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There’s some rueful humor to Mary Bee’s upright insistence on carving out what she regards as a normal life in these wearying circumstances, and Swank gives a magnificent performance as a woman whose calm and capable exterior cannot completely conceal her worsening desperation. But don’t let anyone tell you that the beginning of “The Homesman” is quiet or bucolic or any such nonsense. In an almost bewildering montage, Jones shows us the circumstances behind each farm wife’s descent into madness: One has seen three children die of diphtheria within a week, another has murdered her own baby, a third is haunted by the ghost of her Norwegian-born mother. Mary Bee agrees to be the “homesman” who returns these broken women to civilization because it’s the right thing to do, and because the men of her desolate Nebraska settlement seem sunk in self-pity and full of excuses.
I’m not naive enough to believe that a movie with this subject matter and this setting will be a big hit or a major player in the Oscar race. But it should be, and in a curious way “The Homesman” fits into our contemporary cultural debate about sex, gender and the status of women. George Briggs may not be much of a feminist, but I think Jones now gets to claim that title if he wants it. Plain as a tin pail Mary Bee may be, but Jones (and Briggs too) understands that she, and not her male companion, is the true hero of “The Homesman.” (It’s only a tiny spoiler to say that the title refers to her, more than to Briggs.) She can plow, shoot and ride as well as any man in the territory, while still clinging to feminine dreams of domesticity, family and prosperity. If her struggle comes against insurmountable odds and points toward an ambiguous conclusion, such is America.

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I quite enjoyed “The Mortal Instruments: City of Bones” in patches, like the super-creepy scene when Clary has to enter the catacombs where all former Shadowhunters are interred, presided over by some corpse-like monk-dudes with stitched-up mouths, in order to get her repressed memories back. But a lot of it is super-generic fight scenes and Clary not quite getting to kiss Jace for various reasons, and you almost never get that feeling of specific gravity, of commitment to the universe, that was present even in the most extreme dumbass moments of the “Twilight” and “Potter” movies. I imagine fans of Clare’s books will find this movie largely satisfactory, but it’s distinctly a rush job, an almost random collection of sexy-supernatural teen signifiers aimed at squeezing the penultimate dollars out of a declining trend. There’s something almost cool about that. (But, OK, not quite.)

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I have the weird impression that Schwartzman skipped his 20s altogether, leaping directly forward from his debut as the teenage star of Wes Anderson’s “Rushmore” to his current run playing murky or off-putting 30-something characters like Kurt or Monsieur Jean in “Grand Budapest Hotel” or Philip Lewis Friedman, the aspiring literary lion of “Listen Up Philip.” Of course that’s not true. Schwartzman was in plenty of films in between, including “S1m0ne” and “I Heart Huckabees” and “Marie Antoinette” and … but wait, I think I just made my point. I think I see the problem, in that he’s a magnetic performer who tends to make you suspicious, which is absolutely perfect for the vulnerable-trickster role of Kurt but isn’t really what you want in the young male lead. Anyway, it’s great to have him back, and he just might age into a truly legendary character actor in his 40s and 50s.
It might be going a step and a half too far to suggest that “The Overnight” is subversive, in any grand social sense. But it’s a little bit subversive in terms of the suburban marriage comedy, which has also been vigorously deconstructed in such underappreciated recent efforts as Stacie Passon’s “Concussion” and E.L. Katz’s “Cheap Thrills.” (Catch both of those!) Brice’s script is driven by questions about the nature of desire that are increasingly ambiguous. What do Emily and Alex really want from their attractive and mysteriously affluent new friends? No one’s forcing them to stay there all night (after putting their sons to bed together), getting drunk and stoned and swimming naked in the pool and allowing themselves to be separated from each other several times.

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The Nation?has had a tradition of marking many anniversaries. When I walk you out, you’ll see that there’s the 120th, there’s 125th, there was a 75th. We felt the 100th was our model [for this – , and you can see that’s our perfect spine too, so we knew we wanted to go big. We’re talking here three centuries; this is a big deal in a culture which is in such transition and fast-moving. So yeah, we knew we wanted to go big — we actually went slightly bigger because there was more content. We over-assigned. So it is a slightly bigger book but we always knew we wanted to go big in the conceptual sense of it.


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