winner, which clocks in at nearly three hours long, is an intense historical action piece, and the last time that Mel Gibson actually made a certifiably good movie. It’s not for everyone, but it’s certainly well-done.

Charlie Bartlett (recommended): Anton Yelchin shines in this half-memorable 2008 comedy, which also features great supporting turns from Tyler Hilton, Robert Downey Jr., and Hope Davis. It’s full of clichés and might not go over as well today as it did four years ago, but it’s fun and harmless.

Face/Off (highly recommended): This awesome 1997 action flick finds John Travolta’s cop and Nicolas Cage’s criminal literally switching faces, and terrific things ensue after that. This non-stop thrill ride is full of violence but absolutely essential to anyone who wants to see these two actors actually still making quality films.

Footloose (recommended): Recent remakes aside, this 1984 original featuring Kevin Bacon, John Lithgow, Chris Penn, and Sarah Jessica Parker is a blast. It may be dated, but that’s half the fun, and the music is, of course, excellent.

Mission Impossible & Mission Impossible III (recommended): This 1996 remake of the classic TV series and the 2005 follow-up to its so-so sequel are both quality action films that may have some plot holes but ultimately prove to be excellent thrill rides, and positive uses of Tom Cruise.

Network (highly recommended): This 1976 film, which was nominated for Best Picture and scored a record three acting Oscars, is highly quotable and significant for its skewering portrait of television, one whose depiction may not be recognizable in its exact form today but is still highly releveant.

A Night at the Roxbury (recommended): This 1998 film based on a “Saturday Night Live” sketch is a hilarious if silly movie full of great music and ridiculous lines. Will Ferrell and especially Chris Kattan are clearly having a good time, and it’s just enjoyable to watch.

Rat Race (recommended): Another preposterous but devilishly entertaining comedy, this 2001 ensemble piece features a handful of superb comic performances, with John Cleese, Rowan Atkinson, Jon Lovitz, and a number of others chipping in to create one wild and wacky experience.

Shooter (recommended): This 2007 action film stars Mark Wahlberg doing what he does best, getting angry about being framed for something and preparing to take out anyone betting against him. It’s not a perfect film, but it’s decently acceptable entertainment.

Something’s Gotta Give (recommended): This 2003 romantic comedy from Nancy Meyers earned Diane Keaton an Oscar nomination for Best Actress, but features an equally charming performance from Jack Nicholson in a smart and sweet film about acting your age.

Friday Familiar Faces: J.K. Simmons

Welcome to a new weekly feature here at Movies With Abe! There are plenty of actors out there who people recognize by face but can’t identify because they just don’t tend to get the leading roles. There is a fantastic book (and website) dedicated to this phenomenon, appropriately titled “Hey! It’s That Guy” and touting the fantastic J.T. Walsh as the ultimate recognizable everyman.

This series will spotlight an actor or actress who has recently turned in a notable or scene-stealing performance and showcase some of their best cinematic appearances. More than other any feature, this series will merge the worlds of television and film as needed to highlight a performer’s best and most recognizable work.

J.K. Simmons

Where you’ve seen him most recently: As a regular cast member on TNT’s “The Closer”

Where you might have first seen him: As a neo-Nazi inmate on HBO’s “Oz” and a psychiatrist on a number of “Law and Order” franchise episodes

Other notable appearances: As Juno’s father in “Juno,” J. Jonah Jameson in the first three “Spider-Man” films, in key bit roles in Jason Reitman films “Thank You For Smoking” and “Up in the Air,” and his first AFT Award-nominated limited performance, in 2007’s little-seen “First Snow”

What you might expect from him: A generally kind and well-meaning individual not immune to frequent sarcasm and playing the political game.

Thursday Theoretical Oscar Category

Welcome to a new weekly feature here at Movies With Abe. In my love for everything Oscar, it’s always fun to speculate on who or what might have been included given different circumstances. Though there are twenty-four fields recognized on Oscar night, that still neglects a handful of key players. As a result, I’d like to take a look each week at imagined categories, and who or what might have benefited from their existence.

The category: Best Foreign Performance

Why it should exist: It’s rare that room is made for foreign actors to break into the acting races, usually no more than one or two per year, and it would be a great way to bestow an American award on an actor from another country.

Why it doesn’t exist: This is one category that would almost certainly have faces rather than names for the average viewer. Also, would eligible nominees have to be from submissions for Best Foreign Film (I’ve decided no below)? Also, could a nominee be recognized in this category as well as a regular acting race (I’ve said yes, since a Best Foreign Film nominee can also be nominated for Best Picture). Throwing all performers, no matter how significant to a film, into just one category could cause problems as well.

Who might have been nominated the past five years:
2011: Antonio Banderas (The Skin I Live In), Bérénice Bejo (The Artist), Jean Dujardin (The Artist), Peyman Moaadi (A Separation), Michelle Yeoh (The Lady)
2010: Lubna Azabal (Incendies), Javier Bardem (Biutiful), Mikael Persbrandt (In a Better World), Noomi Rapace (The Girl with the Dragon Tattoo), Tilda Swinton (I Am Love)
2009: Penelope Cruz (Broken Embraces), Ricardo Darin (The Secret in their Eyes), Kim Hye-ja (Mother), Tahar Rahim (A Prophet), Catalina Saavedra (The Maid)
2008: François Bégaudeau (The Class), Ronit Elkabetz (The Band’s Visit), Sasson Gabai (The Band’s Visit), Bard Owe (O’Horten), Kristin Scott Thomas (I’ve Loved You So Long)
2007: Mathieu Amalric (The Diving Bell and the Butterfly), Tony Leung (Lust, Caution), Anamaria Marinca (4 Months, 3 Weeks and 2 Days), Belen Rueda (The Orphanage), Tang Wei (Lust, Caution)

Wednesday Oscar Retrospective: The Real Best Pictures of 2008

Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The Real Best Pictures is the seventh in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

For this feature, imagine that an Oscar nomination for Best Picture was cumulative rather than based on votes in just that category. That means taking into account how well a film performed in other categories, and how many Oscars it eventually took home. Like the other series before it, this one is highly speculative, but the point is just to have fun, so chime in with your thoughts in the comments!

And the nominees were… The Curious Case of Benjamin Button, Frost/Nixon, Milk, The Reader, Slumdog Millionaire

The keepers, no questions: Winner Slumdog Millionaire was the surest thing, as was The Curious Case of Benjamin Button, which earned a staggering thirteen nomination. Milk, which earned Oscars for lead actor Sean Penn and for its original screenplay, was safe too.

The question marks: Though it received five nominations, Frost/Nixon didn’t win any of them. It did get all of the crucial nominations – Best Picture, Director, Adapted Screenplay, Actor, and Editing – so it may still have stayed.

The losers: That would be The Reader, which got the same top nominations but didn’t have a legitimate chance in any category aside from Best Actress, which it won, and elicited plenty of hate from Oscar prognosticators for taking the spot away from a fan favorite film.

The new inclusions: Two films that earned eight and six nominations, respectively, The Dark Knight and Wall-E. Though they only won three total awards, Best Supporting Actor, Best Sound Editing, and Best Animated Feature, they’re collectively commonly seen as the reason that the Best Picture field was expanded the following year to include ten nominees.

The new nominees: The Curious Case of Benjamin Button, The Dark Knight, Milk, Slumdog Millionaire, Wall-E

Come back next week for a look at the Real Best Pictures of 2007, an especially interesting year!

Tuesday’s Top Trailer: The Company You Keep

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

The Company You Keep – Opening November 15, 2012

The last two movies directed by Robert Redford just weren’t that great. Both “The Conspirator” and “Lions for Lambs” might have initially sounded intriguing, but their pacing and execution left much to be desired. Fortunately, Redford’s forthcoming film, based on a 2003 novel by Neil Gordon, looks like it captures all the excitement and thrills, not to mention superb casting, that those films were lacking. It’s no surprise that Shia LaBeouf, who is quickly becoming one of the most popular lead actors of this generation, was chosen to play the young reporter determined to get all the facts right as he investigates something that occurred before he was even born. Portraying members of the revolutionary group The Weather Underground should make for interesting moral debates, and, from the looks of it, LaBeouf’s Ben may indeed choose to side with the wanted fugitives rather than the police investigators. The cast includes no fewer than nine Oscar nominees – Redford, Julie Christie, Susan Sarandon, Anna Kendrick, Terrence Howard, Richard Jenkins, Nick Nolte, Stanley Tucci, and Chris Cooper – as well as other notable players like Brendan Gleeson and Brit Marling. The film is posited much more as a dramatic political thriller than a “based on true events” story, which I think will be a good thing, and a mid-November release should help its buzz pick up before the rest of the holiday movies overwhelm and dwarf it.

Monday Movie Moments: Forrest Gump

Welcome to a new weekly feature here at Movies With Abe. There are great movies, and then there are great scenes. Ideally, the two come as a package deal, but sometimes there’s just a scene that’s memorable all by itself. Each week, I’ll be taking a look at a formative movie moment that may be notable for its style, content, technique, or something else altogether. Minor spoilers will be alluded to in each edition of the series, so please stop reading if you’ve somehow avoided seeing the movie in question.

The 1994 Best Picture winner, which also scored the second consecutive Best Actor Oscar for star Tom Hanks, has many spectacular scenes that make it unforgettable, but there’s one early on that serves as a catalyst for much of Forrest’s life. As a young boy, Forrest finds himself the subject of much mockery, and even physical violence from bullies, and, at the suggestion of his kindly crush Jenny, he takes off running. His determination and strict adherence to the instructions given to him allows the braces on his legs to break off as he outpaces his pursuers and leaves them in the dust. While this scene might be thought of as corny or overdone to some, it’s a positive, if fantastical, representation of perseverance. It also leads to significant and humorous events later in the film, such as Forrest’s career as a football player where no one from the opposing team can catch him, or even stop him from running off the field, and when he just decides to run across America and grows a beard in the process. This is a wonderful, extremely endearing film, and this scene is what kicks off that sweet sentimentality.

Sunday Similar Subjects

Welcome to a new weekly feature here at Movies With Abe. After spending a number of weeks looking at actors who tend to play the same characters, it’s time to spotlight two films with eerily similar plots that came out at roughly the same time. There are surprisingly more examples than might be obvious, and this series will examine the similarities and differences between the two, and how their simultaneous releases affected each other.

United 93 / World Trade Center
Release dates: April 28, 2006 / August 9, 2006

The similarities: Both films were based on true events that took place on the day of September 11th, 2001, in the midst of the terrorist attacks. Along with TV movie “Flight 93,” this was the first time that the events of that day had been dramatized and chronicled on screen in major productions.

The differences: The former, which had a budget of $15 million, took place aboard the plane and featured mostly unrecognizable actors. Its events were soberly depicted and without much dramatized fanfare. The latter, which had a budget of $65 million, starred Nicolas Cage and came from controversial director Oliver Stone. Clocking in at over two hours, it was a more cinematic and less intimate showcase of two police officers trapped in the World Trade Center wreckage.

The releases: Though Box Office Mojo lists both under the “Controversy” genre, they both performed decently based on their release platforms. The former earned $31 million domestically and $76 million worldwide, and the latter took in $70 million domestically and $163 million worldwide. Critically, however, the former far outpaced the latter, though both received mostly positive reviews. “United 93” also earned Oscar nominations for Best Director and Best Film Editing.

Which one is more likely to be remembered? Those who didn’t want to see September 11th portrayed on screen still won’t think fondly of either film, but anyone who has seen the two will likely find the former respectful and effective, while the latter was more dramatic and staged.

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Nothing notable this week, though both Lawless and The Good Doctor could be interesting.

New to DVD

Citizen Gangster (recommended): This bank robber flick presents the story of Edwin Boyd, a Canadian criminal who robbed many banks in the 1950s. Scott Speedman portrays Boyd, and he’s an endearing and engaging protagonist whose story plays out quite well in this theatrical rendering. Also available on Netflix.

Headhunters (highly recommended): This Norwegian film subtly morphs from comedy to thriller, and it’s extremely engaging throughout. The Scandinavian cast, which includes Nikolaj Cosetr-Waldau from “Game of Thrones,” is terrific, and the movie boasts an excellent script and superb editing.

Now on Netflix Instant Streaming

Jiro Dreams of Sushi (highly recommended): This heartwarming documentary about an 85-year-old sushi chief was one of the standouts of the 2011Tribeca Film Festival. It’s impossible not to like, and may even make you hungry!

Traffic (highly recommended): This 2000 Best Picture nominee, which netted Oscars for director Steven Soderbergh and supporting actor Benicio Del Toro, among others, is a superb portrait of drug trafficking and features a handful of top-tier performances, especially from Don Cheadle.