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      ‘Saltburn Review’: Lust, Envy and Toxic Elitism

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      In the new film from Emerald Fennell, Barry Keoghan plays an Oxford student drawn into a world of lust and envy at a classmate’s estate.“Saltburn” is the sort of embarrassment you’ll put up with for 75 minutes. But not for 127. It’s too desperate, too confused, too pleased with its petty shocks to rile anything you’d recognize as genuine excitement. This thing was written and directed by Emerald Fennell, whose previous movie was “Promising Young Woman,” a horror flick about rape that was also a revenge comedy. So believe me: She wants you riled. Fennell’s seen the erotic thrillers, studied her Hitchcock and possibly read her Patricia Highsmith, and gets that if you name your main character Oliver Quick he’s obligated to do something at least arguably Dickensian. The question here, amid all the lying, lazing about and (eventually, inevitably) dying, is to what end?We’re dragged back to 2006, where two boys at Oxford — bookish Oliver (Barry Keoghan) and rakish Felix (Jacob Elordi) — forge one of those imbalanced, obsessive friendships that one of them mistakes for love and the other tolerates because he’s needier than he looks. It goes south or sideways or to outer space but also nowhere. Well, that’s not entirely accurate, since it also goes, for one summer, to Saltburn, Felix’s family’s estate, a grassy expanse that boasts a Baroque mansion with stratospheric ceilings, one cantilevered staircase, copious portraiture, a Bernard Palissy ceramic platter collection and one of those garden mazes where characters get lost right along with plots.These two meet, in earnest, when Oliver loans Felix his bike, a moment Oliver’s been waiting for. The best scenes in the movie happen during this Oxford stretch when Oliver experiences Felix as an intoxicant, and Felix’s prepster coterie experiences Oliver as an irritant. There’s some crackle and dreaminess and post-adolescent instability here. Identities are being forged. It’s been better elsewhere — John Hughes, “Heathers,” Hogwarts, Elordi’s HBO show “Euphoria.” But Fennell squeezes some hunger, cruelty and passable tenderness onto these moments. When Oliver tells Felix his father’s just died, Felix extends his Saltburn invitation out of sincere compassion.Now, what happens over the course of this visit amounts to a different movie — or maybe three. Lust and envy take over. As does Fennell’s tedious, crude stab at psychopathology. Felix hails from one of those stiff, pathologically blasé clans where “clenched” counts as an emotion. Everybody at Saltburn seems ready for a new toy. And Oliver’s A-student impulses make a sport of ingratiation. His erudition, availability and blue eyes impress Felix’s droll mother, Elspeth (Rosamund Pike); his mere arrival arouses Felix’s self-conscious zombie of a sister, Venetia (Alison Oliver). In a different movie, their enthusiasm for this newcomer would make you sad for Farleigh (Archie Madekwe), a schoolmate and old pal of Felix who’s already on the premises, practically a member of the family and flatulent with attitude by the time Oliver shows up. He’s the one nonwhite major character in “Saltburn,” a fact the movie considers doing something intriguing with but abandons. His eyebrows are just chronically Up to Something. Is Farleigh worried about losing a financial lifeline? Is he jealous that Oliver might consummate things with Felix before he does?But this isn’t a movie in which anybody’s reaction to new developments is straightforward — and not because there’s anything complex or psychological going on with the screenwriting or the performances (Richard E. Grant pumps Felix’s father full of drollery). It’s because Fennell is more drawn to — or maybe just better at — styling and stunts than she is the tougher work of emotional trenchancy. If she gives us one music-video bit (a montage, a whole tracking shot), she must give us half a dozen. When the time comes for the movie to make its switch to gothic mischief, it’s like watching the first half of “Psycho” turn into the video for “When Doves Cry” or George Michael’s “Freedom! ’90.” What’s that look like? Well: Oliver sneaks a peek as Felix masturbates in a tub, and once the coast is clear he bends over and sips the draining bathwater. It’s a fine shot that’s also an absurd thing to have this guy do. Which is how you know the movie is failing as a good work of trash. I didn’t laugh or gape. I just sat there watching an actor do his damnedest to save the rest of the movie before it heads down the drain. Fennell keeps going, though, turning her mild protagonist into someone ripe for the cover of a bodice-ripper: a crafty virgin discovers the lethal weapon of lust.This was the gist of “Promising Young Woman,” too: that sex was like a chain saw or a gun. When it landed in 2020, the moment seemed right. Fennell had found a way to turn a premise you’d propose at a dinner party or while tipsy in the back of a cab into something tight and mordant: a “rape culture” revenge-o-matic. But it was so morally and formally tidy that it punched its own teeth out. The “o-matic” won. “Saltburn” has the same seductive sleekness — the nerve. But none of the dread or poison kick.The film’s comic centerpiece was also the star of Fennell’s other movie: Carey Mulligan. Here, she’s deadpanning her way through a chicly ratty mess named Pamela. Mulligan does blinkered, stammering and sad like if Tama Janowitz had written Miss Havisham first. It’s just Helena Bonham-Carter karaoke. But the movie needs it. Pamela has maybe three actual scenes, then we never see her again. She’s overstayed her welcome at Saltburn. But the movie misses the campiness Mulligan’s giving. You’d like to see her and Pike try on the vulgar farce of “Absolutely Fabulous.” But Fennell is going for real opulence, not a comedy of it.If “Promising Young Woman” had feminist vengeance on its mind, what’s “Saltburn” thinking? I spy three hovering text dots. It’s got some twists and a handful of good lines (nearly all of them belong to Pike), but it doesn’t have many thoughts and even fewer feelings. Here is a movie where gay things occur, but homosexuality abuts, alas, corruption and conniving.I suppose Fennell has made a movie about toxic elitism, but she’s done it in the way Ikea gives you assembly instructions. And barely even that, since the most blatant class indictment is outsourced to the Pet Shop Boys’ “Rent” during a bout of actual karaoke with Oliver and Farleigh. Staging the warfare between two strivers isn’t a bad urge, but that doesn’t go far enough, either. The movie does for “posh” what “Soul Plane” did for “ghetto”: luxuriate in what it’s pretending to blow up.I’m even left doubting Fennell’s expertise in main characters. Are we meant to clock a nerd who, when he sheds the clothes and spectacles, makes you as horny as Felix is supposed to make him? Barry Keoghan is trying to create a role out of the disparate parts of other ones (Norman Bates, Tom Ripley, Patrick Bateman), yet doesn’t get all the way there. He couldn’t have. There is no “there.”The whole movie seems to exist for its coda, and presumably the prosthetics designer whose name appears in the closing credits. It’s another music-video fantasia, but so cynical, literal-minded and literally cheeky that I cringed my way through it. And it asks a lot of Keoghan, who could have built a memorable, original character for Fennell. But real acting is not what Fennell’s after here. Oliver has a decent amount of strategic sex and Keoghan does his share of nudity, but the only pornographic thing about the movie is the house.SaltburnRated R. Throw a rock. Running time: 2 hours 7 minutes. In theaters. More

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      After ‘Saltburn,’ Watch These Five Country House Movies

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      From upstairs to downstairs and the challenging moments in between, a walk through a particular subgenre of films ripe for dramatic tension.If “Promising Young Woman” was Emerald Fennell’s darkly comic take on the rape-revenge thriller — one that rode a zeitgeisty wave of discourse onto a best original screenplay Oscar in 2021 — “Saltburn” is the writer-director’s entry in the country house canon. The film (in theaters) is the latest in a subgenre ripe for dramatic tension: upstairs versus downstairs; invited versus interloped; public versus private. Away from prying eyes, characters in these tales tend to revel in their idyllic surroundings as unseen, often sinister, forces work against them, resulting in an unforgettable stay.In “Saltburn,” Oliver Quick (Barry Keoghan), a shy Oxford student, accepts an invitation to spend the summer at the family estate of a wealthy classmate, Felix Catton (Jacob Elordi). While there, Oliver’s adoration for the charming aristocrat reveals itself to be much more than an innocent infatuation.With its covetous double helix of class consciousness and homoeroticism, “Saltburn” fits in nicely alongside literary classics like “Brideshead Revisited” and “The Talented Mr. Ripley” (and their many screen adaptations). Here are five other films where summering at a country house leads to significant power imbalances and lifelong consequences.The Coming-of-Age Country House Movie‘The Go-Between’ (1971)Stream it on the Roku Channel.Joseph Losey, whose 1963 film, “The Servant,” is its own masterpiece of queer-coded dominance, works once again from a Harold Pinter screenplay to direct this quintessentially British period drama. Young Leo (Dominic Guard) is invited by a wealthy friend to spend the summer at his family’s country house. But when his friend is quarantined with the measles, Leo must devise another way to pass the time. He soon finds himself the fraught messenger for his friend’s beautiful sister (Julie Christie) and her secret lover, the tenant farmer (Alan Bates). Stunning shots of the property’s fertile grounds fuel this Palme d’Or winner with a sense of freedom that its owners are quick to curtail; when the film catches up with Leo decades later, his loss of innocence can be pinpointed back to that fateful summer.The Art House Country House Movie‘Cries and Whispers’ (1972)Stream it on Max.The silence of God, humanity’s inability to connect, the secret grudges that quietly tear families apart: all themes the Swedish filmmaker Ingmar Bergman saw fit to set against the peacefulness of a summer house no less than a half dozen times. Here, it’s a searing look at the final days of a woman dying of cancer at her family’s opulent mansion, and her two sisters’ painful attempt to thaw out years of estrangement. As they struggle against the clock to process their emotions, the house’s maid shuffles in saintly servitude. Sven Nykvist’s Oscar-winning cinematography places the white-clad women — including the Bergman regulars Liv Ullmann, Harriet Andersson and Ingrid Thulin — against richly saturated crimson walls, bringing out piercing performances from their icy exteriors.The Documentary Country House Movie‘Grey Gardens’ (1975)Stream it on Max.One of the most consequential documentaries of all time serves as a cautionary tale about what happens when you don’t pack it up at summer’s end. When Albert and David Maysles were hired by Jacqueline Kennedy’s sister Lee Radziwill to make a film about their family, the documentarians’ attention quickly shifted to the women’s eccentric cousins: “Little Edie” and her mother, “Big Edie” Beale. The erstwhile socialites had boarded themselves up for nearly 20 years in their decaying home in East Hampton, N.Y., the stench of garbage and cat urine undergirding their peculiar relationship. With a distinctly American blend of can-do and laissez-faire, the Beales continue their business as usual, impervious to the changing tides of the outside world.The Cruel Country House Movie‘Chinese Roulette’ (1976)Stream it on the Criterion Channel.Alexander Allerson and Anna Karina in ”Chinese Roulette.”Janus FilmsBorn in Germany in 1945, Rainer Werner Fassbinder made films that emerged from a deep-seated mistrust of humanity. But he gave a despairing, devilish wink in even his cruelest works, like this bleak psychological thriller where two cheating spouses accidentally take lovers to their country estate on the same weekend. When their resentful young daughter arrives, she manipulates the foursome, the housekeeper and her son into playing the titular game, a sort of diabolical truth or dare, over dinner. Michael Ballhaus’s cinematography constructs a claustrophobic ballet around the house’s mirrored interiors, tightening reflective nooses around each of its deeply guilty guests.The Tender Country House Movie‘Call Me by Your Name’ (2017)Stream it on Netflix.James Ivory picked up the country house torch and ran through the ’80s and ’90s with hits like “A Room With a View” and “The Remains of the Day,” all of which were produced by his partner, Ismail Merchant. But it was for adapting André Aciman’s novel “Call Me by Your Name” that he won his first Oscar — becoming the oldest-ever winner at 89. The director Luca Guadagnino bathes the film in its Northern Italian setting, where a bookworm teen learns of the wounding and healing powers of sexual attraction after a graduate student arrives at his family’s lush villa. More

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      ‘Beyond the Aggressives: 25 Years Later’ Review: Trailblazers Revisited

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      This documentary from Daniel Peddle offers an update on the transmasculine people of color who participated in ballroom culture in the 1990s.The 2005 documentary “The Aggressives” provided a novel view of ballroom culture, or the underground pageant scene which emerged as a haven for queer Black and Latino youths in the 1980s and ’90s. The subjects of the 2005 film are people who identified themselves as “aggressives” — they were assigned female at birth, but they competed in ballroom categories highlighting their masculinity. They walked the catwalk dressed in construction gear and basketball jerseys. The original film followed its stars for five years, as they carried their gender performance out of the ballroom and into the streets, into their relationships and family lives.Now, decades years later, the director Daniel Peddle follows up with his former subjects, in the documentary “Beyond the Aggressives: 25 Years Later.” Four of the original subjects of “The Aggressives” return to offer updates from their lives, and once again, the filmmaker interviews his subjects across five years.One such subject, Kisha, who was once a model, has grown into an artist, and the film uses Kisha’s photography as a clever way to include commentary on the original film from new transmasculine, nonbinary or lesbian subjects. Trevon now identifies as transmasculine and nonbinary, and is happily partnered and considering how to build a family. Octavio works to reestablish a relationship with his son, and he considers when to pursue gender affirming surgery. Chin seeks support from the Transgender Law Center for assistance in navigating immigration law after he is targeted for deportation by ICE. In each of these updates, Peddle hews close to his original film’s style: he asks his subjects to define themselves and then he keeps watching, letting their actions color in the lines of their self-definition. It’s an approach which grants dignity to his subjects, an effect which is only amplified by the passage of time.Beyond the Aggressives: 25 Years LaterNot rated. Running time: 1 hour 20 minutes. In theaters. More

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      ‘Please Don’t Destroy: The Treasure of Foggy Mountain’ Review: Fools’ Gold

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      The “S.N.L.” troupe, known for digital shorts, makes its feature debut with this goofy, episodic adventure farce.The 20-something comedians Ben Marshall, John Higgins and Martin Herlihy, who produce digital shorts for “Saturday Night Live” under the group name Please Don’t Destroy, owe a lot to their “S.N.L.” forebears Andy Samberg, Jorma Taccone and Akiva Schaffer, whose troupe The Lonely Island laid the groundwork for Please Don’t Destroy’s distinctive style of two- to four-minute video skits that relish in juvenile absurdity.The Lonely Island parlayed late-night stardom into feature films like “Hot Rod” and “Popstar: Never Stop Never Stopping.” And now the members of Please Don’t Destroy are here with a movie of their own: “The Treasure of Foggy Mountain,” which borrows the surreal gusto and madcap humor of “Hot Rod” and “Popstar” but shares little of Lonely Island’s originality and charm.Marshall, Higgins and Herlihy star as lifelong friends stuck in dead-end jobs at a small-town outdoor-supply store owned by Marshall’s father, played by Conan O’Brien. A TikTok video leads them to a treasure map, which leads them on an adventure: sort of like “The Goonies,” though the story is really just a framework for jokes. The jokes have the mixed-bag quality of sketch comedy, and the director Paul Briganti doesn’t have a strong instinct for when bits are dragging on: An “S.N.L.” alum, he tends to treat the film like a string of interconnected skits, which makes its 90-minute run time feel twice that length. The frustrating thing is that Marshall, Herlihy and especially Higgins really are funny, and the film has some huge laughs. That’s enough for a sketch show. It’s not quite enough for a film.Please Don’t Destroy: The Treasure of Foggy MountainRated R for crass language, sexual innuendo and comic violence. Running time: 1 hour 30 minutes. Watch on Peacock. More

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      Eli Roth Takes a Stab at Thanksgiving Horror

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      Ever since he was a boy, the director has wanted to make a gory movie about the holiday. “Thanksgiving” is adapted from his 2007 faux trailer.For almost every holiday, there’s a horror movie, from “My Bloody Valentine” to “Black Christmas.” Thanksgiving, too. But the turkeys-beware holiday gets its own namesake movie with Eli Roth’s “Thanksgiving,” featuring an ensemble cast that includes Addison Rae, Patrick Dempsey and Gina Gershon.The movie (now in theaters) is based on the gory faux trailer Roth made all the way back in 2007 for “Grindhouse,” Quentin Tarantino and Robert Rodriguez’s homage to exploitation cinema. “Thanksgiving” centers on a masked killer who dresses like the pilgrim John Carver and terrorizes modern-day Plymouth, Mass., a year after a deadly Black Friday department store doorbusters riot.In a recent phone interview, Roth said that he and Jeff Rendell, a childhood friend and his screenwriter on the new film, have been itching to make a Thanksgiving scary movie since they were kids.“There was that lull between October and mid-December when it was all family films,” said Roth, who’s from Newton, Mass. “We were just waiting for another horror movie to come out. Our dream was to fill that void.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.We are confirming your access to this article, this will take just a moment. However, if you are using Reader mode please log in, subscribe, or exit Reader mode since we are unable to verify access in that state.Confirming article access.If you are a subscriber, please  More

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      ‘The Hunger Games’ Is Back. Here’s What You Need to Know.

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      With the prequel, “The Ballad of Songbirds & Snakes,” now in theaters, here are answers to questions you may have about the franchise.Arriving eight years after the most recent film in the franchise, “The Hunger Games” is back with a new installment: “The Ballad of Songbirds & Snakes.” Adapted from a 2020 novel by Suzanne Collins, the author who created the “Hunger Games,” this film serves as a prequel, taking place 64 years before the events of the first film.For those who don’t remember the back story all that well or have never seen the original movies, here’s a refresher on everything you need to know before jumping into this new dystopian adventure.How long has this been in the works?A film adaptation was planned before Collins’s book was finished. In 2017, Lionsgate, the studio behind the original movies, indicated that it was interested in potential spinoffs, and Collins reached out to Francis Lawrence, who directed the previous three films, about an adaptation while she was still writing the prequel novel.Do I have to watch the other movies before watching this one?That’s up for debate. This prequel is self-contained enough that it could make for an entertaining watch even for those who don’t know much about the original story. You wouldn’t feel completely lost, but you might miss out on some Easter eggs. Most of all, the story it tells about its protagonist, Coriolanus Snow, would be less rich an experience.Where can I watch those movies?All four of the “Hunger Games” movies are currently streaming on Peacock.A scene from “The Ballad of Songbirds & Snakes.”LionsgateWhat was the original story about?In the dystopian world of Panem, 12 districts live under the rule of the Capitol and its president, the ruthless Coriolanus Snow (Donald Sutherland). As punishment for a rebellion decades ago that ostensibly destroyed District 13, the Capitol hosts the annual Hunger Games, an elaborate, televised battle royale in which a boy and girl from each of the dozen districts are chosen as “tributes” to fight to the death.After her younger sister is selected for the 74th Games, Katniss Everdeen (Jennifer Lawrence), a teenager from District 12, the poorest among all districts, volunteers in her place. She allies herself with Peeta (Josh Hutcherson), District 12’s male tribute, and becomes enveloped in the world of the Capitol and the depraved spectacle that the games represent.A firebrand in and out of the arena, Katniss, through her participation in the games, becomes a political symbol. Known as the Mockingjay, she is associated with bolstering a simmering revolution, which makes her the primary enemy of President Snow.What is this prequel about?The film, and the book it’s based on, follows the rise of Coriolanus Snow, long before he becomes the president of the Capitol. A young student hoping to restore the faded glory of his family, he takes part in a new mentorship program, designed to help inspire a more exciting 10th Hunger Games, and is tasked with guiding Lucy Gray Baird, the female tribute from District 12.Despite Lucy Gray’s grim chances in the Games, Coriolanus becomes close with her as he commits to helping her survive. But as their relationship threatens to conflict with his own rise to power, he is pulled between good and evil.Did anyone from the original cast return?Perhaps a natural result of the 64-year gap between the events in this prequel and the first film, no actors from the original cast are part of this installment. Lawrence, though, has returned to direct the new film.Tom Blyth and Rachel Zegler in the new film.Murray Close/LionsgateSo who stars in this one?Tom Blyth, a relative newcomer best known as the lead of the Epix show “Billy the Kid,” stars in the central role as Coriolanus. He is joined by Rachel Zegler (who starred in the Steven Spielberg remake of “West Side Story) as Lucy Gray Baird.The supporting cast features major names including Peter Dinklage (Dean Highbottom, Coriolanus’s professor), Viola Davis (Dr. Volumnia Gaul, the head gamemaster), Jason Schwartzman (Lucky Flickerman, the host of the Hunger Games), and Hunter Schafer (Tigris, Coriolanus’s cousin).Were those original movies any good?The four previous films, which together grossed nearly $3 billion worldwide, were each received positively by critics and audiences alike. “It speaks to its moment in time,” the Times critic Manohla Dargis wrote of the second film, “Catching Fire.” As a defiant heroine, Katniss, Dargis noted, was emblematic of an overdue shift in mainstream storytelling and “the primary reason that both the book and screen versions soar above the usual adventure-fiction slag heap.” The character also made Jennifer Lawrence a global star and a major box office draw.Are there more films planned after this new one?Fans might not want to get their hopes up. This adaptation covers the entirety of Collins’s prequel book, meaning there is no official source material left for a potential follow-up. And last month, Lawrence said he regretted having split the final book of the original trilogy into two films. So, don’t count on a second ballad any time soon. More

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      What to Know Before Seeing ‘The Hunger Games: The Ballad of Songbirds & Snakes’

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      With the prequel, “The Ballad of Songbirds & Snakes,” now in theaters, here are answers to questions you may have about the franchise.Arriving eight years after the most recent film in the franchise, “The Hunger Games” is back with a new installment: “The Ballad of Songbirds & Snakes.” Adapted from a 2020 novel by Suzanne Collins, the author who created the “Hunger Games,” this film serves as a prequel, taking place 64 years before the events of the first film.For those who don’t remember the back story all that well or have never seen the original movies, here’s a refresher on everything you need to know before jumping into this new dystopian adventure.How long has this been in the works?A film adaptation was planned before Collins’s book was finished. In 2017, Lionsgate, the studio behind the original movies, indicated that it was interested in potential spinoffs, and Collins reached out to Francis Lawrence, who directed the previous three films, about an adaptation while she was still writing the prequel novel.Do I have to watch the other movies before watching this one?That’s up for debate. This prequel is self-contained enough that it could make for an entertaining watch even for those who don’t know much about the original story. You wouldn’t feel completely lost, but you might miss out on some Easter eggs. Most of all, the story it tells about its protagonist, Coriolanus Snow, would be less rich an experience.Where can I watch those movies?All four of the “Hunger Games” movies are currently streaming on Peacock.A scene from “The Ballad of Songbirds & Snakes.”LionsgateWhat was the original story about?In the dystopian world of Panem, 12 districts live under the rule of the Capitol and its president, the ruthless Coriolanus Snow (Donald Sutherland). As punishment for a rebellion decades ago that ostensibly destroyed District 13, the Capitol hosts the annual Hunger Games, an elaborate, televised battle royale in which a boy and girl from each of the dozen districts are chosen as “tributes” to fight to the death.After her younger sister is selected for the 74th Games, Katniss Everdeen (Jennifer Lawrence), a teenager from District 12, the poorest among all districts, volunteers in her place. She allies herself with Peeta (Josh Hutcherson), District 12’s male tribute, and becomes enveloped in the world of the Capitol and the depraved spectacle that the games represent.A firebrand in and out of the arena, Katniss, through her participation in the games, becomes a political symbol. Known as the Mockingjay, she is associated with bolstering a simmering revolution, which makes her the primary enemy of President Snow.What is this prequel about?The film, and the book it’s based on, follows the rise of Coriolanus Snow, long before he becomes the president of the Capitol. A young student hoping to restore the faded glory of his family, he takes part in a new mentorship program, designed to help inspire a more exciting 10th Hunger Games, and is tasked with guiding Lucy Gray Baird, the female tribute from District 12.Despite Lucy Gray’s grim chances in the Games, Coriolanus becomes close with her as he commits to helping her survive. But as their relationship threatens to conflict with his own rise to power, he is pulled between good and evil.Did anyone from the original cast return?Perhaps a natural result of the 64-year gap between the events in this prequel and the first film, no actors from the original cast are part of this installment. Lawrence, though, has returned to direct the new film.Tom Blyth and Rachel Zegler in the new film.Murray Close/LionsgateSo who stars in this one?Tom Blyth, a relative newcomer best known as the lead of the Epix show “Billy the Kid,” stars in the central role as Coriolanus. He is joined by Rachel Zegler (who starred in the Steven Spielberg remake of “West Side Story) as Lucy Gray Baird.The supporting cast features major names including Peter Dinklage (Dean Highbottom, Coriolanus’s professor), Viola Davis (Dr. Volumnia Gaul, the head gamemaster), Jason Schwartzman (Lucky Flickerman, the host of the Hunger Games), and Hunter Schafer (Tigris, Coriolanus’s cousin).Were those original movies any good?The four previous films, which together grossed nearly $3 billion worldwide, were each received positively by critics and audiences alike. “It speaks to its moment in time,” the Times critic Manohla Dargis wrote of the second film, “Catching Fire.” As a defiant heroine, Katniss, Dargis noted, was emblematic of an overdue shift in mainstream storytelling and “the primary reason that both the book and screen versions soar above the usual adventure-fiction slag heap.” The character also made Jennifer Lawrence a global star and a major box office draw.Are there more films planned after this new one?Fans might not want to get their hopes up. This adaptation covers the entirety of Collins’s prequel book, meaning there is no official source material left for a potential follow-up. And last month, Lawrence said he regretted having split the final book of the original trilogy into two films. So, don’t count on a second ballad any time soon. More

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      ‘Fallen Leaves’ Review: Love (and Laughs) Among the Ruins

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      In the latest from the Finnish filmmaker Aki Kaurismaki, two lonely people find each other with tenderness, karaoke and deadpan comedy.Modestly scaled and tonally perfect, “Fallen Leaves” opens in a fluorescent hell-on-earth and ends with a vision of something like paradise. In between, there are lonely nights, fleeting joys, ordinary degradations, laborious work, karaoke reveries, many cigarettes and more drinks. A lot of the drinks are downed hurriedly and often furtively by a man, while elsewhere a woman listens to sad songs. Outwardly, these two are leading lives of quiet desperation, though because this is an Aki Kaurismaki movie, their despair comes with great comic timing.A Finnish writer-director best known on the international festival circuit (“Fallen Leaves” won a major award at the 2023 Cannes), Kaurismaki makes movies — precise, austere, plaintive — that resist compartmentalization. Since the early 1980s, he has honed his minimalist visual style and quietly ironic sensibility in more than 20 narrative features that tend to be classed as comedy dramas, tragicomedies or some other hyphenated admixture; the movies are sometimes described as bittersweet, though, for me, their long aftertaste tends to be more sweet than bitter. Yet even these descriptors are too confining.Set in contemporary Helsinki, “Fallen Leaves” opens on the woman who listens to sad songs; it’s a habit that suggests she’s a familiar genre type — she isn’t. A supermarket worker of indistinct age and few smiles, Ansa (Alma Poysti) is impassively restocking some shelves when you first see her. It’s a vivid tableau of everyday banality complete with listless customers, unflattering lighting and the rhythms of alienated labor. And then there is the petty humiliation embodied by the uniformed market guard hawkishly watching Ansa, as if she is a prisoner who, at any second, is about to make a break from it.That’s pretty much what happens when a supermarket manager later fires Ansa for taking some expired food. (She also gives food away.) Kaurismaki doesn’t furiously underscore the cruelty of the manager’s decision; the violence of Ansa’s termination — and that of the pitiless world the manager serves — is as self-evident as the horror in each news report from Ukraine that she regularly listens to. Instead, with a few restrained words and the pacific countenance of a typical Kaurismaki character, Ansa keeps her composure and her eyes on the manager, turning her inexpressiveness into a form of dignified resistance. She makes her break.Shortly thereafter — the movie is only 81 minutes, so things happen quickly here — Ansa meets the drinking man, Holappa (Jussi Vatanen), at a bar. As their friends flirt, amusingly advancing and retreating, Ansa and Holappa trade fugitive looks, their gazes ricocheting around the room. They don’t speak that night, but when they run into each other later, Holappa invites Ansa to the movies. They see Jim Jarmusch’s zombie splatter-fest “The Dead Don’t Die,” watching it without smiles. (Jarmusch and Kaurismaki, twinned virtuosos of deadpan comedy with aesthetic affinities, are friends.) Afterward, Ansa and Holappa agree to meet again, but when he loses her number, each risks losing a chance at happiness.“Fallen Leaves” is consistently funny, but its laughs arrive without fanfare. They slide in calmly, at times obliquely in eccentric details, offbeat juxtapositions, taciturn exchanges, long pauses and amiably barbed insults. When Holappa’s friend Huotari (Janne Hyytiainen) puts some moves on Ansa’s friend Liisa (Nuppu Koivu), she says his voice is “well-preserved for such an elderly man.” (He doesn’t give up.) There’s humor in the image of Holappa, who sleeps in a work dorm, sitting on his simple bed next to a Tom Jones poster, but also pathos; there’s also a glimpse of his possible future when “Mambo Italiano” plays in a bar filled with other men, who, with their faraway looks and sagging faces, seem alone even when together.For a stretch of time, Ansa and Holappa go their separate ways, joined only by the supple editing, some visual similarities and the hyperbolically, at times comically, miserabilist songs that bridge scenes and — like the splashes of color and the numerous film posters scattered throughout the movie — express emotions that the characters don’t or can’t. Their striking reserve, both physically and verbally, can sometimes make them seem defeated, wrung out or just stunned by life. It is very relatable. It is also critical to Kaurismaki’s technique, because by withholding emotion onscreen, he isn’t telling you how to feel but instead giving you space to discover and perhaps fall for these characters on your own.The separation of lovers is also a classic convention in romantic fiction, one that turns longing and foreplay into narrative and sometimes suspense. (Will they, or won’t they?) There’s not much doubt that Ansa and Holappa will again find each other in “Fallen Leaves” (though your heart may skip a beat when they stand in front of a poster for the crushing 1945 romance “Brief Encounter”). There’s pleasure in how Kaurismaki keeps Ansa and Holappa apart and how he teases out their story to quietly build emotional tension. There’s even greater, more lasting pleasure in how — despite the precarity and violence of this world, which can isolate people from one another and their own selves — he tenderly coaxes them together.Fallen LeavesNot rated. In Finnish and Arabic, with subtitles. Running time: 1 hour 21 minutes. In theaters. More