Psychological Drama Movies

The Double Life of Véronique is the story of two young women who are -- in some mysterious and irresolvable way -- the same woman leading two different yet interconnected lives. Those familiar with Polish director Krzysztof Kieslowski's later "Three Colors" trilogy of Blue, White, and Red will recognize his fascination with accidental happenings and chance encounters, as well as Irène Jacob (from Red) whose performance as both Veronika and Veronique won the 1991 Cannes Film Festival award for best actress. Veronika and Véronique are born on the same day in 1966, one in Poland, the other in France. They grow up separately, unaware of each other's existence, but with the vague and rarely expressed feeling that they are "not alone." The story begins in Poland, where Veronika (like Véronique) is a talented vocalist and music student who wins a prestigious singing competition and is given the chance to perform with a local symphony. On the night of the concert, while singing a duet onstage, Veronika loses consciousness and dies. Véronique is emotionally wounded by the loss of her double and decides to end her singing career. The film charts the effect of Veronika's death on Véronique and on her dispassionate and unsatisfying relationships with men, especially her father. She is led to puppeteer and children's book author Alexandre Fabbri (Philippe Volter), whose puppet shows and stories are dramatic variants on her own mysterious problem. While looking through photographs of Véronique's trip to Poland, Fabbri discovers a picture of Veronika walking through a student demonstration in Kracow. He shows the picture to Véronique, who intuits the significance of Veronika's perfect likeness to herself. ~ Anthony Reed, Rovi

The true story of prominent mathematician John Forbes Nash Jr. is the subject of this biographical drama from director Ron Howard. Russell Crowe stars as the brilliant but arrogant and conceited professor Nash. The prof seems guaranteed a rosy future in the early '50s after he marries beautiful student Alicia (Jennifer Connelly) and makes a remarkable advancement in the foundations of "game theory," which carries him to the brink of international acclaim. Soon after, John is visited by Agent William Parcher (Ed Harris), from the CIA, who wants to recruit him for code-breaking activities. But evidence suggests that Nash's perceptions of reality are cloudy at best; he is struggling to maintain his tenuous hold on sanity, and Alicia suspects a diagnosis of paranoid schizophrenia. Battling decades of illness with the loyal Alicia by his side, Nash is ultimately able to gain some control over his mental state, and eventually goes on to triumphantly win the Nobel Prize. Based loosely on the book of the same name by Sylvia Nasar, A Beautiful Mind (2001) co-stars Paul Bettany, Adam Goldberg, Anthony Rapp, Christopher Plummer, and Judd Hirsch. ~ Karl Williams, Rovi

"All the animals come out at night" -- and one of them is a cabby about to snap. In Martin Scorsese's classic 1970s drama, insomniac ex-Marine Travis Bickle (Robert De Niro) works the nightshift, driving his cab throughout decaying mid-'70s New York City, wishing for a "real rain" to wash the "scum" off the neon-lit streets. Chronically alone, Travis cannot connect with anyone, not even with such other cabbies as blowhard Wizard (Peter Boyle). He becomes infatuated with vapid blonde presidential campaign worker Betsy (Cybill Shepherd), who agrees to a date and then spurns Travis when he cluelessly takes her to a porno movie. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Travis begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating Betsy's candidate, Charles Palatine (Leonard Harris), to violently "saving" teen hooker Iris (Jodie Foster) from her pimp, Sport (Harvey Keitel). Travis' bloodbath turns him into a media hero; but has it truly calmed his mind?

Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era. Scorsese and Schrader structure Travis' mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings. Yet Travis' military record and assassination attempt, as well as Palatine's political platitudes, also ground Taxi Driver in its historical moment of American in the 1970s. Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis' point-of-view, where De Niro's now-famous "You talkin' to me" improv becomes one more sign of Travis' madness. Shot during a New York summer heat wave and garbage strike, Taxi Driver got into trouble with the MPAA for its violence. Scorsese desaturated the color in the final shoot-out and got an R, and Taxi Driver surprised its unenthusiastic studio by becoming a box-office hit. Released in the Bicentennial year, after Vietnam, Watergate, and attention-getting attempts on President Ford's life, Taxi Driver's intense portrait of a man and a society unhinged spoke resonantly to the mid-'70s audience -- too resonantly in the case of attempted Reagan assassin and Foster fan John W. Hinckley. Taxi Driver went on to win the Palme d'Or at the Cannes Film Festival, but it lost the Best Picture Oscar to the more comforting Rocky. Anchored by De Niro's disturbing embodiment of "God's lonely man," Taxi Driver remains a striking milestone of both Scorsese's career and 1970s Hollywood. ~ Lucia Bozzola, Rovi

Europa (retitled Zentropa for the American release) is an hallucinatory Danish film set in postwar Germany. Jean-Marc Barr plays a young German who aspires for a job as a street conductor. But this is no mere "Joe Job;" Barr's adventures on the line are designed as a metaphor for the emergence of the "New Europe" following the war. Barbara Sukowa costars as the daughter of a railroad magnate--and possible Nazi sympathizer. Many of the special-effects sequences are computer enhanced, but even the "live" scenes have an unsettling, surreal quality to them (colors changing abruptly, backgrounds shifting without warning, etc.) This experimental film left some viewers confused, which may be why English-language prints of Zentropa are narrated by Max Von Sydow. ~ Hal Erickson, Rovi

Now often cited as one of the greatest films ever made, Jean Renoir's La Règle du jeu/Rules of the Game was not warmly received on its original release in 1939: audiences at its opening engagements in Paris were openly hostile, responding to the film with shouts of derision, and distributors cut the movie from 113 minutes to a mere 80. It was banned as morally perilous during the German occupation and the original negative was destroyed during WWII. It wasn't until 1956 that Renoir was able to restore the film to its original length. In retrospect, this reaction seems both puzzling and understandable; at its heart, Rules of the Game is a very moral film about frequently amoral people. A comedy of manners whose wit only occasionally betrays its more serious intentions, it contrasts the romantic entanglements of rich and poor during a weekend at a country estate. André Jurieu (Roland Toutain), a French aviation hero, has fallen in love with Christine de la Chesnaye (Nora Gregor), who is married to wealthy aristocrat Marquis Robert de la Chesnaye (Marcel Dalio). Robert, however, has a mistress of his own, whom he invites to a weekend hunting party at his country home, along with André and his friend Octave (played by Jean Renoir himself). Meanwhile, the hired help have their own game of musical beds going on: a poacher is hired to work as a servant at the estate and immediately makes plans to seduce the gamekeeper's wife, while the gamekeeper recognizes him only as the man who's been trying to steal his rabbits. Among the upper classes, infidelity is not merely accepted but expected; codes are breached not by being unfaithful, but by lacking the courtesy to lie about it in public. The weekend ends in a tragedy that suggests that this way of life may soon be coming to an end. Renoir's witty, acidic screenplay makes none of the characters heroes or villains, and his graceful handling of his cast is well served by his visual style. He tells his story with long, uninterrupted takes using deep focus (cinematographer Jean Bachelet proves a worthy collaborator here), following the action with a subtle rhythm that never calls attention to itself. The sharply-cut hunting sequence makes clear that Renoir avoided more complex editing schemes by choice, believing that long takes created a more lifelike rhythm and reduced the manipulations of over-editing. Rules of the Game uses WWI as an allegory for WWII, and its representation of a vanishing way of life soon became all too true for Renoir himself, who, within a year of the film's release, was forced to leave Europe for the United States.. ~ Mark Deming, Rovi

Akira Kurosawa's Ikiru details the existential struggle of one ordinary man in his desperate search for purpose. Upon learning he has terminal stomach cancer, a low-level government bureaucrat (Takashi Shimura) leaves his job of thirty years without a word to find meaning in the year he has left to live. He is completely alone in the world -- his wife is dead, his son is practically estranged, and his co-workers (the people with whom he has more contact than any others) are little more than strangers. Rather than face a death alone in pathos, Shimura opts to make up for lost time by going to the bar (for the first time in his life), spending every last yen in his wallet and drinking himself to death. There he meets a black-clad artist (a Mephistopheles to his Faust) who leads him on a hellish (and darkly humorous) tour of the city after dark as the two crawl through every booze-soaked juke-joint in town (Kurosawa's classical training as a painter surfaces in this sequence; many critics have noted the striking similarity of the crowded dance hall scenes to the paintings of Hieronymous Bosch, (particularly Walpurgis Night). Realizing he has missed nothing, Shimura then sets his sight on a pretty young girl from the office to divert his attention from his looming mortality. Although the girl fails to serve as a lifebuoy, she does give him the inspiration to do something meaningful -- to leave a legacy, however small, that makes the world a better place. A synopsis of Ikiru cannot serve the film justice; it simply must be seen. ~ Jeremy Beday, Rovi

Director Donna Deitch makes a strong impression in her first feature film, a simple story of a lesbian love affair, based on Jane Rule's 1964 novel Desert of the Heart. Helen Shaver stars as Vivian Bell, an uptight 35-year-old Columbia University professor who travels to Reno to get a divorce. She arrives in Reno on her way to Frances Parker's (Audra Lindley) ranch, where she is staying to establish six weeks of residency in order to obtain the divorce. Once at the ranch, Vivian catches the fancy of Frances's adopted daughter Cay (Patricia Charbonneau), a casino worker ten years younger than herself. Vivien tries to remain unruffled as Cay makes unabashed overtures to her. Cay thinks that all Vivian needs is the love of another woman, and soon enough the two are in each other's arms. ~ Paul Brenner, Rovi

Four friends come together for a reunion that leads them down a self-destructive path in this drama. Jonathan (Rob Lowe), Richard (Thomas Jane), Ron (Jeremy Piven), and Tim (Christian McKay) are four men in their mid-forties who have known each other since they went to college together. Each year, they reunite for a vacation, renting a beach house in California and engaging in as much drug- and alcohol-fueled carousing as they can tolerate. While they seem happy on the surface, in truth all four are deeply troubled; Jonathan is a doctor whose specialty is writing prescriptions for the right price, Richard is a teacher still mourning his unsuccessful career as a novelist, Ron is a commodities trader in trouble with the law, and Tim feels lost and purposeless in his life. Over the course of their holiday, the friends will be touched by an unexpected tragedy and shocked by revelations that change the way they view one another. Also starring Carla Gugino and Sasha Grey, I Melt With You was an official selection at the 2011 Sundance Film Festival. ~ Mark Deming, Rovi

Sling Blade marked the directorial debut of country singer turned actor Billy Bob Thornton, who also authored the script (expanding George Hickenlooper's acclaimed short Some Folks Call it a Sling Blade) and stars in the picture. Thornton plays Karl Childers, a mildly retarded man who spent most of his life in a mental institution. When Karl was a boy, he was severely mistreated by his abusive father (Robert Duvall). At age 12, Karl found his mother having intercourse with a man who tormented him endlessly; he snapped, flew into a homicidal rage, and killed both individuals by decapitating them. Years later, as a middle-aged man, Karl is deemed harmless to society and released from the mental institution where he resides. Karl says he has learned his lesson and adds, "I reckon I got no reason to kill no one." He returns to the town of his boyhood, where he's befriended by Frank (Lucas Black), the son of a widowed mother who sees the eccentric but open-hearted Karl as a kindred spirit. Karl also gets a job at a fix-it shop and resides in the backroom, until Frank's mother, Linda (Natalie Canerday), takes a liking to Karl and lets him stay with them. However, Karl also meets Doyle (Dwight Yoakam), Linda's boyfriend, a sadistically cruel, narrow-minded drunk who tosses casual abuse at Frank, treats Linda like dirt, and mocks Karl endlessly. The late John Ritter co-stars as Linda's friend Vaughan, a mild-mannered homosexual who works at the neighborhood dollar store. Musicians Col. Bruce Hampton and Vic Chesnutt are among Doyle's party guests. ~ Mark Deming, Rovi

A strange, hallucinatory adaptation of the Malcolm Lowry novel of the same name, John Huston's bleak drama is set during the Mexican "Day of the Dead" ceremony in 1939. Albert Finney stars as Geoffrey Firmin, the booze-besotted former British consul to Cuernevarca, who has cut himself off from his loved ones, the better to drink himself to death while surrounded by all manner of skull-and-skeleton decorations. At the urging of his wife Yvonne (Jacqueline Bisset), his half-brother Hugh (Anthony Andrews) goes on a "heart of darkness" search for his missing sibling. Novelist Lowry was himself a suicidal alcoholic, who poured every drop of his embittered philosophy into the Firmin character. If any director could bring Lowry's difficult novel to life, it was Huston, whose own record for drunken self-destruction is the source of legend. (Huston was actually the seventh director to tackle the novel, which had originally been optioned in 1957 by actor Zachary Scott.) Artists contributing to the fascinating Under the Volcano include the brilliant Mexican cinematographer Gabriel Figueroa, screenwriter Guy Gallo, composer Alex North, and director Emilio Fernandez, cast in a significant cameo as a bartender. ~ Hal Erickson, Rovi

Michelangelo Antonioni's first narrative feature is a stark, minimal interpersonal drama that would establish many of the themes and techniques that would recur in his work for the rest of his career. Story of a Love Affair centers on the dynamic between Guido (Massimo Girotti) and Paola (Lucia Bosé), two old flames re-igniting their passions for one another. Tabs are being kept on both of the lovers by their current spouses as well as by a private investigator, but even after their pursuers fall out of the picture -- whether due to accidents or disinterest -- Guido and Paola find that their love for each other is waning. Filled with stark, empty compositions, unpredictable camera movements, and static, self-obsessed characters, Story of a Love Affair would mark Antonioni as a maverick among the prevailing neorealists of the post-war Italian film community. ~ Michael Hastings, Rovi