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    Movie Review

    DisneyNature's Penguins tries too hard to march birds into our hearts

    Alex Bentley
    Apr 18, 2019 | 1:00 pm
    DisneyNature's Penguins tries too hard to march birds into our hearts
    play icon

    There is a long history of penguins' cuteness winning the day in movies. The 2005 documentary March of the Penguins grossed $127 million worldwide, the success of Happy Feet spawned a sequel, and the penguin sidekicks in the Madagascar series became so popular that they eventually starred in their own movie.

    All of which is to say that if anything should be a slam dunk, it is DisneyNature’s Penguins. Taking its cue — perhaps a bit too much — from March of the Penguins, it follows the journey of Adélie penguins as they make their annual migration to find a mate and create the next generation. Instead of focusing on the group as a whole, though, the filmmakers turn the film into a story about one specific penguin, whom they name Steve.

    Steve goes on quite the adventure, getting separated from the colony early on and trying to catch up for most of the film’s running time. He and the other penguins experience all the joys and perils of their kind, including finding a mate, making long treks for food, evading predators like leopard seals and killer whales, and more.

    The filmmakers, led by directors Alastair Fothergill and Jeff Wilson, decide to have actor Ed Helms not only narrate the film, but give voice to Steve as well. It’s an odd choice, given that the footage of the penguins is more than enough to provide all the drama and comedy you might need. Instead, Helms is required to describe the action seen on screen and then provide an inner monologue for what Steve might be thinking in certain situations.

    This technique highlights the peculiar need for some humans to anthropomorphize animals, as if doing so makes them more relatable. In this instance, it doesn’t make this one penguin any more or less interesting. In some sequences, it actually makes you question the honesty of the filmmakers, since keeping track of Steve among literally millions of other penguins would seem to be improbable, if not impossible.

    Still, the footage is as stunning as you’d hope from a good nature documentary. Given that the filmmakers have worked on series like Planet Earth, The Blue Planet, and Frozen Planet, the quality of their visual work should come as no surprise. Their commitment to documenting the birds and enduring the harsh Antarctic weather themselves comes through in every frame of the film.

    People love penguins in whatever form they are shown to us on screen, and their adorable nature is all over DisneyNature’s Penguins. It would have been nice if the filmmakers had trusted the material they had instead of trying to force the issue with some out-of-place anthropomorphizing of their subjects.

    Scene from DisneyNature's Penguins.

    Scene from DisneyNature's Penguins
    Photo courtesy of Walt Disney Studios
    Scene from DisneyNature's Penguins.
    naturemovies
    news/entertainment

    Movie Review

    Jodie Foster brings depth and wit to French thriller A Private Life

    Alex Bentley
    Jan 30, 2026 | 9:41 am
    Jodie Foster in A Private Life
    Photo by Georges Lechaptois
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    Jodie Foster has been a member of the Hollywood community for almost 60 years, first as a child actor on TV, and then branching out into movies. She earned an Oscar nomination at the tender age of 14 for her role in Taxi Driver, and she’s gone on to be nominated five times, winning twice. Now, at age 63, she’s showing she’s still capable of surprises by fluently speaking another language in the French film, A Private Life.

    Foster plays Lilian Steiner, a psychiatrist who sees patients out of her Parisian apartment. When she learns of the death of one of her patients, Paula (Virginie Efira), she’s sad but otherwise unaffected until a few suspicious things start happening. This includes the robbery of her apartment, in which a recording of Paula’s last session with Lilian goes missing.

    With the help of her ex-husband, Gabriel (Daniel Auteuil), Lilian becomes an amateur private detective, tracking the movements of Paula’s husband, Simon (Mathieu Amalric), whom she increasingly suspects of murder. At the same time, Lilian must navigate a tense relationship with her son, Julien (Vincent Lacoste), along with an unexpected rekindling of romance with Gabriel.

    Written and directed by Rebecca Zlotowski, and co-written by Anne Berest, it is a psychological thriller that at times feels like an Inspector Clouseau movie. With little to go on but her own perhaps misguided suspicions, Lilian digs herself deeper into a situation of her own making. And she further clouds her mind by indulging in a tryst with Gabriel, who’s all too eager to help Lilian pursue her criminal theories. While the film is not a comedy, there are elements of humor that pop in to keep the story light.

    Zlotowski plays with the competing tones of the story well, keeping viewers on Lilian’s side even as she indulges in things that might not be the healthiest for her. Lilian’s various eccentricities - an adherence to recording on old-fashioned mini discs instead of fully digital, keeping an emotional distance from her son and grandson - make her a fascinating character whose vacillating motivations keep viewers guessing as to what she’ll do next.

    In a lot of ways, the film is a study of how Lilian needs to try to find ways to heal herself. The possibility of Paula being murdered wakes Lilian up to the idea that she has not been as attentive a doctor as she should be. The sessions with different patients that Zlotowski shows give the impression that there’s a general level of dissatisfaction with her, with one patient outright breaking up with her.

    Foster is no less compelling speaking mostly in French than she is in English language movies. Her fluency is never in doubt, and she fits in seamlessly with the actual French actors in the film. Auteuil is a fun counterpart for Foster, showing an unexpected chemistry with her that keeps their scenes crackling with energy. Amalric, a Wes Anderson favorite, has a relatively small role but still stands out when he gets a chance.

    A Private Life is not the type of thriller that American audiences might be used to, but its slow, methodical storytelling and subtle humor make it an interesting watch from beginning to end. The film is not up for any awards, but Foster’s performance shows she remains a top-tier actor.

    ---

    A Private Life is now playing in select theaters.

    film
    news/entertainment
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