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Melancholia (R)

Magnolia Home Entertainment

Lars Von Trier's Antichrist was marketed as a horror film but, in reality, was a brutal treatise on what it feels like to lose a child — and, in the emotional aftermath, your faith in God. His latest masterpiece, Melancholia, may be marketed as a science-fiction film, but the movie's subplot, about a giant planet hurtling toward Earth, is only window-dressing for a deep and moving study about the depths to which we sink in depression, to the point where it feels like the world is ending, and yet we feel apathetic. Von Trier's stifling view on the world collapsing around a deeply depressed Kirsten Dunst is incredibly realistic, rich in emotional atmosphere. The feeling that everything you do is wrong; that everyone is looking at you; the loneliness, even in crowds; life moving in slow-motion ... come to think of it, I may be depressed, too. — Louis Fowler

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Roadie (R)

Magnolia Home Entertainment

One of last year's great pleasures was seeing Ron Eldard on the big screen again in Super 8 . He's a little more bloated, but has retained the same earnest twinkle in his eye that I came to adore in his ER and Deep Impact heyday. I looked forward to his capitalization vehicle, Roadie, a music-driven team-up with another name from the past, L.I.E. director Michael Cuesta. Roadie only played on one screen nationwide, but that means it came to DVD in a jiff, and thank goodness. Not only is Eldard's pliable face and coarse voice welcome and familiar, he also finds great pathos in the story of a Blue Oyster Cult road tech who gets unexpectedly fired and is forced to face his demons back home in Queens, N.Y. Although Cuesta's direction is at times shockingly rusty (a fact unremedied by the labored script), there's a lot of soul here waiting, however tentatively, to be discovered. — Justin Strout

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Loosies (PG-13)

IFC Films

Peter Facinelli (Can't Hardly Wait) has never been enjoyable to watch on-screen, always giving off an irritating meathead vibe too cocky for whatever role he's been hired to play. But, that may have been exactly what the problem was: casting. And since he wrote and produced the romantic crime drama Loosies, he probably had more control on how to present himself, because he delivers his best performance ever in film. He's a New York City pickpocket, working off his father's debts, but gets more than he bargained for when he steals an NYPD badge. Add a pregnancy from a one-night-stand to the mix, and Bobby decides he needs to get his life together. Besides Facinelli, dependable actors like Vincent Gallo, Michael Madsen and Joe Pantoliano add their support to the proceedings, making this a class effort all the way around. — Louis Fowler


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