![]() The film likewise progresses from striking to morbid to melodramatic and false. Hannah crouches and sets up her stall: a coffee cup for change and a worn cardboard sign: “I USED TO BE SOMEONE”. The focus of the film is so narrow, the couple’s lives so improbably anguished, that they lose your sympathy and strain for your pity. Perhaps, even, the odd bit of mindless fun. There’s no doubt that real life on the street can be dangerous and miserable, but there’s little allowance for the possibility that the homeless community might also occasionally experience laughter, joy or a sense of optimism. They are homeless people who weather the extreme worst of what can happen, experiencing sexual assault, drug dependence, imprisonment and crippling grief. There’s no community around Hannah and Tahir, so we’ve got no context in which to place their suffering. Her resolve comes crashing down in a viscerally nasty scene in which she shoots up into a vein in her crotch. After the chicken comes the cold turkey, with Hannah puking and screaming amid the opulence. It’s a little bit of light at last, but Bettany snuffs it out quickly. “I must look like a zombie goldilocks”, she says. Two strangers will find each other and rise. The track marks show through the thin fabric. Academy Award Winner Jennifer Connelly and Anthony Mackie (The Avengers) star in a riveting story of survival. Hannah wears an elegant dress that clings to her gaunt body. They crack into the owner’s wine, cook a chicken and dress up in bourgeois finery. Hannah and Tahir take up in a loft apartment left unguarded during the summer holidays. It becomes a Connelly showcase: overwrought and mildly unbelievable. Give me Shelter: Jennifer Connelly gave her co-star Anthony Mackie a kiss during a scene for her new film Shelter which her husband Paul Bettany wrote and was directing on Friday in New York City. The film tips firmly into Hannah’s favour. Mackie, who struggles both with a weak part and his Nigerian accent, can offer no foil. Connelly gives a typically raw performance as a grief-wracked drug addict. The film becomes romantic, tragic and miserable, a worst-case-scenario flick that – partly due to casting, mainly due to tone – can’t avoid comparisons with Darren Aronofsky’s similarly bleak Requiem for a Dream. It’s not a particularly original or watchable debate. ![]() Tahir, who pops along to his imam for a bit of potted wisdom now and then, tells her not to question His ways. Vom Kindermodel zum Teenie-Star zur gefragten Charakterdarstellerin Erfahren Sie auf, wie Jennifer Connelly sich durchgeboxt und in Hollywood etabliert hat. Hannah questions the existence of a God who has chosen to abandon them. ![]() They talk about God (Tahir believes, Hannah doesn’t) and drugs (Hannah believes, Tahir doesn’t) in a way that screams of a well-meaning, well-off person addressing social ills. Hannah and Tahir walk through streets in various hues of grey, dank grey, dirt grey and sludge. Bettany employs his cinematographer, Paula Huidobro ( Arthur and Mike) to make New York look depressing. After a promising opening, the film spins off into melodrama. Bettany works his own script into a studenty weepy that pushes everything way too far. ![]()
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