Gideon's daughter

Reading a review of a new film, The Best Exotic Marigold Hotel, I chose this film as another Bill Nighy work. Terrific choice. His character, Gideon Warner, is a fixer, a PR man, the one to go to for advice, a power broker. At that he's good. As a father, he is not. He is losing his daughter, who is about to graduate and go to Colombia to do good. Nighy has an understated, less-is-more acting style, and he does wonderful work with this character. The excesses are left to others. As he bumbles along, Gideon meets a couple who wants someone in government to listen to their story of how their child was killed. No one does. Gideon arranges it. Both Gideon and Stella drift toward one another in an adult love story that leaves one wanting more.

Switch

Weak script. Didn't laugh for the first twenty minutes, even though I could tell I'd been prompted to laugh. Finally did laugh, and did enjoy the film, but it was as weak as near-beer. The acting is good. Thomas Robinson, who plays the kid Sebastian, is wonderful. But ...

A woman approaching middle age yet still childless decides to get pregnant by artificial insemination, only to discover that the donor she chose may not be the father of her child in this comedy starring Jennifer Aniston and Jason Bateman. Wally Mars (Bateman) is a dyed-in-the-wool pessimist. Hopelessly neurotic and unrepentantly narcissistic, he gets no joy out of life except for the time he spends with his best friend Kassie (Jennifer Aniston). However, despite the fact that Wally pines to be more than just friends with Kassie, she isn't convinced they'd make a good couple. When Kassie announces to Wally that she's found the perfect sperm donor, he's crestfallen; as far as he's concerned, the ideal candidate is standing right in front of her. Later, Kassie selects handsome stranger Roland (Patrick Wilson) to provide the seed. Things get complicated when Kassie's best friend Debbie (Juliette Lewis) throws an "insemination party" to commemorate the big event, and Wally intercepts Roland's special delivery, drunkenly replacing it with his own before blacking out. Pregnant and content, Kassie leaves the city for Minnesota, where she gives birth to a healthy baby boy. Flash-forward seven years, and Kassie returns to New York with her son, Sebastian (Thomas Robinson), who shares an uncanny number of physical and psychological traits with embittered bachelor Wally. Before long Wally and Sebastian have become good friends, and Wally becomes convinced that the boy is his biological son. His ideal family is finally within reach, and if he can just figure out a means of breaking the news to Kassie gently, perhaps she'll find it in her heart to forgive him, and recognize that he'll make the perfect father for Sebastian. ~ Jason Buchanan, Rovi

The elegance of the hedgehog

Barbery, M., & Anderson, A. (2008). The Elegance of the Hedgehog. New York: Europa Editions.

Indeed an elegant tale. With its refined taste and political perspective, this is an elegant, light-spirited and very European adult fable. (Kirkus)

Funny, poignant, incisive. Renée Michel is concierge in an upper-crust building whose tenants are all wealthy, some socialists, some not, and all are oblivious to what goes on under their very noses. What they see is what they know, what they expect to see, and all else is dismissed as irrelevant before being even seen. A proletarian autodidact, she ponders Kant, enjoys Tolstoy (her cat is named Leo), and considers the films of Ozu and Wenders sublime. Paloma Josse is the overly-smart 12 year-old younger daughter of a Socialist minister (government and watching rugby and drinking beer, along with entertaining seem to be his interests; nothing can be called a passion for him) and his wife (the only things that approach being passions for her are her psychotherapy sessions and her devotion to anti-depressants). Paloma has a cold war with her parents, and a hot one with her university-aged older sister. Already aware of the vacuity of life, she has scheduled her suicide for the day of her 13th birthday.

Renée and Paloma alternate narratives. Each observes the absurdity and predictability of the other tenants, and keep her interests, intelligence and passions secret. Each delves into her interests. Paloma dissects the emptiness of schooling, both hers (uninvolved teachers, students involved in drugs and sex) and her sister's (predictable pseudo-intellectualism).

When a tenant dies, his family sells the apartment, and the buyer is a Japanese man who immediately sets to remodel the flat. Both his project and his person set tongues a-wagging, and despite their purported lack of interest, many of the tenants are aching to see what is being done inside the 4th floor flat, as well as get to meet the new tenant.

Kakuro Ozu is an elder Japanese man who exquisite manners and mysteriously sublte nature excite the interests of so many of the residents of 7, Rue de Grenelle. In a chance meeting with the concierge, he asks her if she knew the former tenants of his flat. In answering in what she hopes is a disinterested manner, she inadvertently quotes the opening line of Tolstoy's Anna Karenina (all happy families are alike) . Monsieur Ozu catches it, and supplies the ending of the line (Every unhappy family is unhappy in its own way). Renée is aghast that she has, perhaps, given herself away. Indeed, she has, and it is the beginning of an elegant, beautiful, exquisite set of relationships between three kindred souls: Kakuro, Renée and Paloma. Add Marcella, Renée friend, and the story sparkles.

A gem.

Grace is gone

Good story of a father of two daughters who can not find a way to tell them their mother, s soldier, was killed in action in Iraq. Cusack is good. Shélan O'Keefe, whoc plays the older daughter, is a gem.