Review: A Bread Factory: Part One and Two | Rectangle Bellow Covers<br />

Clouzot is aware of the perils of his “cheating” against the strictures of his concept, as these violations are as much his subject as Picasso’s process. At one point, after Picasso’s art has continually materialized on the screen with seemingly little effort, Clouzot says to the artist that audiences will think he created a composition in a matter of minutes, even though they’ve been filming for five hours. This admission casts the film in a startling new light, underscoring our naïveté, as we’ve indeed been seduced—by Clouzot’s sleek techniques, by the general pop-art mythologies of the artist as a mystic conjurer—into believing that Picasso is casually knocking off one canvas after another over the course of a few glasses of wine.

Cast: Matthew McConaughey, Anne Hathaway, Diane Lane, Jason Clarke, Djimon Hounsou, Jeremy Strong Director: Steven Knight Screenwriter: Steven Knight Distributor: Aviron Pictures Running Time: 106 min Rating: R Year: 2019

1. Possession (Andrzej Zulawski) 2. Ms. 45 (Abel Ferrara) 3. Pixote (Hector Babenco) 4. Blow Out (Brian De Palma) 5. Polyester (John Waters) 6. Evil Dead (Sam Raimi) 7. Mommie Dearest (Frank Perry) 8. Man of Iron (Andrzej Wajda) 9. The Aviator’s Wife (Eric Rohmer) 10. Circle of Deceit (Volker Schlondorff)

The victims’ testimony is a wrenching mix of emotion (they speak openly of love, Safechuck describing himself and Jackson as being “like this married couple”), tortured manipulation (the exchange of jewelry for sex, Jackson’s relentless emotional and financial grooming of the parents in order to keep his access to the boys), and clinical details that snap everything into horrific focus (Wade talking about “his mouth on my seven-year-old penis”). When the two became at different stages too old to keep Jackson’s interest, the story takes an almost more malevolent turn, with the singer abandoning each victim to a lifetime of trauma and self-blame. When he was on a music video set feeling “on the sidelines” and ran into Macaulay Culkin—another bright young performer who hung around Jackson for a time, but who has never said that he was abused—Robson was left wondering, “What did I do wrong?”

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The only joy to be found in Leaving Neverland comes early, when director Dan Reed introduces Wade Robson and Jimmy Safechuck as children, before they met Michael Jackson, when the pop star was more dream than nightmare to them. Both Robson and Safechuck were kids who loved performing. What we see of their younger selves in archive footage is charming in the extreme, particularly the preternaturally slick dance moves a five-year-old Robson showed off on a concert stage where his idol had asked him to perform. At the same time, though, their talents—the sunny happiness Safechuck radiated in his Pepsi commercial, Robson’s incredible imitation of the choreography from the music video for “Bad”—just made them more likely to catch Jackson’s attention.

While the melody settles for merely being the most tuneful offering from possibly Madonna’s least tuneful album (2008’s Hard Candy), at the heart of “Miles Away” is a genuinely poignant assessment that might well be aimed at both her harshest critics as well as her most demanding fans: “You always love me more miles away/I hear it in your voice, miles away/You’re not afraid to tell me, miles away/I guess we’re at our best miles away.” For a brief moment, you almost imagine she isn’t the type of performer who likes keeping her audience at arm’s length. Henderson

Widely recognised as one of the greatest gangster movies ever made, Raoul Walsh’s 1949 mini-epic boasts not only a place in the National Film Registry but a line of dialogue that sits at number 18 on the American Film Institute’s list of the greatest movie quotes.

Waterproof and resistant to fading, this long-wear concealer won’t crease or threaten to reveal tired, dark circle ridden under eyes.

I might just be cynical, but I got the sense that Paco was mostly motivated by guilt, for his success with the farm, for his past with Laura. Did you see him in that light at all? You talk about him in very warm terms, but I had a different read on him.

George C. Scott is Patton. In a career-defining performance, Scott embodied the controversial U.S. general in ways that have been equaled but never surpassed in the history of American biopics. Scott gets all of Patton’s rage, self-pity, arrogance, doubts and seemingly every other human emotion across in discreet chunks and sometimes all at once, capturing the modern-day gentleman warrior’s quixotic bravura, self-love, and misanthropy in equal measure. The screenplay, co-written by Francis Ford Coppola, has Shakespearean overtones, from soliloquies delivered in iambic pentameter on the eternal nature of war to ruminations on the difference (or lack thereof) between acting and being. This formal complexity is matched by the sheer scale and power of the battle scenes, which capture the brutality and amorality of the battlefield and hold up better than most war films from the time. But Patton is also a strange work for its time, an essentially pro-war film released at the height of the Vietnam War that glorifies an egomaniacal general precisely for his disregard for humanitarian notions like the wellbeing of his soldiers. It also glosses over his deep and abiding racism, particularly his anti-Semitism, as well as his dangerous warmongering after WWII. This out-of-placeness gives the film an uncanny quality, its undeniable visceral power masking an ethically retrograde core. Oleg Ivanov

Honorable Mention: The Assassin (Hou Hsiao-hsien), Chi-Raq (Spike Lee), Magic Mike XXL (Gregory Jacobs), Queen of Earth (Alex Ross Perry), Mistress America (Noah Baumbach), The Pearl Button (Patricio Guzmán), Tangerine (Sean Baker), Taxi (Jafar Panahi), Tom at the Farm (Xavier Dolan), and The Walk (Robert Zemeckis)