Forgot your password? |, February 6, 2020 Kruger, however, is the exception, and she is fantastic. At the same time, 20-Century Fox actually did two weeks of filming of a script called Not Fade Away, from a story by Cricket Jerry Allison. In, “Operation ‘Business As Usual'” is the name of the undercover mission assigned to Mossad agent Rachel Currin in Tehran: a knowingly ironic label for a challenging undertaking that gets considerably less orthodox the longer it goes on. | Rating: C+

For those of you who were distressed to hear that the remake of “Death Wish” was having its original Thanksgiving release date bumped and despaired that you might have to go through the entire holiday season without seeing a single film in which an ordinary person turns vigilante when the police and the courts fail to provide any sense of justice, “In the Fade” may come as a relief.

In the Fade, Germany's entry to the Oscars, tells the story of a survivor picking up the pieces of her broken life. Rated R and to receive email from Rotten Tomatoes and Fandango.

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It's suspenseful in a quiet, dread-filled way, and it has an ending you won't soon forget, but this film feels like a treatise on Germany's terrible recent record with how its immigrants are treated, and not a particularly layered look at its characters. When she dons glasses, Kruger is the spitting image of pop star Aimee Mann, who herself carries a lot of sadness in her music, so by association alone, misery is bound to occur. It is an interesting author's film within the revenge thriller genre. The end credits, for example, offer a number of disturbing statistics regarding the rise of nationalistic hate crimes in Germany in recent years that suggest that the subject is something that means a great deal to him. Peter Sobczynski is a contributor to and Magill's Cinema Annual and can be heard weekly on the nationally syndicated "Mancow's Morning Madhouse" radio show. This content is published for the entertainment of our users only. | Fresh (114)

It's here where this gut-wrenching story turns into a more by-the-numbers courtroom procedural.

[Diane Kruger] carries entire scenes of witness testimonies through looks and grimaces alone. Just confirm how you got your ticket.

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That said, there's something about the blunt emotionality it speaks in the face of deadly extremist aggression that feels sadly appropriate. Squarely told with its moral outrage worn plainly on the sleeve, In the Fade is not a particularly artful movie. As a courtroom thriller, In the Fade delivers. If it's fair to say that Diane Kruger has been a little understretched, thus far, as a dramatic actress - she has played a lot of muses, sidekicks and sketchy mystery women - all of that is about to change with In the Fade. Just below that it reads "Ticket Confirmation#:" followed by a 10-digit number.

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To be fair to Akin, I do not think for a second that he was trying to make a straightforward eye-for-an-eye revenge drama. However, during the middle courtroom section, things grow increasingly unsubtle—the defense attorney (Johannes Krisch) not only employs an outrageous strategy to create doubt about the guilt of his clients (oddly, there seems to be virtually no media interest in the crime or the trial) but looks like the less attractive cousin of Nosferatu to boot—and go completely off the rails during the highly implausible final section.