The Protege (Theatrical Release, August 20)
Maggie Q portrays assassin Anna, protege and partner of legendary contract killer Moody (Samuel L. Jackson). When a killer for hire takes Moody’s life, Anna seeks revenge. Her search for the person behind Moody’s death leads to Rembrandt (Michael Keaton), an arrogant, mysterious character. As his crush on Anna grows, it does little to thwart her desire to kill him. At 42, Q continues building an impressive action resume. A guiding principle (learned from working with Jackie Chan), is performing her own stunts. Despite undergoing spinal surgery a few months prior to filming, Q defied doctor’s orders, delivering numerous deeds of derring-do. (Lisa Miller)
Reminiscence (Theatrical Release & Streaming on HBO Max, August 20)
Lisa Joy, sister-in-law of Christopher Nolan, writes and directs this Nolanesque screenplay dealing with altered perception. Her credits include co-writing Westworld with Nolan’s brother Jonathan. Here, Hugh Jackman appears as Nick Bannister, using new technology to guide clients on virtual visitations into their most meaningful memories. Since the disappearance of Bannister’s client Mae (Rebecca Ferguson), he’s become increasingly obsessed with finding her, spending untold hours searching Mae’s downloaded past. Thandie Newton portrays Bannister’s co-worker and lover, vainly hoping to keep him with her, in the present. (Lisa Miller)
Women Composers (Film Movement DVD)
Realizing that her repertoire was written entirely by men, concert pianist Kyra Steckeweh began the research that led to her documentary. She focuses on three women, Fanny Mendelssohn-Hensel (1805-1847), Mel Bonis (1858-1937) and Lili Boulanger (1893-1918) whose careers mirrored the rising arc of greater opportunity. Mendelssohn-Hensel, sister of Felix Mendelssohn, was told that for her music should be only “an ornament” was restricted to house concerts. Bonis’ parents thought music lessons would “increase her chances in marriage”—but some of her work was published. Boulanger found extraordinary success, winning international prizes and acclaim, but her life was cut short by sickness. Her sister Nadia would go on to enjoy a long career.
Throughout the film, Steckeweh performs music by the three women composers, revealing work that was in sync with their times, moving from romanticism through impressionism and Wagnerian grandeur. (David Luhrssen)
