In Room (2015), Brie Larson enacts a woman subjected to the same nightmare the three female victims of Ariel Castro incurred.  Remember the kidnapping and imprisonment?  The woman has a five-year-old son (Jason Trembley) produced through the Castro-like abductor’s routine rape of the woman. . . Human evil in Room is what it is because it deprives other people of what is good and vital (e.g., freedom).  Indeed, it is okay with the abductor (Sean Bridgers) if Jack, the young boy, is deprived of a childhood; it is only his mother who provides him with one to the best of her ability.  Childhood during victimization is a theme here.

Though not as well-plotted as it is well-made, Lenny Abrahamson‘s film has riveting dramatic scenes and is deeply moving.  The most impressive thing about it, though, is the acting of Larson and young Trembley, who contribute a great deal to making the picture fascinating.

Room is based on a novel by Emma Donoghue, who wrote the screenplay.

The comic film, Sleeping with Other People (2015), starring Alison Brie, tries to be endearing through sex talk.  A lot of sex talk.  I was so un-endeared I stopped watching after about an hour.

Re the barely talented Beyonce Knowles, I wish her performance at the Super Bowl had never received any comment at all.  That way, it would have been a dead phenomenon, deservedly.

The comic film, Sleeping with Other People (2015), starring Alison Brie, tries to be endearing through sex talk.  A lot of sex talk.  I was so un-endeared I stopped watching after about an hour.

Re the barely talented Beyonce Knowles, I wish her performance at the Super Bowl had never received any comment at all.  That way, it would have been a dead phenomenon, deservedly.

A man (Karl Malden) foolish enough to marry a teenage girl many years his junior resorts to bullying and violence.  He lives, it must be said, in humiliation, for his wife Baby Doll (Carroll Baker) does not love him and refuses to consummate the marriage until she turns 20.  Moreover, through a stratagem on the part of a business rival (Eli Wallach), Baby Doll becomes infatuated with the rival.

The 1956 Baby Doll, written by Tennessee Williams, was directed by Elia Kazan, who gladly called the film “unrealistic.”  We mostly believe in its unrealism, though, except when the story grows hyperbolic, hysterical.  That’s when we see its basic trashiness, also engendered by bits of third-rate directing by Kazan, as in the big fire sequence.  To me the film is a guilty pleasure, but nothing more.  It is only partly well acted, by Baker and Wallach.

Cropped screenshot of Carroll Baker from the film Baby Doll (Photo credit: Wikipedia)

Cover of Baby Doll

The disco club at the center of Whit Stillman’s The Last Days of Disco (1998) is, in a way, fading or perishing—there is ill-gotten gain there—but much in the lives of the characters is fading or perishing as well.  This is true despite all the young-professional effort, all the industriousness, going on, which certainly counts for something but will not necessarily make Charlotte (Kate Beckinsale) or Tom (Robert Sean Leonard) a better person.  As always, however, Stillman believes he can afford to be optimistic.  It is the optimism of at least one kind of philosophical conservative, one who appreciates “the old world order” (Eric Hynes) and Christianity; and, yes, although the characters in Disco do not genuinely embrace Christianity, maybe an “amazing grace”—sung by Charlotte—will sooner or later embrace them.

(This, by the way, is my second review of the film.)

The Last Days of Disco (Photo credit: Wikipedia)