Let’s see: this year Madonna has ended her marriage, embarrassed herself (if that’s possible) by mixing images of Hitler and John McCain at her concerts, and done whatever it is she did with A-Rod. So there’s something refreshing about her latest move. That doesn’t mean her film-schooly directorial debut (which she also co-wrote, and which will have some wondering how much she took from her scrappy pre-stardom days) is worth seeing. It’s a mish-mash — some sexual degradation here, some light comedy there, an over-reliance on simple juxtapositions everywhere — that bears the hallmark of Madonna’s greatest work: it’s annoying. Put that down, almost entirely, to the lead character, A.K. (Eugene Hutz), a Ukrainian punk-band singer. He’s the kind of always-has-to-be-“on” guy who confuses being grating with being charming. As he narrates his “filthy” story, and those of his London flatmates/neighbors, we hit upon boredom long before wisdom can arrive. 84 minutes | Kendall Square
