‘The Age of Adaline’
(PG-13, 113 minutes, Lionsgate): Adaline (Blake Lively) is a 29-year-old who survives a near-death experience and from that day on never grows older. She guards her secret for eight decades until a charming philanthropist and his parents force her to confront her destiny. Building this film around all the willowy, world-weary grace that Lively can muster pays off. Lively suggests several lifetimes of experience in a love story that ranges from wistful to hopeful, a romance whose female half understands its consequences. For an hour, “Adaline” is warm and charming, with a somber edge. She’s buried generations of spaniels. She can’t bear to bury another lover. Then Harrison Ford shows up for the third act as he and the ageless Kathy Baker play Ellis’ parents. And Ford, in a performance as affecting as any he’s ever given, lifts this romance in ways we never see coming. But it’s Lively’s show, and she wears the period clothes and formal wear as easily as Adaline wears the burden of a body that never ages, even as the memory never forgets history learned, a language mastered or what love felt like when you last let yourself experience it. Also stars Ellen Burstyn. Contains sexual situations. Extras: Audio commentary with director Lee Toland Krieger, “A Love Story for the Ages” featurette, “Style Throughout the Ages” featurette, “Discovering Young Harrison Ford: Anthony Ingruber, An Online Sensation” featurette, deleted scenes.
(R, 95 minutes, Lionsgate): A derivative story of hard-luck brothers drawn into an ill-fated robbery. Adrian Brody plays Frankie, an ex-con back on the streets of New Orleans who shows up at his mechanic brother Jimmy’s (Hayden Christensen) doorstep with a dubious get-rich-quick scheme. Military vet Jimmy, wary of his screw-up sibling’s blind optimism, resists involvement. But when Frankie’s insistent slammer mates, Sugar (hip-hop artist/producer Aliaune “Akon” Thiam) and Ray (Tory Kittles, effectively steely), frame Jimmy, forcing him into joining them on a local bank heist, Jimmy has no choice but to comply. That things will go south is a given. After the robbery is introduced, it gets lost for too long as Frankie and Jimmy, both damaged by a rough childhood, work out their “we’re in this together” dynamic. Once the picture’s last half-hour rolls around, director Sarik Andreasyan and writer Raul Inglis immerse us in a bank raid that’s as riddled with illogic as it is bullets. It’s hard to know who’s more inept here: the thieves or the cops – or the movie’s editor. A last-minute twist works, until it doesn’t. Contains strong violence, pervasive language, some sexual material and brief drug use.
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