![]() Director John Maybury showed a defter hand with the artist biopic in his 1998 Francis Bacon film, Love Is the Devil. Adding a fourth wheel, Vera hastily marries stoic soldier William (Cillian Murphy) while he’s off fighting in Greece, the threesome decamp to adjoining cottages in Wales. When Thomas’ even more aggro spouse, Caitlin (Sienna Miller, in a role originally attached to Lindsay Lohan), arrives, Vera opens her flat to the couple and the trio becomes one big cuddle puddle. Knightley sings and affects a Welsh whisper as Vera, a childhood friend of Dylan Thomas (Matthew Rhys, the gay sib on Brothers and Sisters), who meets up with the pickled poet in London during the Blitz. Keira Knightley returns to the simpler chignons of Atonement in another World War II–set prestige piece with a starchy literary pedigree - this one scripted by her mum, Sharman MacDonald. THE EDGE OF LOVE No longer weighted down by the perukes she had to wear in The Duchess. Bungee-strapped to her new beau on his scooter, Georgia extends her arms to draw in the sunshine (see also: the forthcoming DVD cover), and as we fade out with Easy and sons bonding over steak and beers, our cockles are warmed - the movie forgotten. Like their pop, the Kimbrough boys both have their own romantic complications (Beagle and the years-younger Georgia want to hook up in spite of her mother’s disapproval, and Guy reconnects with the ex-fiancée he ditched in his exodus), and since everyone here broods instead of speaks their minds, the perfunctory moments of quiet indie revelation actually add up. Grieving patriarch Easy (Bruce Dern) has been secretly schtupping the mildly kooky grandmother of Georgia (standout Kristen Stewart), a sexually curious high-schooler who slurs and walks shakily as she suffers the neural disease Friedreich’s ataxia. When wandering musician Guy Kimbrough (screenwriter Jayce Bartok) learns that his ailing mother has finally died, he stumbles back home to the passive aggressiveness of his awkward younger brother, Beagle (Aaron Stanford), who hasn’t forgiven him for abandoning the clan. ![]() THE CAKE EATERS There’s no kind of wonderful in Mary Stuart Masterson’s directorial debut, yet however slight her ensemble drama - about two distressed families in the Rockwellian framings of time-forgotten rural America - it’s at least convincing in its genuine sweetness. ![]()
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