Movie Reviews: 'Downtown Express' and 'G...

Movie Reviews: 'Downtown Express' and 'G...

Lola Créton and Sebastian Urzendowsky in “Goodbye First Love”

Lola Créton and Sebastian Urzendowsky in “Goodbye First Love”

Downtown Express 3 stars

A young Russian musician discovers a new passion (1:30). Not rated. At the Quad.

David Grubins low-budget dramedy is such an obvious labor of love, you may be tempted to overlook its structural flaws. Music fans, in particular, will appreciate this spirited tale of a young violinist (Philippe Quint) torn between the classical aspirations of his strict Russian father (Michael Cumpsty) and the underground rock scene of his quirky new girlfriend (Nellie McKay).

Grubin is an experienced documentarian, and he plays to his strengths here. He certainly makes the most of the Manhattan setting, whether his characters are practicing at Juilliard or playing for cash in the Times Square subway station.

The throwaway plot clearly exists as an excuse to string together high-energy concert scenes with McKay and Grammy nominee Quint. But everyone seems so genuinely excited to be sharing their music on film that the entire experience becomes a joyful alliance between audience and actors.

Goodbye First Love 3 stars

Parisian students date, break up, and date again (1:50). Not rayed: Nudity, sexuality. In French with subtitles. At the Lincoln Plaza, IFC.

Its no coincidence that the main characters in Mia Hansen-Loves romantic drama squabble over a movie they go see together. Hansen-Love k nows perfectly well that viewers are likely to have a similarly split response to her own film. Is it annoying, talky and complacent, or beautiful and deep?

That will depend entirely on your own perspective. If you can remember feeling the highs and lows of first love, youll be inclined to indulge Sullivan (Sebastian Urzendowsky) as he blows off dates to party with his friends, or Camille (Lola Crton) as she sits at home crying and waiting for him to call.

Some of this wallowing goes on too long, risking our alienation from characters who are difficult to like. What saves the film is the fact that they are always easy to recognize, both as self-centered teenagers and tentatively maturing young adults.

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