Channing Tatum gets his kit off in Magic Mike; Robert Pattinson goes back to 19th century Paris in Bel Ami; Olympia Dukakis and Brenda Fricker go to Canada to get married in Cloudburst and William Hurt and Isabella Rossellini try and restoke the fires of passion in Late Bloomers.
I made the mistake of watching The Dark Knight Rises twice last week. The first time was entertaining enough, I suppose. The opening set-piece – in which a CIA renditions plane is hijacked in mid-air by it’s own cargo – is brilliantly conceived but pointless, Anne Hathaway’s Catwoman is a breath of fresh air and the ending (unspoiled here) works extremely hard to tie up the many loose ends and satisfy even the meanest critic.
But second time up, the problems come into even clearer focus. The confused ideology (a fusion of zeitgeisty “Occupy Gotham” wealth redistribution and pro-vigilante “mean streets will always need cleaning” status quo protectionism), endless tiresome exposition of both plot and theme and the huge holes in its own internal logic, all serve to dissipate the impact of the impressive visuals.
At what point in a man’s life does he decide to become a dry cleaner? For Joaquin Phoenix’s character, Leonard Kraditor, in Two Lovers that day is never and yet he still finds himself to be one. He’s a sensitive soul whose mental health issues have resulted in several suicide attempts, a permanent relationship with medication and a need to start again with his loving parents in their small apartment in Brooklyn.
His father introduces him to the daughter of a business associate (Vinessa Shaw) in the hopes that a positive relationship might heal his son and also be a profitable development for the dry cleaning business. At the same time, Leonard meets and falls for the beautiful and mysterious upstairs neighbour, played by Gwyneth Paltrow, whose own relationship with a wealthy married man is doing her no good.
Two Lovers is written and directed by James Gray, the iconoclastic and uncompromising independent filmmaker responsible for the gritty New York dramas Little Odessa and last year’s We Own the Night , which also starred Phoenix. It’s a careful and sensitive picture about how so often love is about wanting to heal and protect someone – Shaw wants to heal Phoenix and he wants to heal Paltrow and none of them realise the extent to which they have to heal themselves first.