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Updated May 18 at 10:00 PM TOP PICK OF THE WEEK The Killing of Two Lovers Robert Machoian’s family drama knows it’s freighted with a foreboding title, and violence looms immediately over this story of a freshly separated couple. The longer it takes for that title to come true, the more we nervously rifle through its possible meanings. Even so, The Killing of Two Lovers slips into an inquisitive mode, deeper than pure tension. We witness father and Western Utah day laborer David (Clayne Crawford) make genuine and misguided efforts to resist the deadbeat-dad status that his moving out and family visiting hours suggest. While some of the supporting acting verges on stilted (given the film’s overall earthiness), ....
Willamette Week The need for strong, independent local journalism is more urgent than ever. Please support the city we love by joining Friends of Willamette Week. Your Weekly Roundup of New Movies: “RK/RKAY” Is a Wonderful Meditation on What Happens When a Director Is Drawn Too Deeply Into His Art What to see and skip while streaming or going to the theater. (RK-RKAY Outsider Pictures) RK/RKAY Mahboob is a fictional character, but that doesn’t stop him from making real-life mayhem in this cheeky comedy from Indian filmmaker Rajat Kapoor. Kapoor stars as RK, a somber visionary who directs himself in a film about Mahboob, a mustachioed romantic who is murdered in a forest. Rather than face his morbid fate, Mahboob hails a taxi that inexplicably transports him out of the film and into RK’s life, where he pleads for his creator to spare him. ....
Willamette Week The need for strong, independent local journalism is more urgent than ever. Please support the city we love by joining Friends of Willamette Week. Your Weekly Roundup of New Movies: “Limbo’s” Unforced Comedy Is Remarkably Shrewd Yet Innocent What to see and skip while streaming at home or going to the theater. (TIFF) Limbo Syrian refugee Omar won’t pluck his oud (an 11-stringed Middle Eastern lute) outside his home country. It doesn’t sound right on Scottish soil, he says. Given the natural acoustics, who could blame him? Omnipresent in U.K. director Ben Sharrock’s spare comedy are the oppressive gusts and rumbling waves of this Scottish isle, creating a sensorial conundrum for asylum seekers like Omar awaiting their papers. The wild, whistling remoteness all around is a prison of freedom. All the while, Omar (Amir El-Masry) hauls his encased oud around “like a coffin for [his] soul,” teases flatmate Farhad (Vi ....