This remarkable film tells three interlocking, but not interconnected tales, about women in contemporary Israel. Like a trio of good short stories, which this film resembles, Jellyfish presents characters whose lives are at a turning point. A bride, a caterer, and a Filipino domestic all experiences crises of identity. On her wedding day, a bride breaks her leg, and her honeymoon becomes a series of compromises and concessions. When her new husband meets and confides in a woman at the hotel they are in, there is the question of whether the newlywed’s love will survive. Meanwhile, the Filipino domestic steadfastly refuses to learn Hebrew--perhaps in the hope that she will soon leave Israel--but she still manages to form a heartfelt bond with her client, something the client’s daughter seems unable to do. Lastly, in an episode of magical realism, a young woman is haunted by a silent five-year-old who is a reflection of her life as a little girl. The film’s simple, poetic script--there is a great “poem” about a glass-bottle ship--as well as gorgeous imagery of the beach, seaside, and the honeymooner’s hotel make this a winning cinematic debut. What is more, Jellyfish features a terrific, surreal production of Hamlet that amuses, offbeat wedding photography, and other lovely touches that shows off the filmmakers’ creativity. Beautifully conceived, written and performed, this is one of the year’s best films.

 

Indiana Jones and the Kingdom of the Crystal Skull  

Although it opens with a thrill ride of sorts—a drag race through the Nevada desert—it is not until the famous hat and theme music appear that this latest (but by no means the greatest) entry in the popular adventure series gets audiences’ juices flowing. It’s 1957, so Indiana Jones (Harrison Ford) is being taunted on a nuclear testing site by Communists led by Irina Spalko (Cate Blanchett with a Louise Brooks bob and a Russian accent). As the big opening action set piece unfolds, Indy admits, “it’s not as easy as it used to be.” Perhaps because director Steven Spielberg wasn’t trying so hard. Crystal Skull is a slow-going two hours, coming to life when Mutt (Shia LeBeouf) enters the picture on a motorcycle, prompting a silly chase scene (with one cool maneuver). Yet, when Indy lectures the kid to “stay in school,” audiences will be anxious for the real amusement park fun ride stunts to begin. They finally do during a lengthy action sequence on land and water, which don’t really dazzle as they recall elements from the previous, better films. There is a nice comic bit with Indy and a snake, of course, and the return of Marion Ravenwood (Karen Allen, underused, but wonderful). Alas, the ending may be the series’ weakest—leaving audiences slack-jawed in wonder; not so much W-O-W, but more like, W-T-F?

 

Documentarian Errol Morris’ film examines the Abu Ghraib abuses with his characteristic flair.