Want to learn about the life of J.R.R. Tolkien? Try Dome Karukoski's quietly compelling film

I think by now we know, when we watch a bio-pic (about almost anyone at all) that facts are going to be fudged and events and characters telescoped into whatever needs the filmmakers think they face. So it is with the new movie about the life of fabled author, South African-born J.R.R. Tolkien, who was educated in and lived most of his life on British soil.

Prior to the actual screening of the film, as the audience at a preview event sat waiting, on the screen flashed the history of this man in maybe a dozen or so individual written installments. But then, of course, the movie that followed this did not always adhere to the historical timeline we were given just moments before that movie began screening.

Still, TOLKIEN, written by David Gleeson and Stephen Beresford and directed by Dome Karukoski (shown at right, of Tom of Finland fame), proves consistently interesting and, as it slowly moves along, finally pretty compelling. Tolkien's real-life tale is mostly quiet and rather sad, with he and his younger brother orphaned at a relatively early age and placed in the care of a Catholic priest. And though the movie is being billed as rather a love story, it's the relationship between Tolkien and his three much-loved school chums (below) that finally raises the movie's temperature and major emotions.

Tolkien is played -- quite well, too -- by Nicholas Hoult (above, left, and below), while those chums are essayed by Anthony Boyle (center left), Patrick Gibson (center right) and Tom Glynn-Carney (right), each of whom makes his character specific and as memorable as possible, given their limited screen time.

The love interest is played (as an adult) by Lily Collins (below), who is pretty but a bit wan here (she registers much more strongly in Netflix's new Ted Bundy movie, Extremely Wicked, Shockingly Evil and Vile). The romance is shown to be important in Tolkien's life, yet the movie comes to strongest life in the scenes between Tolkien and his mates,

and in the marvelous entry of Derek Jacobi, below, right, as the Oxford professor who mentors our hero (according to what we see here, the two men seems to have mentored each other). Jacobi's lengthy and delicious monolog about trees proves the movie's consummate treat -- as intelligent and witty as it is germane to Tolkien and his work.

The movie is at its weakest whenever the filmmakers decide they must show us the connections (as below) between the man and his writing, with really pretty silly images of dragons and monsters (which of course will bring to mind The Hobbit and The Lord of the Rings). Yes, World War I was awful and, yes, the man was influenced by it, but what we get here is obvious, clunky and unnecessary.

Visually, the movie is often quite verdant and lovely (as below), and Karukoski and his cinematographer (Lasse Frank Johannessen) also capture some images of the war that are startling and darkly memorable.

Overall, the slow pace of the film probably means it will appeal mostly to folk who don't mind this lack of action and of course to those fans of Peter Jackson's hit films who might like to know more about the life of the interesting guy who created the initial work.

In any case, Tolkien, via Fox Searchlight and running 112 minutes, opens nationwide tomorrow, Friday, May 10. To find the theater(s) nearest you, simply click here.

László Nemes' SUNSET proves an enthrallingly odd follow-up to his Oscar-winner, Son of Saul

Just as his immersive and often very difficult to watch debut film, Son of Saul, thrust us into the Nazi extermination of the Jews, so, too, does László Nemes' second and new film, SUNSET, very nearly bury the viewer in the greed, sleaze, perversity, hypocrisy and violence that led us (along with some other things not covered here) into World War I.

Granted, Son of Saul spent all of its hour and 47 minutes in the middle of that Holocaust. Sunset puts us into WWI only for the final moments of its much lengthier two-hour-and-22-minute running time. The film's ending, however, is sudden and specific enough to make TrustMovies better understand what Mr. Nemes' major point appears to be.

The filmmaker, pictured at right, uses a similar point-of-view technique as in Son of Saul: He places his camera just in front of or right behind, sometimes to the right or left but always quite close to his protagonist. In Sunset's case, this would be a pretty but deadly serious young woman named Írisz Leiter, played with very nearly one single expression that manages to combine questioning and determination in a most unusual manner. The performer here is Juli Jakab, below and on poster, top) an actress/writer of note who was also featured in Son of Saul.

Ms Jakab's intensity, combined with her beauty and dedication to this unusual role helps keep us and the movie on track, despite its length and refusal to offer up a whole lot of typical exposition. Instead, Nemes seems to be saying to any remotely intelligent viewer who is at all familiar with history (That's what? Five per cent of America?), "OK, folk: Take what you know here, then watch, listen, and run with it."  And we do. Or I did, anyway, along with the approximately half of our critical establishment who approved of the movie.

The character Írisz appears at film's beginning, at a very chic and well-connected millinery shop, to which, we slowly learn, she shares a major bond. Yet she seems to know almost as little about her actual past and family than we do. Slowly, the movie lets Íris (and us) in on things.
They're not pretty.

The era -- 1910 and the time preceding WWI -- is aptly captured in sets, costumes and characterization, and eventually some (and only some) of the mystery of who and how is unveiled, as we come face to face (or via hear-say from not always reliables characters) everything from missing relatives to love and murder to sex trafficking, torture and plenty more violence.

Because so much of what we learn is only sidelong and suggested, some viewers may insist on something more substantial. They will be disappointed. For those willing to put the puzzle pieces together, making some connections on their own, Sunset should prove compelling, often quite beautifully filmed, and well-written, -acted and -directed enough to pass muster -- and then some.

What's missing here, for WWI history buffs, are the politics of the time and the people and companies who would profit most from the carnage. We get but a mere taste of any of this; instead we're treated to the uber entitlement of royalty and wealth, the huge disempowerment of women, and the violent reaction of folk who will be termed anarchists by some but who are in truth more like crazy, avenging angels. This offers plenty to chew on, of course, but it's not nearly the big picture.

From Sony Pictures Classics, Sunset, after opening in a number of major cities over the past few weeks, will hit South Florida today, Friday, April 26. In the Miami area, look for it at the AMC Aventura 24 and the Silverspot Downtown Miami; in Fort Lauderdale at the Classic Gateway; in Boca Raton at the Regal Shadowood 16 and Living Room Theaters, and at the Movies of Delray in Delray Beach. Now and over the weeks to come, it will play many more cities. Click here and then click on THEATERS to find the one closest to you.

Peter Jackson's World War One visual/verbal 3D amazement, THEY SHALL NOT GROW OLD opens in South Florida -- and nationwide

I've never seen anything quite like new film this over my entire 77-year movie-going life. (TrustMovies saw his first film, or so he was told, before the age of one year; by the time he was 2-1/2, he had run away from home in order to go to the "picture show.") What filmmaker Peter Jackson has accomplished in THEY SHALL NOT GROW OLD -- he dedicates his film to his New Zealand grandfather who fought in WWI -- is so truly surprising and unexpected (even if, oddly enough, you have already reads lots about the film itself) that it will leave you amazed and shaken. This is hands down the closest thing to being in war itself that the movie experience has given me.

Most filmgoers best know Jackson (shown, left) via his Lord of the Rings and Hobbit trilogies, though early fans will remember his bizarre and oh-so-tasteful Bad Taste, Meet the Feebles and Dead Alive (my favorite of his -- besides this film -- still remains Heavenly Creatures).

Nothing he has done, however, could prepare you for this new documentary, in which archival photos and film shot during "The Great War" have been not simply restored but colorized, wide-screened and given the three-dimension effect, rendering them literally something heretofore unseen.

If this sounds like some mere stunt, the effect of actually viewing it on screen proves something else entirely. (We saw it in 3D, but it is also being shown in standard format.) This, combined with the film's narration -- which is nothing more or less than the actual recorded-during-interviews voices of the men who served in the war talking about the experience itself -- join forces to make what we see and hear seem like utter and unalloyed reality.

Very wisely and cleverly, Jackson begins with old, black-and-white small-screen footage, which continues for quite some time, as he first shows (and has the soldiers tell) of how the war began for England, along with all the rah-rah recruiting (often of boys as young as fourteen or fifteen), the training of the troops, and then the shipping of them all off to the war itself.

When, at last, one of those black-and-white photos suddenly changes to color, the effect is so startling, amazing and memorable that, for me, it outdoes any and every "special effect" I've had to sit through in our dismal array of current superhero schlock. Further, Jackson coordinates the visuals with the soldiers' narration extremely well.

Only once during the entire movie did I find the visuals amiss, due mostly to the overly repetitive use of one particular photo, of soldiers supposedly waiting for the battle to begin. Otherwise, the well-chosen combos of visual and narrative keeps us locked in, producing an immediacy that works like a charm. A deadly charm.

As amazing as the documentary is, They Shall Not Grow Old is not an easy watch. In fact, it is often grueling. But what else might we expect from a film that place us so squarely in the middle of wartime?  While the overt carnage is less than we often get from our usual slasher movie, the sense of fear, of odd isolation, of impending doom is so strong that (the acute and specific sounds effects are an enormous help here) that I found myself holding my breath and literally jumping slightly in my seat at numerous times throughout.

Particularly engulfing and horrendous was the trench warfare (and trench living) to which the soldiers were subjected. Their utter lack of cleanliness -- and their inability to do anything about this -- along with their decaying teeth and non-healing wounds will stagger you. At 99 minutes, the movie does not seem overlong, but by its end, as the war itself ceases, you will be more than ready to cry "enough!"

This is a fine and fitting way to commemorate the 100-year anniversary of the end of World War I. Though the press audience with whom I watched the screening were made up mostly of the elderly or near so, I would hope that a few intrepid young people will take a chance on this one-of-a-kind movie.

Though it seems that most of our youthful population can barely understand or be aware of our current and seemingly endless middle eastern war(s), let alone differentiate between our War for Independence, WWI, WWII, or our unnecessary and destructive wars in Korea and Vietnam, one can only hope that some few of these will want to learn something new, while having the kind of movie experience they will not have encountered anywhere else.

From Warner Brothers Pictures, They Shall Not Grow Old, after opening in special screenings last December, will now hit theaters nationwide this Friday, February 1. Click here to find those nearest you.

Blu-ray debut for Philippe de Broca's whimsical French "classic" from 1966 -- KING OF HEARTS

Throughout much of his life -- even now -- TrustMovies has been pretty much a sucker for whimsical movies. He loves the work of Dominique Abel and Fiona Gordon, for instance, and even more so that of their Belgian compatriot, Jaco van Dormael. When he first saw KING OF HEARTS, directed by prolific French filmmaker Philippe de Broca, at the time of its initial USA theatrical release back in 1967, he found it pretty awful. But that was 51 years ago, and his tastes have changed some -- broadened and deepened -- over time. Since the film went on the become a kind of cult classic, he thought perhaps he'd missed something, and so, with its new release on DVD and Blu-ray from the Cohen Film Collection, the time seemed ripe for reconsideration.

The quick verdict: Despite its glorious new Blu-ray transfer -- crisp, clear, with colors that look as true and beautiful as they must have a half century ago -- fabulous cinematography by Pierre Lhomme, a fairy tale production design (François de Lamothe), and an international cast made up of some of the finest actors of the time, the movie still pretty much sucks.

I have great admiration for de Broca, shown at right, but of the dozen or so films of his I've seen, this is probably my least favorite. (The Five Day Lover would be my top choice.)

King of Hearts is cute-tending-towards-cutesy from its start, with silly names abounding and an already tired Hitler joke intruding on its World War I time frame. Italy's grand Adolfo Celi (above, center) is dubbed with a high-toned British accent, while England's dark and dour Alan Bates (on poster, top, and below) seems utterly lost and at his least in this world of French whimsy.

To buy into the film's would-be charm, you have to believe its overdone and rather ridiculous WWI opening. I couldn't back in 1967 and still can't manage it. The plot involves a twist on the old inmates-take-over-the-asylum theme, but this time they take over the entire town. And then they gambol, frolic and cavort. And cavort  And cavort some more.

The entire movie has perhaps a half-hour worth of content. The other 72 minutes are devoted to this tiresome frolicking. At times, I swear, you'll imagine that this must be the movie for which your DVD's fast-forward button was invented.

To its credit, King of Hearts is most definitely anti-war. A climactic scene, in fact, demonstrates the futility of wartime conflict, and if the rest of the film had some of this humorous satirical edge, it might have proven much stronger.

The two most charming characters here turn out to be women: the bordello madam, played with her usual finesse by Micheline Presle (above, in foreground) and that madam's most innocent worker, played by Geneviève Bujold (in yellow above, left, and in photo at bottom, right), in one of her early roles.

If you're a fan of this film, little will hold you back from wanting to see it again (and in such a fine transfer!). If you're a newcomer, however, its adorable cutesiness may set your teeth on edge so often along the way that I suggest you have a plastic mouthguard at the ready to protect those pearly whites.

From the Cohen Film Collection and running 103 minutes, King of Hearts hits the street this coming Tuesday, June 12, on DVD, Blu-ray, and digital -- for purchase and/or rental. Bonus features (on both DVD and Blu-ray) include feature-length audio commentary track by Wade Major, film critic with NPR affiliate KPCC-FM and co-host/producer of the IGN DigiGods podcast; a new conversation between Geneviève Bujold and IndieWire's Anne Thompson; a new interview with cinematographer Pierre Lhomme; and the 2018 USA re-release trailer and the French re-release trailer.

A family of French farmers deals with World War I in Xavier Beauvois' THE GUARDIANS

Ah, a new film from Xavier Beauvois! This is the fellow who gave us both Le Petit Lieutenant and Of Gods and Men, two films that TrustMovies enjoyed very much. And yet, when I went to further research Beauvois on the IMDB, I was shocked to discover that, while I think of this man more as a filmmaker than an actor, I had actually seen much more of his work in the latter category than the former. His acting is perfectly fine, but it's as writer/director that I most remember him -- particularly for his multi-award-winning Of Gods and Men.

M. Beauvois, shown at left, is an unhurried movie-maker. He takes his sweet time and concentrates on the details -- of character, situation, location and time period. While this can make his filmmaking slow-paced as was, even to some extent, his police procedural, Le Petit Lieutenant, his work is never for a moment uninteresting. His latest entry as director and co-adapter (with Marie-Julie Maille and Frédérique Moreau) of the novel by Ernest Pérochon, is THE GUARDIANS (Les gardiennes), a story of World War I set entirely on the French home front with not a scene of war-time action to be found.

Oh, the movie begins clearly and cleverly enough with a long tracking-the-landscape shot of dead bodies, some of these wearing gas masks, so we immediately know the WWI time frame. Yet, once the film's story begins we never leave that home front -- the farm and the village in which our group of main characters live and labor.

Yes, young male characters come and go (early on, one of the sons of the family comes home for a short leave, followed by the leave of a second son and a son-in-law), only to be killed, wounded or taken prisoner by the Germans. Yet we never see any of this; we only hear about it second-hand.

This means we concentrate mostly on the womenfolk who must carry on just as before, but without the help of the stronger males. The work, if you know anything about farming (and a century ago!), is difficult, often back-breaking, and near-constant, yet these women must manage it.

The film's female leads include the mother (the usually glamorous Natalie Baye, above, looking as plain and aged as we've ever seen her),

her daughter (the lovely and, as as one character calls her, "elegant" Laura Smet, above), and a young worker the family must hire as help who has only recently left the orphanage in which she was raised (the wonderful red-haired newcomer Iris Bry, shown below and on poster, top, whom we are certain to see again soon).

What happens to all these folk, women and men, is as believable, sometimes terrible and always understated as life itself. Beauvois and his co-writers have managed to include so little coincidence into their film that when a sample of that credibility-ripping stuff suddenly happens (involving an overseen kiss), it comes as quite a shock. But I think any film deserves a single instance of this, so you'll probably be able to let this one pass. (Downton Abbey this movie definitely is not.)

Performances are everything you could want them to be --  as real as the farmhouse dirt. These people are not big on a lot of talking, so we get used to the silence and visual routine of their lives and then hang on their occasional words, as events pile up and more needs to be said.

The great strength of Beauvois and his cast and crew's work is that though some terrible things happen, some out of the characters' control, others firmly within that control, we are somehow able to understand the dreadful injustice of all this -- given, especially, the time and place. That our heroine is able to accept this and move on is difficult but salutary, and the filmmaker never underscores her achievement with the usual soaring music and feel-good stance. Instead The Guardians (ironic title, that) achieves its ends in all too ordinary but appropriate ways. This is good, strong, rooted filmmaking, and I hope you will give it a viewing.

From Music Box Films, in French with English subtitles and running 135 minutes, the movie opens this Friday, May 4, in New York City at the Quad Cinema and on the following Friday, May 11, in the Los Angeles area at Laemmle's Royal and Playhouse 7. In the weeks following, the film will hit another 15 or so cities. Click here and then click on THEATERS on the task bar half-way down the screen to see all currently scheduled playdates, cities and venues.

DVDebut: Asif Kapadia/Christopher Hampton's featherweight but very pretty ALI AND NINO

A movie that has much in common with last week's offering, The Ottoman Lieutenant -- same time period (World War I) and same location (the middle east) -- ALI & NINO, from that very up-and-down director, Asif Kapadia, and similar screenwriter Christopher Hampton, has all the markings of a work-for-hire done by people who were not especially enamored by their subject matter but labored dutifully and professionally to produce a decent product.

They have, and at only 100 minutes, the movie is not difficult to sit through. Visually, in fact, it is quite a treat, what with its gorgeous interiors (homes/palaces of the uber-wealthy) and exteriors (it was filmed in Azerbaijan and Turkey in some pretty spectacular locales). But the writing by Mr. Hampton is merely workmanlike, telling its story pretty much as expected, while the direction by Mr. Kapadia (shown at right) is of the same ilk.

The two leads are played by Palestinian actor Adam Bakri (above, right) and Spanish actress Maria Valverde (above, left). Both are charming, attractive and play well together. Though limited by what they were given to do and say, they acquit themselves professionally. As does much of the oddly starry and underused supporting cast, led by Mandy Patinkin (below) and Connie Nielsen and Nino's parents, with the standout performance given by Italian actor Riccardo Scamarcio (at bottom, right), playing the rather quickly dispatched villain of the piece. He's hissable and more.

A lot of incident is packed into the movie's running time, and as this piles up, it simultaneously seems to somehow lessen in importance, even though it deals with issues like life and death and love. But we've seen it all before, even if not perhaps in such picturesque locations.

From IFC Films and after a very limited and don't-blink-or-you'll-miss-it theatrical release, the movie hits DVD this Tuesday, March 21 -- for purchase and/or rental.