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Show When Mary gives birth in the apartment, revealing a BIG sur- Two Family House prise, she finds herself abandoned by her husband and relatives. KKK Buddy, beset with guilt at evicting her, quietly finds a place for her to A sweetstory of opposites attracting in an unlikely romance. live — andhe soon becomes enam- W Rated R for language and ored of Mary’s plucky attitude and undying optimism. brief sexuality; 104 minutes. Opening today at the Broad- Writer-director Raymond DeFelitta based the story ontales told abouthis uncle, and the movie has way Centre Cinemas. the nostalgic glow and authentic BY SEAN P. MEANS THE SALT LAKETRI ring of a family legend. He also delicately portrays the walls of NE ethnic tension — Italian vs.Irish, and others — underlying the American dream of’50s suburban life. Audiencesat the Sundance Film Festival have strange tastes. This year, the Audience Award for foreign films went to the atrocious marijuana-themed comedy “Sav- ing Grace,” while the award for U.S.amade dramas went to “Two Family House,” a warm and winsome romance of two oddly matched characters. Atleast they got oneright. Buddy Visalo (played by Michael Rispoli) has a dream. Living in theItalian section of Staten Islandin 1953, Buddy buys a house with an upstairs apartment in the borough’sIrish neighborhood. His plan is to turn the main house into a tavern where hecan sing to the Katherine Narducci as Estelle. DeFelitta makes good use ofre- patrons, while he and his wife, Estelle (Katherine Narducci), can live upstairs — an improvement over the room in her parents’ house where theylive now.Estelle thinks this plan will fail, just like Buddy’s past business ventures, but lets him go throughwithit. Problems. start when Buddy buys the house and tries to evict the apartment’s tenants, drunken Trish lout Jim O'’Neary (Kevin Conway) and his pregnant child- bride, Mary (Kelly Macdonald). alistic shooting locations and a deep talent pool from the New York/NewJersey area, a side benefit of working near the home of HBO's “The Sopranos.” (Rispoli and Narducci have had recurring roles on thehit series, and Vincent Pastore, Uncle Pussy. himself, (“Trainspotting,” “Elizabeth”) aré anice mismatch,the big talker and the patient listener, who make “Two Family House”feel lived-in and homey. VincentPastore,left, and MichaelRispoli in “Two Family House,” directed by Raymond DeFelitta. ‘Goya in Bordeaux’Paints a Fascinating, Abstract Portrait of an Exiled Artist , ‘AN P. MEANS THE A portrait of the artistas a crotchety old man, “Goya in Bordeaux” has a dynamic visual sweep and boldly dramatic storytelling for those willing to wade through the densely packed his- torical background. Francisco Goya (1746-1828)lived his last years in Bordeaux, France, in exile from his native Spain when iberal politics — barely tolerated under the original Spanish monarchy, for whom he was court painter — ran afoul of the rulers installed .by Napoleon. Goya, often credited as “the father of modern art,” also was known for going deaf at the age of 46, and for his insatiable sexual appetite. Writer-director Carlos Saura begins the movie at the end of Goya’s life, as the old painter (Francisco Rabal)tells his artistically inclined daughter Rosarito (Daphne Fernandez) abouthis wild younger days. Goya, played as a younger man by José Coronado, recounts his efforts to become “TWO THUMBS UP!” ote)ae) BEDAZZLED ‘Outrageous fen)oa “It's "Outrageous (Nom)(3:00) "It's a rans =eohd legendary cinematographer Vittorio Storaro (“Apocalypse Now,” Goyain Bordeaux TRIBUNE kkk WA riveting portrayal of the Spanish painter, imaginatively staged by writer-director Carlos Saura. Rated R for some sexuality and violent imagery; in Spanish with subtitles; 102 minutes. W Opening today at the Tower Theatre; also plays tonight and Saturday in the Park City Film Series. lowing the rooms tofade in and out: as Goya’s memories do. Saura takes his cues from. Goya’s abstract images. In one scene, Goya converses with his: younger self while Goya’s paintings andlithographs are projected onthe screen between them. Most compelling are scenes toward the movie's close, in which Saura en- court painter, wooing Spain’s aristocracy as he privately decried their idleness. He also recalls his many loves, particularly the patient Leocadia (ulalia Ramon), who tended to Goya in his dying days, and Cayetana,the Duchess of Alba (played by Maribel Verdu), a wealthy and.sexually adventurous aristocrat who fueled Goya’s art andpassion. As he did with last year’s “Tan- go,” “The Last Emperor”) to create a compelling blend of images and bright colors. The theaterlike sets have scrim screens for walls, al- Saura collaborates with acts Goya’s depictions of the horrors of the Napoleonic Wars — even putting his extras in masks that mimic the broad brushstrokes of Goya’s ghostly figures. “Goyain Bordeaux”layers on so muchdetail about Spanishhistory, you might wish you had done your homeworkbefore seeing the movie. The details*may be hard to follow, but Saura — aided bythe fiery performances by Rabal and Coronado — captures the sorrow of Goya’s times andthevitality of his at , aa ea gOwaaes esdee DASTULLaks sony.com/the6thday 4 PRUNES bf “FOUR STARS | om acs, suo ets Catoosa ee ATC PA as ‘Sorry, No Passes, Coupons, VP. iu Atty Tickets etd hc Tae ics res. ALON ao. 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