An outgrowth of British TV, Bharat Nalluri's espionage thriller is direct and workmanlike.
The movie version of a Dave Eggars novel wastes Tom Hanks and leaps headlong into cultural cliché.
Ramin Bahrani's movie about eviction woes is a small masterpiece of greed and tension.
Tom McCarthy's superb "Spotlight" is just as much about journalistic doggedness as sexual abuse.
Four directors do a good job of situating purgatory on a California highway, until they run out of gas.
Karyn Kusama's horror-thriller has its moments, but fails to make the most of lingering menace.
Ben Wheatley's adaptation of a 1975 J.G. Ballard parable is beautiful to look at but dated in spirit.
Alejandro Amenábar's mediocre devil-worship thriller is really an object lesson in manipulated hysteria.
David Farr's creepy thriller about babies and unstable mothers is at once unsettling but predictable.
The prequel to "Cloverfield" is an ode to the menace of John Goodman, who steals this show.
Directed by: James Schamus
Starring: Logan Lerman, Sarah Gadon, Tracy Letts, Danny Burstein
Jewish boy from New Jersey meets college life in Protestant Ohio in 1951, and ends up…. Where and how Marcus Mesner (Logan Lerman) "ends up" is revealed early and late in "Indignation," adapted from a 2008 Philip Roth novel of the same name.
Between those bookend scenes, we're invited to ponder the vagaries of chance, fate, and personal responsibility as Marcus negotiates his freshman year at conservative Winesburg College (yes, in Ohio, thank you Sherwood Anderson), having managed to escape an over-protective, perhaps mentally ill working-class father (David Burstein) who imagines the worst for his only child and warns him that one mistake could ruin his life.
Marcus is bright, balanced and seems destined for success. Until he sees Olivia Hutton (Sarah Gadon) throw a bare leg over an armrest in the library. After that, his college experience becomes more complicated.
At one point, Winesburg Dean Hawes Caudwell (playwright and actor Tracy Letts) summons Marcus to explain why he's asked for a housing reassignment. The self-righteous Caudwell interrogates Marcus, who — in one of the film's strongest scenes — responds with a courageous brand of self-righteousness, grounded in philosophical rationalism and disdain for authority. Religion and war (Korea was raging) play key parts. But for all his smarminess, Caudwell probes for and finds Marcus' weaknesses, bringing his father's one-mistake warning back into the foreground. Still, it's never clear who's really responsible, if anyone, for the fate of this young man.
Unfortunately, the subtlety that characterizes the presentation of these ideas doesn't always carry over to other elements. The film is bathed in unrealistic "period" sets, the score can be distractingly heavy-handed, and the acting of many minor characters verges on the campy. Olivia and Marcus are brittle too much of the time, suggesting that producer-turned-director and screenwriter James Schamus struggled to render readable Roth into smooth cinema. Still, Lerman is admirable as a Roth-like Jewish teen overflowing with angst and indignation, while Letts has superb moments as the overbearing and, shall we say, indignant, dean of student.Reviewed by: William Graebner and Dianne Bennett