- Portland Tribune - Features
Weekend!Movies: Rocky marriage, time travel, Lebanon reality
Edited by Anne Marie DiStefano
'I Think I Love My Wife' (R)
Chris Rock hardly seems like a natural match for the delicate portraiture of French auteur Eric Rohmer, but as a writer and director Rock does passably well with this update of Rohmer's 'Chloe in the Afternoon.'
Rock also stars here, as a Manhattan investment banker who is bored with his sexless marriage and tempted by the appearance in his life of a very dazzling old acquaintance (Kerry Washington).
The film is light and amusing, though it barely holds up over 90 minutes. It's hard to tell whether it will bring Rock any new viewers to balance out those of his hard-core fans who will find the going here too tame, in spite of his liberal dropping of the f-bomb.
- Pat Holmes
Broadway, Lloyd Mall, Division Street, Bridgeport
Boy, that Sandra Bullock sure has trouble with the ol' time-space continuum.
First, she had a relationship with Future Keanu Reeves via a magical mailbox in 'The Lake House,' and now she becomes unstuck in time in 'Premonition.'
Bullock turns in a predictably solid performance as a woman who loses her husband (Julian McMahon) in a car accident and then - whoops! - finds herself waking up days before the accident, then days after, then before, going more than a little mad as she tries to keep up with conversations she doesn't remember having and events that haven't occurred yet.
As far as movies about people jumping back and forth in time go, this one at least manages to keep most of its details straight, and there's nothing terribly wrong with it.
But there's nothing terribly noteworthy about it either. It's an only mildly interesting mystery that never offers any real surprises.
- Dawn Taylor
Cinetopia, Pioneer Place, Lloyd Center, Hilltop, Division Street, Stark Street, Bridgeport
Through Lebanese Eyes: Recent Documentaries by Lebanese Women
This program at the New American Art Union showcases films with a unique, intimate perspective on the ongoing troubles in Beirut.
Dalia Fathallah's 'Mabrouk at Tahrir: Chronicle of a Return to South Lebanon' was shot in Beirut in 2000 and examines life in South Lebanon after the Israeli withdrawal.
It's a remarkably evenhanded film, offering an intimate look at the complex relationships and rivalries in a small village, and attempts to shed a little light on the complicated roles of the Hezbollah and communist sympathizers in small rural towns.
In 'Lebanon/War,' filmmaker Rania Stephan points her video camera at eight people from different walks of life in Lebanon during Israeli attacks in July last year.
Rescue workers, neighborhood women, children and refugees describe their experiences, while Stephan's camera shows, without artifice or commentary, the aftermath of bombs on buildings.
Both films are eloquent representations of daily life in a country torn apart by political conflict.
Also on the program is Lamia Joreige's 'Here and Perhaps Elsewhere,' about the thousands of people who disappeared in the districts along the 'Green Mile,' which divides East and West Beirut.
'Mabrouk at Tahrir: Chronicle of a Return to South Lebanon,' 7:30 p.m. Wednesday, March 20; 'Lebanon/War' with 'Here and Perhaps Elsewhere,' 7:30 p.m. Thursday, March 21, New American Art Union, 922 S.E. Ankeny St., 503-232-8269, www.cinemaproject.org, $6