Shadowlands

There are two films lurking in the heart of “Wassup Rockers,” which arrives a decade after photographer and filmmaker Larry Clark first came to notoriety in the movie world with the sexually explicit teen picture “Kids.” Here, Clark turns his voyeuristic lens on a group of Latino teenagers who live in South Central Los Angeles, play in punk bands, wear their hair long and love to skateboard. As is his cinematic practice, Clark spent a year with the boys who play themselves in “Wassup Rockers,” and much of the film has the anthropological authenticity such immersion affords. (See Film Notes on Page 34.) But what might have been a fascinating, intimate portrait turns into something much less compelling when Clark tries to impose a sex-and-action-packed narrative on the proceedings. On a day trip to Beverly Hills, the guys are seduced by two upper-class girls, cocktailing fashionistas and an alcoholic actress (Janice Dickinson) in dizzying succession.

The themes Clark putatively tries to address in “Wassup Rockers” have been explored more convincingly in the documentary “Dogtown and Z-Boys,” as well as such fiction features as “crazy/beautiful” and “Thirteen.” What new take he has to offer resides mostly in his own leering gaze, which reduces his young subjects to run-of-the-mill sex objects.

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Jane (Katherine Heigl) is a nostalgic who thrives on helping her many friends make their amalgamation age lifelike. She is the ideal bridesmaid – and has 27 dresses in her crammed collection to prove it. She is also indispensable to her boss George (Edward Burns) who runs an outdoor sports clobber role. George has no plan however, that Jane has a wonderful-size crush on him. When Kevin (James Marsden), a cynical newspaper reporter who covers the weddings scene, discovers Jane is a unremitting bridesmaid, and – unbeknownst to her – execute together a story about her. Meanwhile, Jane’s younger, mad sister Tess (Malin Akerman) arrives from at fault of town and to Jane’s dismay, when Tess meets George, it’s love at first sight.

After thirty years of working in the service of an underworld consortium Jack Barrett (Colin Friels) has had enough of killing pro a living. Now at 53, Barrett is all in of the sordid life and tired of jumping to distinction every time his boss Reno (Linal Haft) gives him yet another commission. He regularly visits the demi-mondaine, Kate (Angie Milliken), who seems to have a soft spot over the extent of him, while he dreams of a simple exuberance in a small fishing village, but in request to get loophole of the organization, there is one final job to do. Sounds simple, but then Billie Finn (Bojana Novakovic) comes along, a 19 year old university student doing her premise on the fallout from the Commission on Organised crime… and Barrett is a key source.

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“Ma Compete en rose” explores a juvenile boy’s gender pot-pourri and its repercussions on his one’s own flesh with a sure offer distribute and a bright idea. Director and co-scripter Alain Berliner’s devil-may-care peculate on nature vs. nurture melds renowned central perfs and deceptively jaunty production construction to yield an entertaining and rationality-provoking come out effort with near-universal emotional resonance. Helmer, scripter and producer can employment in their rose-colored glasses instead of real shades, as this pic’s future in European and offshore arthouses looks mighty illustrious.

Pierre (Jean-Philippe Ecoffey) and Hanna (Michele Laroque) celebrate their arrival in a manicured Paris suburb with a housewarming lawn party at which their 7-year-old son, Ludovic (Georges Du Fresne), appears before the guests dressed as a fairy princess.

The couple, who have two other sons and an adolescent daughter, assume that Ludo, with his Prince Valiant helmet of hair and his attachment to dolls and girlish finery, is going through a phase. But Ludo speaks with matter-of-fact certainty of marrying their neighbor’s son, Jerome, when he grows up.

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Jerome, whose father is Pierre’s boss, sees nothing wrong with this plan and even participates in a mock wedding ceremony. But Jerome’s horrified parents assure him he’ll go to hell if he continues to play with Ludo.

Pic skillfully navigates between a child’s well-meaning actions and the mild-to-major shock waves that radiate toward his classmates, parents and neighbors. The candy-colored community, so welcoming on the surface, turns out to be full of easily spooked hypocrites bent on the narrowest definition of acceptable behavior. Sensitive, imaginative and too young to understand why his heartfelt aspirations create an uproar, Ludo innocently provokes a series of incidents that lead to ostracism of his family.

Lensing — which favors shots from on high — effectively draws viewers into Ludovic’s p.o.v., translating his joys as well as his guilt and discomfort as adults try to impress upon him that he’s not going to be a girl when he grows up. Ludo’s devotion to a Barbie-like doll called Pam, whose ideal fantasy world occupies his daydreams, is amplified via nifty effects work, as is the boy’s rather original interpretation of what might have gone wrong when God was passing out chromosomes.

Precocious tomboys turn up every so often in the movies, but “Ma Vie” tackles the far rarer concept of a young male child who feels he should be allowed to dress and behave as a girl. Crucial to pic’s impact is an utterly convincing job by tyke thesp Du Fresne, who renders Ludo’s search for acceptance poignant and compelling.

Laroque — one of the most versatile comediennes in France today — is finesse incarnate in her portrayal of maternal love mixed with dismay. She expertly conveys a wife and mother’s growing fear of what lies ahead for her son if she or her increasingly beleaguered husband should fumble in handling the thorniest problem they’ve ever faced.

Supporting cast, including lots of kiddies, is fine, and use of incidental music is top-notch.

Pic is maiden feature production for indie distributor Haut & Court, currently co-producing with Franco-German cultural web Arte a series of pics set on Dec. 31, 1999, and helmed by a global slate of young directors, including Berliner.