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Simon (James McAvoy) is a fine arts auctioneer caught up with thousands of dollars of gambling debt and debt collectors getting closer every day. In order to pay off his ledger Simon teams up with Franck (Vincent Cassel), a hardened criminal mastermind, and a ringleader of a small crime circuit. With Franck’s help a scheme to steal a painting worth millions is cooked up, but there’s a problem. The painting is lost once it is stolen and having suffered a severe head injury Simon can’t recall where the painting has been stowed. To grease the gears and help him “remember” a hypnotherapist, Elizabeth (Rosario Dawson), is hired to facilitate the situation. But when Simon’s subconscious revolts, further plodding into the psyche of a tormented soul must commence, but to what end? Directed by Danny Boyle and written by Joe Ahearne and John Hodge, this vivid exploration of the mind and our perceptions is told in only a way that Boyle seems capable of; creative cinematography with raked angles and a wash of rich colors making for a visually stunning and beautiful composition. Acting from the ensemble is no small thing either, all strong performers, each showing range and depth to keep the viewer engaged. The weakness? a screenplay that eventually winds up a little too plotted and contrived, but this is almost forgivable as the rest of the film steamrolls along to it’s poignant end. Also, as with other Boyle films, song and music selection is key to the visuals, again, winners are chosen. Totally fun, totally worth it. Trance is rated R.

Connected by technology, cell phones, computers, the internet, the human race has never had it so easy to just reach out and touch each other; yet, somehow, could it be all this technology is actually driving us further apart? This is the study of several families and individuals, how their actions and reactions will impact each other, and how our own intelligence may actually be our own undoing, prompting the need to disconnect. Perhaps for some it may already be too late. Written by Andrew Stern and Directed by Henry Alex Rubin, Disconnect’s quasi-satirical, pessimistic but also honest outlook serves as a poke in the eye to all of us slaves to Facebook/texting/tweeting/instant messaging and so on. This all in order to show that it’s not the technology we need, but rather each other, a message that starts out quiet enough but comes on heavy handed as we enter the final act of the film. And, a screenplay that’s perhaps a little too convenient in it’s weavings of narrative, still, interesting in concept. Acting from the ensemble feels well developed and true, and the work from Jason Bateman, Hope Davis, Frank Grillo, Paula Patton, Andrea Riseborough, Alexander SkarsgÃ¥rd, Max Thieriot and Jonah Bobo all pays off in the end. A good conversation starter for families and friends alike. Worth it. Disconnect is rated R.

Working as a motorcycle stunt rider in a traveling circus, Luke (Ryan Gosling), finds the love of his life, Romina (Eva Mendes), in the small community of Schenectady, New York. Attracted by his mysterious nature the two hit it off; however, despite his best intentions Luke doesn’t quite know how to function as an upright standing citizen and leaves Romina pregnant. Returning a year later with new priorities Luke aims to settle in with Romina and the son he hasn’t met yet. Unsure of how to help, Luke and his friend Robin (Ben Mendelsohn) turn to robbing banks to get cash, money to provide for Romina and son. Digging himself in deeper and deeper eventually the law, specifically, officer Avery (Bradley Cooper) catches up with Luke. Connected by fate the impact Luke and Avery have on each other will span generations. Meanwhile, honesty and integrity is questioned in the Schenectady police department, at the center of the mess is Detective Deluca (Ray Liotta). Washing one’s self of one’s sins and attempting to provide a clean start for their sons and families, how to provide the best for their loved ones, and how to deal with their own errors is at the core of this difficult drama. Directed by Derek Cianfrance and co-written by Cianfrance, Ben Coccio, and Darius Marader, The Place Beyond the Pines illustrates Cianfrance’s continued growth and development as a director of honest and gritty storytelling, examining human nature, and real people in real situations. In a recent interview with Cianfrance I had a chance to discuss the writing process, a five year project that began in 2007. From the outset several ideas were apparent: writingprocess
From these ideas and 30+ revisions the film that became “Pines” as Cianfrance affectionately calls it was born. Masterful acting from the ensemble breathes life into all of the characters further, including notable performances from Rose Byrne, Emory Cohen, and Dane DeHaan. Lending to the feel of the film was the fact that the film was indeed shot on 35mm film, discussing the importance of film over digital media Cianfrance had this to say: Derekonfilm
To round things out the film contains a haunting score, designed in part by alternative vocal gymnast and experimental musical genius Mike Patton (Faith No More, Mr. Bungle, Fantomas, Tomahawk), how the marriage of Pines and Patton came to be Cianfrance explains: onPatton
Cinefiles take note, this is one to pay attention to, it’s imperfections are easily overlooked while it’s distinct independent feel will seduce. This one’s about quality film making. Worth it, The Place Beyond the Pines is rated R.

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