Michiel lives in a small village in the Netherlands during World War II.  He lives a life of relative privilege as the son of the Mayor, a man Michiel has come to lose respect for because of the Mayor’s acceptance of the Nazis that occupy their village.  But Michiel’s eyes open to the realities of war when a friend’s brother asks Michiel to deliver a letter.  He meets Resistance fighter/RAF soldier Jack, and realizes that not everything in his small village is as it seems.

Winter in Wartime works on many levels; a story about how Nazi Germany’s invasion of other countries affected a small village in Holland, a coming-of-age story about a boy who takes his first steps towards becoming a man, and an intimate father-son story.  This could become a jumbled mess of colliding themes, but in this movie they blend into a satisfying experience.  Fresh faced Martijn Lakemeier plays Michiel, and his younger-than-his-years appearance give his powerful performance that much more of an impact.  Jamie Campbell Bower’s Jack isn’t much older than Michiel, but Jamie gives a knowing, world-weary feel to the character.  Melody Klaver plays Michiel’s sister Erica, a nurse that works with her mother in the local hospital.  Sam Neill look-alike Raymond Thiry plays Michiel’s father Johan, and delivers a powerful performance of a man torn between his duty to protect his village, and doing the right thing.  And Yorick van Wageningen plays Michiel and Erica’s Uncle Ben, a mysterious man whom Michiel adores and who is at odds with  their father’s way of doing things.

There’s a bleak, bright beauty in the setting; all snow, ice and bare branches.  Director Martin Koolhoven shows the loveliness of the landscape and the harsh realities of the cold.  Whites, blues and greys are the primary colors in this movie, making the deep black of Nazi uniforms (as well as the bright red blood that is spilled) stand out in sharp contrast.  Characters switch from English to Dutch to German, often in the same scene, which lends a realism to discussions between characters.  And the script’s dialogue feels natural, but the pace of the story never lags because of it.  I particularly love the bitchy sibling in-fighting between Michiel and his sister.  The jabs don’t stop comin’, but when the chips are down they are there for each other.

There’s a lot going on in here.  In fact, there’s so much going on in this movie, from Resistance fighters to Nazis, young boys at play to their elders in love (yep, there’s a love story here too), the agony of war and the triumph of peace…but Winter in Wartime manages them all, and kept my interest throughout.  No small trick.

Winter in Wartime was a huge hit in the Netherlands, scoring many awards throughout Europe as well as being the highest grossing film in the Netherlands in 2008.  So why review this movie now?  Because Sony Pictures Classics has bought the rights and will be distributing this film in the US, so it will be coming soon to a theater near you.  And it’s worth checking out, even with the promise of multiplex Summer blockbuster eye candy coming soon.  Winter in Wartime is a hidden gem that deserves a greater audience.  I’m glad it’s getting a fresh breath of life here in the States.

The last time we talked about Woody it was the news of Owen Wilson’s joining Woody’s next project. Since then the yet-untitled project has picked up a pair of beautiful Hollywood starlets in Academy Award winner Marion Cotillard (La vie en rose) and Rachel McAdams (probably won a Teen Choice Award for something). Filming on this project begins this summer in Paris with an expected 2011 release date.

Set to release this fall is Woody’s You Will Meet A Tall Dark Stranger starring Antonio Banderas, Josh Brolin, Anthony Hopkins, Naomi Watts, Gemma Jones, Freida Pinto and Lucy Punch. Filmed August 2009 in London and premiering at this year’s Cannes Film Festival You Will Meet A Tall Dark Stranger has been purchased by Sony Pictures Classics for U.S. distribution. Sony Pictures Classics also distributed Allen’s Sweet and Lowdown (1999) as well as 2009′s Whatever Works.

Moon is a thing of beauty to watch unfold. It’s a simple concept executed so brilliantly that you’d be amazed to find out its director Duncan Jones’ first feature. He’s created one of the most unique films in a good while and maybe the best science fiction film of the year. Unfortunately it’s one of those films that’s tough to discuss without revealing it’s twist. On the same token, the movie doesn’t rely on it’s twist to make or break it as it reveals it’s biggest secret fairly early and becomes a character study.

The technology in Moon isn’t flashy or chic. Instead it sticks to something George Lucas lost with his prequels and creates believable gizmos, gadgets and space stations. Where most might have made GERTY (the on board robot) a giant floating sphere with a flashing eye, Jones chooses to make it a bulky machine that runs on a track. GERTY also is equipped with an on-board camera and keyboard with post it notes stuck on his front and back. The space station itself appears as one that’s seen many years and shows subtle signs of wear and tear. The screens, keyboards and other gear inside the station aren’t tables you tap your fingers on but tactile keyboards and widescreen displays still present. Moon is set in our future yes, but it’s a future that could be very real. In any case, you have to appreciate the level of detail and thinking Jones and his crew went with the production design. Bottom line, Lunar Industries is only one or two steps away from being a very real company thanks in large part to this film crew’s attention to detail and thought.

Of course Moon wouldn’t be anything without an outstanding lead and Sam Rockwell more than answers the call. Granted this phrase gets tossed around a lot, but Rockwell deserves a nomination for Best Actor at the Oscars, more so than a certain clown-clad actor did. It’s a challenging role that demands not only the actor to be several different emotions but the film literally rests on his shoulders. Rockwell makes it seamless as if this is just another day at the office for him. Literally he is the film as he basically interacts with only television screens. Yet there’s emotion in his eyes that most actors would have fumbled if given the chance. Rockwell’s performance and Jones’ direction are accompanied by a brilliant score from Clint Mansell. Mansell engulfs you into this world with a catchy tune that will stay with you long after you’ve left the theater. The tunes hit the right beats and are never overused or overblown.

Moon is a film that you’ll need a day or two to think on after you’ve seen it which isn’t a bad thing. Upon reflecting on Jones’ piece, one should discover what a brilliant, unique, and terrific film they were treated to. The film is influenced by many a sci-fi films, even the one everyone takes from 2001: A Space Odyssey. However it is coy about it’s references and doesn’t feel like Jones just watched Kubrick’s masterpiece and said “Let’s make a movie!” Moon is a prime example of what happens when all the great elements of filmmaking stitch together a truly great picture. Moon unfortunately won’t have the wide appeal of a dumber “science fiction” film but those remotely interested should give it a chance and experience it’s greatness.

Rating: ★★★★½