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    Mondo Cinema

    Le Funny Business at MFAH, Kristen Stewart on the road and Gangham Style in Bollywood

    Joe Leydon
    By Joe Leydon
    Mar 22, 2013 | 9:45 am

    They’re collectively billed as Five Funny French Films, raising expectations for a lot of “Ha! Ha! Ha!” along with the “Ooh La La!” (Sorry, couldn’t resist.) As they unspool this weekend at the Museum of Fine Arts, Houston, you can enjoy a wide variety of funny business with a lineup that includes:

    All That Glitters (5 p.m. Friday, 3 p.m. Sunday) – Two sisters, tired of their dull lives in a suburb 10 minutes by train from Paris, go to amusing extremes to enjoy the good life in the big city.

    Skylab (7 p.m. Friday, 9:15 p.m. Saturday) – Actress Julie Delpy once again tries her hand as a writer-director, this time for a semi-autobiographical comedy about a 1979 family gathering that may or may not be rudely interrupted by the threatened crash of a humongous space station.

    Big is Beautiful (9:15 p.m. Friday, 1 p.m. Sunday) – Three full-figured ladies forge friendships and gain self-awareness during a weight-loss program at a clinic in the Alps.

    My Worst Nightmare (7:15 p.m. Saturday) – French superstar Isabelle Huppert heads the cast of this farce about an icy art gallery owner who’s warmed just a smidge by her edgy yet erotically charged relationship with a uncouth carpenter doing remodeling work in her spacious apartment.

    What’s in a Name? (5 p.m. Sunday) – An expectant father (Patrick Bruel) upsets his family with the wholly inappropriate name he has chosen for his soon-to-arrive offspring.

    In addition to screening these five flicks, the MFAH Film Department is offering a bit of lagniappe: Le Grand Amour (5:30 p.m. Saturday), a 1969 comedy about a new husband with a wandering eye, starring Pierre Étaix, the French comic actor who’ll be the subject of a retrospective tribute at the museum in May.

    Sundancing with cinema

    Two new notable offerings are on tap this weekend at the Sundance Cinemas downtown.

    After impressing international audiences with his acclaimed Certified Copy, a romantic drama starring Juliette Bincohe and British opera singer William Shimell as attracted opposites in Tuscany, Iranian filmmaker Abbas Kiarostami once again ventures far from his homeland – to Japan, to be precise – for Like Someone in Love, a teasingly ambiguous story about a sociology student (Rin Takanashi) who moonlights as a prostitute, and the elderly professor (Tadashi Okuno) who starts out as her client, but evolves into her mentor.

    On the Road, the long-awaited filmization of Jack Kerouac’s classic novel, played in a handful of theaters late last year in the hope of copping critical hosannas and Academy Award nominations. But reviews were mixed and Oscar buzz was muted, so IFC Films opted to wait a little longer before giving the movie a wider release. Now it has arrived in H-Town, and you can decide for yourself if Brazilian director Walter Salles (Central Station, The Motorcycle Diaries) and lead players Garrett Hedlund, Sam Riley and Kristen Stewart have done justice to Kerouac’s story about free spirits in search of new experiences in late 1940s America.

    Bollywood Madness

    In Rangrezz(at AMC Studio 30), a Hindi-language film by the prolific Indian director known as Priyadarshan, three close friends literally risk life and limb (and long-term disability) to unite two star-crossed lovers. It may look like the usual Bollywood song and dance, but there’s at least one surprise in the soundtrack: According to published reports out of India, producer Vashu Bhagnani paid a hefty fee to use Psy’s monster hit “Gangham Style” in the movie, so his son Jackky Bhagnani, one of the film’s lead players, could dance to it on screen.

    But wait, there’s more: Psy refused to sell the rights to his signature tune until he was certain Jackky had sufficient terpsichorean talent to… well, to really do it “Gangham Style.” So he took a look at the young performer’s dance moves in the Hindi movie F.A.L.T.U. – and only then granted his blessing.

    Which only goes to show you: In Bollywood, there’s always a happy ending. As you can see here.

    Other screens, other cinema

    Rob Schneider, Michelle Rodriguez, Lindsay Lohan and Oscar-winner Adrien Brody star in… Wait a minute, that doesn’t look right. Let me double check… Yeah, Brody actually is in InAPPropriate Comedy (various locations), an indie flick that, based on its trailer, appears to be the sort of thing actors do only when they owe a favor to a friend, a payment on a mortgage, or a fee to their legal team.

    In New World(AMC Studio 30), South Korean filmmaker Park Hoon-jung (who wrote the script for Kim Ji-woon’s notorious I Saw the Devil ) wrings suspense from the conflicting loyalties of an undercover cop (Lee Jung-jae) who’s begun to take his role as right-hand man to a crime lord a bit too seriously.

    A Resurrection(at Edwards Marq*E) is a horror thriller about a high-schooler who returns from the dead to seek revenge on the bullies who killed him, but it’ll likely earn a footnote in film history books primarily because it’s one of the final films completed by the late Michael Clarke Duncan.

    Rin Takanashi in filmmaker Abbas Kiarostami's Like Someone in Love at Sundance Cinemas

    Mondo Cinema, Like Someone in Love, Rin Takanashi
      
    Kinosopruss.ee
    Rin Takanashi in filmmaker Abbas Kiarostami's Like Someone in Love at Sundance Cinemas
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    Movie Review

    Ben Affleck cooks the books in chaotic sequel The Accountant 2

    Alex Bentley
    Apr 24, 2025 | 2:30 pm
    Jon Bernthal and Ben Affleck in The Accountant 2
    Photo by Warrick Page/Prime
    Jon Bernthal and Ben Affleck in The Accountant 2.

    In this Hollywood era of franchises, finding one to call their own is a priority for many movie stars. Over 30 years into his career, Ben Affleck had yet to find one; he did star as Batman in multiple movies, but that role has been interchangeable. He seemed to get a prime action hero role with 2016’s The Accountant, but somehow it’s taken nine years for The Accountant 2 to come out.

    Affleck’s character of Christian Wolff is a high-functioning autistic man whose abilities to comb through mounds of data quickly and efficiently are matched only by his fighting skills. When Ray King (J.K. Simmons), a former Treasury agent who had previously hunted Christian, is murdered, King’s replacement, Marybeth Medina (Cynthia Addai-Robinson), calls on Christian to help figure out what happened and track down his killer.

    The search quickly finds multiple criminal conspiracies, including a hitman ring, a scheme to abduct migrants, and more. Naturally, Wolff claims to need help in the endeavor, so his mercenary brother Braxton (Jon Bernthal) soon joins in on the quest. The two brothers work together to figure out the puzzle while also stopping to have some fun every now and then.

    Directed by Gavin O’Connor and written by Bill Dubuque (both returning from the original), the film feels like it is missing many connective scenes. It often starts down one road and seems to be making good progress when it suddenly veers into another storytelling lane with no explanation. This happens multiple times throughout the film, to the point that it becomes almost impossible to tell what the main story is supposed to be.

    In the first film, the oddity of having an autistic math genius also being a world-class marksman and fighter somehow made sense. This film leans much more into Christian’s physical skills, with the autistic side of things showing up in his (mostly) emotionless demeanor. While that works to a certain degree, the choppiness of the story undercuts the character traits that Affleck does his best to impart.

    The best examples of the messiness of the film come in the multiple scenes that serve as nothing more than comic relief, with not even an attempt at connecting them to the main plot, such as it is. Two of them involve Christian proving himself to be a ladies man despite his lack of conversational skills, both of which fall flat as they seem to be making fun of his autism rather than highlighting positive aspects of it. Each of the comic scenes is so disparate in tone from the rest of the film that they essentially bring the story to a screeching halt.

    Affleck is fine in the part, although he’s much better when Christian turns toward action hero mode than when he has to display the character’s autistic traits. Bernthal is great at being an over-the-top macho guy, and he gets to indulge that side of him throughout the film. Addai-Robinson is disserved by a role that doesn’t give her character any autonomy despite her high-powered position.

    Affleck’s career has been one of the most up-and-down ones of any supposed A-list actor, and The Accountant 2 marks another down moment for him. He may have finally gotten his first sequel for a film in which he’s the main character, but don’t expect there to be a third installment.

    ---

    The Accountant 2 opens in theaters on April 25.

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