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Renowned ballroom dancer Pierre Dulaine stars in this charming documentary that offers a unique perspective on the Israeli-Palestinian conflict. Three diverse Jaffa-based schools host Dulaine’s Dancing Classrooms program. Ballroom basics are taught to an ethnically mixed group of children, the most passionate members of which are trained for a citywide competition. What results is a sweet and incredibly moving tale filled with moments of truth, poignancy and hope.

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While the film doesn’t dig deeply enough into the myriad political and social issues it raises, it’s nonetheless warmly entertaining, thanks to Dulaine’s ever genial presence and the irresistible appeal of watching young children overcome their instilled fears and prejudices--“Oh my god, we were looking into each other’s eyes,” breathlessly exclaims one Jewish girl after dancing with a Palestinian Muslim boy—and joyously cutting a rug on the dance floor.

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Pierre Dulaine, an internationally renowned ballroom dancer, fulfills a life-long dream when he takes his program, Dancing Classrooms, back to his city of birth, Jaffa. Over a ten-week period, Pierre teaches 10-year-old Palestinian-Israeli and Jewish- Israeli children to dance and compete together. Dancing in Jaffa explores the complex stories of three different children, who are forced to confront issues of identity, segregation and racial prejudice as they dance with their enemy. The classroom .A sequel of sorts to 2005’s Mad Hot Ballroom—later given a fictional treatment in the Antonio Banderas-starrer Take the Lead, Hilla Medalia’s documentary again concerns a ballroom dancing competition among 11-year-old fifth-graders. But Dancing in Jaffa offers a socio-political twist, detailing the difficulties of staging such an event between Palestinian and Jewish-Israeli children in a region where tensions between the two groups predominate. Although essentially familiar in its themes--both of the dancing competition and Palestinian-Israeli variety—the film whose executive producers include Morgan Spurlock and La Toya Jackson emerges as yet another heartwarming exercise demonstrating the positive effects of children learning how to dance a mean rumba.

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Former celebrated dancer Pierre Dulaine, also seen in the previous film, is the central figure here, seeking to bring his acclaimed Dancing Classes program to the city where he was born to an Irish father and Palestinian mother and from which his family fled when he was just a child. It’s an emotional homecoming that is not without its complications, as demonstrated in an episode in which he attempts to revisit the house in which he grew up only to encounter hostility from its current residents.

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“What I’m asking them to do is to dance with the enemy,” comments Dulaine early in the proceedings, and it quickly becomes apparent that the task will not be easy. Both the children and their parents have deep reservations about the idea, which necessarily involves close interactions and physical touching between the children. But things seem to turn around when Dulaine enlists the services of his former dancing partner, the elegant Yvonne Marceau, to provide a vivid demonstration of their skills. Dulaine, commenting that he and Marceau have known each other for 35 years, tells the children, “You don’t have to marry everyone you dance with.”

Director Medalia concentrates on several of the youngsters participating in the program, including Noor, still emotionally devastated by the death of her father; Alaa, struggling with poverty and living in a shack with his fisherman father; and Lois, whose single mother conceived her via a sperm bank. They display varying levels of enthusiasm for the program, but by the time of the final inter-school competition they’re dancing up a storm, with their proud parents, including one woman wearing a burka, eagerly snapping pictures.

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While the film doesn’t dig deeply enough into the myriad political and social issues it raises, it’s nonetheless warmly entertaining, thanks to Dulaine’s ever genial presence and the irresistible appeal of watching young children overcome their instilled fears and prejudices--“Oh my god, we were looking into each other’s eyes,” breathlessly exclaims one Jewish girl after dancing with a Palestinian Muslim boy—and joyously cutting a rug on the dance floor.

Opens April 11 (Sundance Selects)
Production: Tiara Blue Films, Know Productions
Director: Hilla Medalia
Screenwriters: Philip Shane, Hilla Medalia
Producers: Diane Nabatoff, Neta Zwebner-Zaibert, Hilla Medalia
Executive producers: Morgan Spurlock, Jeremy Chilnick, La Toya Jackson, Jeffre Phillips, Nigel Lythgoe, Dan Setton, Jody and John Arnhold, Robert Machinist, Jonathan Shukat
Director of photography: Daniel Kedem
Editors: Philip Shane, Bob Eisenhardt
Composers: Krishna Levy, Issar Shulman.

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 The movie is about our humanness because nearly all of us question where it is we go when we die. We may not be part of a pastor's family, and surely most of us have never had a near-death experience, but we go about our lives doing much like the Burpo family portrayed in the movie, doing the best they can at making sense of things in day-to-day living, until the unexplainable happens.

 

I read this book truly hoping to find an account of life after death that I could believe in. Unfortunately the story has several factual errors which cast serious doubts about the legitimacy of the story. Add that to the increasingly fantastic imagery that emerges as the boy grows older and is exposed to more Christian "schooling" and Hollywood media and the whole story loses credibility.

The first factual error is the fact that the boy mentions that Jesus had red marks on his palms and feet (where supposedly he continued to bare the marks of the nails of his crucifixion even in Heaven). It is not a well known fact that Jesus was crucified through the wrist and NOT through the palms, as it is not possible for nails through the palms to support the weight of the body. This has been proven through scientific tests using cadavers. Even the Shroud of Turin if indeed it is authentic, bears stains that would correspond to a wound on the wrist NOT the palms. This is one of the most important errors because it is a description that occurs soon after the purported meeting with Jesus, and not years afterwards where the effects of a child's hyperactive imagination could, and in my opinion have, created incredible scenes.

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Colton also says he watched Jesus send "power" in the form of the "holy spirit" down to his father (a pastor) while he gave his sermons. The only problem is that during the time he was supposedly in Heaven watching Jesus do this, his father was at the hospital and not preaching.

Another factual error was Colton's idea that Jesus looked like the painting by the God inspired child prodigy Akiane, which depicts a fairly light skinned man. Now most Christians in the Western world might like to believe Jesus was "white", but the truth is he was born in the Middle East. Just take a look at what the typical Jew living there looks like and you will see that he would have actually had dark skin and most likely black hair.

Another problem is that ONLY Christians can get into Heaven according to Colton, so all other religions, agnostics or atheists, no matter how good they are -- are screwed. Yet - conveniently, his miscarried sister who was never born to be baptized a Christian, turned up in Heaven.

As Colton gets older the story gets even more fantastic with "future" scenes of Heaven waging war with Satan with... wait for it: SWORDS as well as BOWS and ARROWS. Not surprising this happened to coincide with Colton's recent viewing of The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. Not to mention that only males were warriors. It appears that female emancipation in the modern world has regressed in the future according to Colton.

Having been raised as a Christian and having religious parents and a Grandfather who was a Pastor, I am in no way anti-Christianity. However, like many, I am looking for the truth, not blind propaganda. When I read this book it pained me to eventually realize how fake it was.

Add that to the fact that the co-writer Lynn Vincent has written many political books, including ghostwriting Sarah Palin's, and the only conclusion I could come up with was that this book has to be taken with a bucketful of salt.

 

Right up front, let me say that I think Todd Burpo's book Heaven is for Real: A Little Boy's Astounding Story of His Trip to Heaven and Back is one of the most naive, superficial, and disturbing "Christian" books I've read for a long time.

In brief, the book purports to tell of a 4 year old's journey to heaven during a surgical procedure for a severe ruptured appendix. Following the procedure, and over a period of months and years, Colton, Todd's son, gradually "revealed" bits and pieces of his alleged journey to heaven. Here's what he "discovered" and/or "experienced" on his journey:

- angels sang to him while he was in hospital
- he was sitting on Jesus' lap while he was in heaven
- while in heaven, he saw his father praying in a small room in the hospital and his mother in a different room talking on the phone and praying
- he met John the Baptist in heaven
- Jesus has a rainbow coloured horse and wears a golden crown with a pink diamond
- he was given "homework" to do in heaven while he was being cared for by his deceased grandfather - Pop
- everyone in heaven has wings and flies around from place to place - except for Jesus who who levitates up and down like an elevator
- everyone in heaven has a light above their heads (Todd Burpo interprets this in the book as a halo)
- God is `really, really big' and is so big he holds the world in his hands
- Jesus sits at the right hand of God, Gabriel sits on God's left, and the Holy Spirit is "kind of blue" and sits somewhere in the vicinity of the other three.
- the gates of heave are made of gold and pearls
- after Colton's return to earth, he became obsessed with rainbows because of the incredible number of colours he saw in heaven
- at times, following his return from heaven, Colton saw `power shot down from heaven' while his dad was preaching
there are swords and bows and arrows in heaven that the angels use to keep Satan out of heaven
the weaponry described above will apparently be used in a coming battle that destroys the world - and Colton's dad will be fighting in that battle
- the final battle will be against actual dragons and monsters while the women and children stand and watch the men fighting them
- he meets `a sister' in heaven - who was lost through miscarriage by the mother years before - and which the parents claim they never spoke to Colton about
- he claimed to see Satan in heaven but wouldn't say what he looked like
- and he described what Jesus looked like, comparing people's ideas of Jesus in their artworks as not right, until he was shown a painting of Christ by Akiane Kramarik which he said got the picture of Jesus right.

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There are a few more "revelations" in the book, but these are the essential ones. And all this was discovered in 3 minutes in heaven!

There are a number of reasons one should be highly sceptical of this book. Firstly, Colton was just 4 years old when he began to talk about his experience mostly prompted by his father - except for the first of his comments about the angels singing to him when he was having his surgery. Four year old children are renowned for making up stories and not being able, at this age, to distinguish fantasy from reality. After all, many children have imaginary friends and use their imagination constantly in making up stories while engaging in play. It would seem that the parents are still thinking like four year olds if they take what their kid says as literally true!

Secondly, why so many months and years for the story to develop - with the prompting of the parents? Surely if a child visited heaven they'd come back and be talking about it excitedly all at once - at least to start with. Haven't we all heard children bubble over with enthusiasm after having an exciting experience? Not Colton. He doesn't even mention it until he happens to say something about where his parents were during his operation. But given that it takes years for his whole "story" to come out, one has to wonder how much of it was constructed in response to his father's questioning.

Thirdly, the "information" provided by Colton is so obviously consistent with an evangelical fundamentalist view that it is not hard to see it has being informed by this culture as he grew up. Colton's father is a pastor and he admits to reading Bible stories to Colton as he grew up. He would have attended Sunday School and been exposed to all the detail he has described even if unconsciously. It's not surprising that his description of heaven draws on that culture.

Fourthly, Colton's father holds to a literalist reading of the biblical Book of Revelation which most people quite rightly understand to be highly symbolic and figurative. Colton describes things like swords and horses (rainbow coloured, no less, obviously similar to the children's Rainbow Brite toy!) in heaven and his father believes they are truly in heaven because verses in Revelation confirm it! So does Colton's father believe there is really a slain lamb/lion creature actually there too?

Fifthly, if Colton's descriptions of God on thrones with angels using swords to keep Satan out of heaven are to be taken literally, then God has been caught in an Old Testament era time warp. Are they really suggesting that God has eternally sat on thrones, ridden horses, fought with swords against real dragons? Most biblical scholars (and most Christians) would have a much more mature view of these issues than the childish view that Colton and his parents have. But then, of course, according to this book, we are to become like little children in our faith and just accept all this stuff without question.

Finally, the idea that Colton has told them a few things that he just couldn't have known about is highly unlikely. Church communities are renowned gossiping communities and it is much more reasonable to assume that he heard some of these things than to believe they are supernaturally revealed.

There's a lot more that could be said about this book. But the above will do. Heaven is for Real is simplistic, superficial, and naive. The most disturbing thing about this book is that it has become so popular - which doesn't say much for the people that swallow it whole without a second thought - even to the extent of stating that they have had their faith strengthened by it. If this is all it takes to reaffirm faith then, to my mind, that faith is pretty fickle.

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Writer/director Richard Shepard proved a deft hand with the quirky crime picture with 2005's "The Matador," which featured former James Bond Pierce Brosnan strutting his stuff in all manner of garish and laugh-and-cringe-inducing ways as a hitman grappling (absurdly) with a midlife crisis. Shepard's new picture "Dom Hemingway" features Jude Law, sporting ridiculous facial hair, some interesting fake bridgework, and behaving in a similarly let-it-all-hang-out mode—like Brosnan's character, the ex-con Law plays here has little compunction when it comes to parading about in all manner of undress. The drama "Dom Hemingway" explores involves a vicious lout finding a form of redemption, and while that's an all-too conventional scenario, Shepard's movie plays it out in a brisk, inventive fashion and delivers a moviegoing experience that's almost equal parts stingingly sharp and genuinely sweet.

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"Is my [redacted] exquisite," is the first line Law's Dom Hemingway utters, referring to a particularly beloved appendage of his while standing naked as the day he was born in a prison cell. The soliloquy that follows continues in that, um, vein, and Law delivers it with spittle-dispensing brio whilst building up to a punchline that's as funny as it is genuinely distasteful. Soon enough, Dom is out of prison, having gotten "the call," and he's off to set a few things straight, including a confrontation with the civilian who married his wife, and a sit down with the Russian crime lord he declined to rat on almost a decade and a half earlier. His negotiations do not go so great. As he confesses to his best pal Dickie—played in a marvelous turn by a martini-dry Richard E. Grant, whose sickly pallor is offset by eyewear tinted hepatitis yellow, a remarkably evocative look—Dom has got anger issues. "I tried yoga, the inspirational CDs, but the anger's still there," he says ruefully. But he can't help himself. 

On a jaunt to the South of France to meet crime lord Mr. Fontaine (played by Demián Bechir, having some broad fun), Dom takes a shine to the Russian mobster's pneumatically gifted trophy companion Paolina (Madalina Ghenea), which leads to some temporary awkwardness. Although he initially presents himself to Fontaine as "a petty serf, with good hair, and a strong liver," once he's got a few drinks in him, the ace safecracker is apt to start strutting about proclaiming "I'm Dom Hemingway" and making an unspeakably profane scene.

However, Shepard's a writer of pretty distinct cleverness, and he does not take this face-off to any place immediately predictable. Subsequent events at Fontaine's home land Dom, broke and busted up, at the home of his estranged daughter. There, he learns he's got a half-Senegalese grandson, and that, as he expected, his daughter wants nothing to do with him.

Hemingway's bull-in-a-china-shop brashness alternates with a tender side that Law is careful to show hints of from the movie's very beginning. Part of the delight of this episodic movie is seeing how the two sides fight each other in the run up to the movie's climax, in which Dom is forced to examine what it is he really wants out of life while playing a pretty dangerous game with a former criminal associate from whom he wants to cadge some work. I will not lie: while an objective assessment of the movie's ending might conclude that in certain respects it's a little too satisfying, I was happy to let the whole thing have its way with me. I brushed away a tear at a graveyard scene, and pumped my fist grinning after a living character got a particularly well-turned comeuppance. Cool stuff, and Law should get some kind of award in a "Most Shamelessly Enjoyable" acting category.

It’d be giving away too much to say what happens after the meeting with Mr. Fontaine, but suffice it to say that our hero’s spiraling remorse eventually starts to get the better of him. And yes, an estranged daughter is involved, as it ever must be in films about ex-cons; if you mapped out Dom Hemingway’s plot on a piece of paper, it’d probably look hopelessly cliché. And yes, we do eventually see Dom’s safe-cracking expertise, in a wondrous late set piece where the baroque theatricality of Law’s performance — equal parts lewd physicality and grandiose verbal flourishes — really shines. If at times, Dom Hemingway reminds you of Jonathan Glazer’s superior Sexy Beast, that’s because it’s probably meant to. Both films were produced by the great Jeremy Thomas, and one can see this new film hitting a lot of the same Brits-behaving-badly notes as that earlier one.

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Dom Hemingway is an uneven movie, to be sure — plot holes abound, and some of the aforementioned clichés can be distracting — but it’s still hard to resist. Because rarely have an actor and a part been so perfect for each other, and Shepard lets his lead run wild with this offbeat, contradictory character. It’s a chance for Law to display not just his range but his comfort with extremes. This is an actor who is at his best either when wallowing in entitlement or expressing vulnerability. Prior to this, his greatest performance was his supporting part in Gattaca, where he played a rich jerk in a wheelchair. Now, playing a poor lost jerk with a chip on his shoulder and a past full of mistakes, he’s found the role of a lifetime.

 Dom's gutter eloquence has a touch of the poetic, and he's a beast with a beating heart. A notorious safecracker, he has just served 12 years after refusing to rat on his boss, and he now wants his reward. So after a three-day bender of hookers and cocaine, he teams up with his old crony Dickie (Richard E. Grant, playing the straight man for once) and drives up to the villa of the sinister Mr. Fontaine (Demian Bichir), who pays his debt to Dom by gifting him with nearly a million pounds. But then, thanks to more drugs and a car accident, Dom loses the money, and this sets up the film's ingeniously karmic, yin-and-yang version of a crime-caper plot. 

As Dom attempts to reconnect with his daughter (Emilia Clarke), his luck keeps jerking back and forth, and the movie whiplashes between freedom and violent desperation, with each twist really asking, Does Dom deserve to get what he wants? Law makes Dom a brilliant contradiction. He's a piece of pond scum with a sense of honor, a bad man and a good man. And the question of which side will rule turns Dom Hemingway into the most mesmerizing drama of British lowlifery since Sexy Beast.

 

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“Captain America: The Winter Soldier” brings back one of the most mild-mannered superheroes of the Marvel Avengers franchise, the clean-cut, square-jawed Steve Rogers, whose quiet determination and commitment to decency — oh, and preternatural speed and strength — allow him to speak softly and carry a big shield.

But in this, the second installment featuring Rogers and his titular alter ego, Steve is forced into all manner of chaotic, cacophonous action. A baggy, at times brutal conglomeration of surprisingly deep character development and aggressively percussive action, “The Winter Soldier” is a comic-book movie only in its provenance. (The character was created by Marvel back in 1941.) In its relentless violence and dark political subtext, this might be the most grown-up Avengers episode yet.

“The Winter Soldier” finds Rogers — now fully defrosted after being cryogenically preserved during World War II — jogging around the Mall; it’s been two years since the near- destruction of New York City (the climactic set piece of shared-universe lollapalooza “The Avengers”), and he’s still trying to get up to speed on such late-20th-century developments as grunge music and Thai food. After striking up a friendly conversation with fellow runner and war veteran Sam Wilson (Anthony Mackie), Steve is picked up by Natasha Romanoff (Scarlett Johansson): They’ve got a job to do, this time involving nonchalantly saving a ship and the lives of the S.H.I.E.L.D. operatives who have been taken hostage on it.

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Just another day’s work for the savior of the Western World, but straight-arrow Steve suspects that something’s up when Natasha seems more concerned with saving the ship’s computer data to her flash drive than fighting the Algerian terrorists swarming the boat. It turns out Steve has reason for suspicion, as “The Winter Soldier” proves that, even back at  headquarters in what seems to be Northern Virginia’s coolest — if vaguely fascistic — office complex, no one can be trusted.

One of the great strengths of the Avengers mega-franchise has been its canny casting, and “The Winter Soldier” is no exception: Chris Evans once again brings a clean-cut, straight-shooting air of simplicity to Steve’s principled paragon, even evincing a whiff or two of prissy self-righteousness along the way. Happily, directors Joe and Anthony Russo, working from a script by Christopher Markus and Stephen McFeely, have decided to make “The Winter Soldier” something of a two-hander between Steve and Natasha, who as portrayed by Johansson continually threatens to steal the entire movie with her slinky martial arts moves and sultry, smoky-voiced one-liners. (If Hollywood was waiting for proof that the Black Widow was ready for her own installment, here it is. Get cracking, fellas.)

Other beloved S.H.I.E.L.D. figures are on hand here as well, including Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders), and viewers might want to brace themselves for a loss that rivals the death of Maria’s old work buddy, Clark Gregg’s still-lamented Phil Coulson. But it’s the newcomers who make the biggest impact in “The Winter Soldier,” especially Robert Redford, who plays Fury’s longtime colleague and World Security Council leader Alexander Pierce with cagey charm and cool reticence; and Mackie, who convincingly introduces a new character, the Falcon, with appealing, unforced charisma and the grace of a titanium Icarus.

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For a script that presumably has been in development for more than a few years, “The Winter Soldier” uncannily taps into anxieties having to do not only with post-9/11 arguments about security and freedom, but also Obama-era drone strikes and Snowden-era privacy. Indeed, there are moments that, in their taut writing and ingenious staging, recall the icy-hot paranoid thrillers that Redford himself made back in the 1970s.
But lest audiences think that “The Winter Soldier” will fall into the trap of taking itself too seriously, the filmmakers make sure that for every serious motif there’s at least one joke (a scene set in a bunker full of ’70s-era computer equipment is particularly piquant, as is a terrifically legit-looking Air and Space Museum exhibition devoted to Steve’s career) and one-and-a-half scenes of pulverizing, knuckle-splitting action. At a running time of over two hours, “The Winter Soldier” easily could have trimmed its long-winded action set pieces, extravaganzas of promiscuous gunplay, all-engulfing fireballs and loud lashings of shattered glass that begin to feel repetitive by the film’s Big Finish, a fight that plays out with over-the-top violence that’s both cartoonish and repellently brutalizing.

For all of its overstatement, though, “The Winter Soldier” is superbly made and well-acted, neatly setting up the next few installments with just the right enticing sense of ongoing mystery. As ever, perhaps the biggest lingering question has to do with whether S.H.I.E.L.D.’s sharp-elbowed superheroes will work together as a functional team or go their own idiosyncratic ways. As “The Winter Soldier” proves, often with a punishing vengeance, just because you share a universe doesn’t necessarily mean you play well with others.

 

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Jude Law plays DOM HEMINGWAY, a larger-than-life safecracker with a loose fuse who is funny, profane, and dangerous. After twelve years in prison, he sets off with his partner in crime Dickie (Richard E. Grant) looking to collect what he's owed for keeping his mouth shut and protecting his boss Mr. Fontaine (Demian Bichir). After a near death experience, Dom tries to re-connect with his estranged daughter (Emilia Clarke), but is soon drawn back into the only world he knows, looking to settle the...

Dom Hemingway (Jude Law) is a larger-than-life safecracker with a loose fuse, funny, profane, and dangerous. Back on the streets of London after twelve years in prison, it is time to collect what he is owed for keeping his mouth shut.
Travelling with his devoted best friend Dickie (Richard E. Grant), Dom visits his crime boss Mr Fontaine (Demián Bichir) in the south of France to claim his reward. But Dom's drunk and drug-fueled ego decides what he has lost can not be replaced. One car accident and a femme fatale later, Dom realises his priority must be to reconnect with his long-lost daughter Evelyn (Emilia Clarke).
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His name conjures up images of fine Champagne combined with a literary lion.
But Dom Hemingway is a crass, cocksure London safecracker with anger-management issues.
Jude Law put on 30 pounds to play this slimeball. But the weightier question is, why would he bother to take this worn-out role, at any size?
Dom Hemingway (* ½ out of four; rated R; opens Wednesday in New York and Los Angeles) is an excessively theatrical knockoff of Guy Ritchie movies (RocknRolla, Snatch), and Dom is a far less seductive Cockney-accented animal than Ben Kingsley in Sexy Beast. It's all-too-familiar terrain, stocked with flimsy caricatures.

Dom is a madman with bad teeth and mutton-chop sideburns. That he's played by Law, who's known for his romantic leading roles, amounts to stunt casting.
The first scene features the brutish Dom extolling the virtues of a part of his anatomy that is off-camera getting a pleasurable workout. Meant to be audaciously funny, his profane hyperbole is mostly obnoxious. Essentially everything Dom says or does falls into the same off-putting category. Worse, his garbled, derivative story doesn't go anywhere.
Released from prison after 12 years, Dom first stops to see the bloke who married and cared for his ex-wife while she was sick and he was behind bars. Dom beats him to a pulp. Before this, he was merely grotesquely egotistical. After this bloody attack, Dom proves he's a vicious psychopath.

Somehow, we're supposed to buy that what Dom is really after is redemption — despite the fact that he spends most of his time snorting coke, hanging with hookers and drinking himself into oblivion. He claims to want a relationship with his twentysomething daughter, Evelyn (Emilia Clarke) — now the mother of a young son — though he has not bothered to communicate with her in a dozen years. Understandably, she wants little to do with him.
Law acts up a storm, but it all amounts to very little. There's a feeling of frantic artifice and stagy theatricality to his performance, underscored by over-the-top dialogue. It reaches a peak during a key scene between Law, his pal Dickie (Richard E. Grant) and Russian crime lord Ivan Fontaine (Demián Bichir) at Ivan's villa in the south of France. Dom kept his mouth shut and protected Fontaine, which led to Dom's prison term. He now demands "a present" for his loyalty.

Apparently, we're supposed to root for this swaggering sleazebag. Full of exuberant piss and vinegar, Dom is meant to have a deeply buried heart of gold. In other words, he's a cinematic cliché.
Writer/director Richard Shepard's 2005 dark comedy, The Matador,about an unlikely friendship between a hit man (Pierce Brosnan) and a struggling salesman (Greg Kinnear), was far more clever and affecting.

Here, both Shepard and Law are trying too hard — and yet it's never enough to create an authentic, full-bodied character. All the effort goes into brash outrageousness. Then, amid all the explosive nastiness, the story blandly shifts gears to a sentimentality that especially doesn't ring true.
Also in the phony category is a ditzy-sweet American named Melody (Kerry Condon) who comes off like a blend of fairy godmother and New Age soothsayer. She predicts good things for the useless Dom. Since he's so unpleasant, we can only hope she's as deluded as she seems.

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Nymphomaniac is a sexually explicit drama about a woman's erotic journey from birth to the age of 50 as told by the main character, the self-diagnosed nymphomaniac, Joe. On a cold winter's evening, the old, charming bachelor Seligman finds Joe beaten up in an alleyway.

He brings her home to his flat where he tends to her wounds while asking her about her life. He listens intently as Joe, over the next eight chapters, recounts the lustful story of her highly erotic life. Seligman reads a lot of books, from which he has acquired various general knowledge.

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He connects the stories told with what he has read about. The story is divided in two volumes and eight chapters; Volume I follows young Joe as portrayed by Stacy Martin, and Volume II follows the older Joe in later life and Seligman's apartment as portrayed by Charlotte Gainsbourg.

• Release Date: April 4, 2014 (limited)

• Studio: Magnolia Pictures

• Director: Lars von Trier

• Screenwriter: Lars von Trier

• Starring: Charlotte Gainsbourg, Stellan Skarsgård, Stacy Martin, Shia LaBeouf, Jamie Bell, Willem Dafoe, Mia Goth, Jean-Marc Barr

• Genre: Drama

• MPAA Rating: Not Available

• Official Website: Nymphomaniacthemovie.com | Facebook

• Review: Not Available

• DVD Review: Not Available

• DVD: Not Available

• Movie Poster: One-Sheet

• Production Stills: View here

Nymphomaniac is the wild and poetic story of a woman’s journey from birth to the age of 50 as told by the main character, the self-diagnosed nymphomaniac, Joe (Stacy Martin and Charlotte Gainsbourg). On a cold winter’s evening the old, charming bachelor, Seligman (Stellan Skarsgård), finds Joe beaten up in an alley. He brings her home to his flat where he cares for her wounds while asking her about her life.  

 

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Nymphomaniac has an all-star cast including Charlotte Gainsbourg, Stacy Martin, Stellan Skarsgård, Shia LaBeouf, Christian Slater, Jamie Bell, Willem Dafoe, Connie Nielsen, Sophie Kennedy Clark, Mia Goth and Uma Thurman.