Anthony Bregman

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Foxcatcher Review


Director Bennett Miller continues to skilfully probe around the edges of true stories with this follow-up to Capote and Moneyball, although this is a much, much darker tale. Actually, it's such an unnerving series of events that it's not easy to watch, and its characters aren't easy to like. But it's so expertly shot and edited, with startlingly full-on performances from the entire cast, that it can't help but get under the skin and chill us to the bone.

It opens after the 1984 Los Angeles Olympics, where Mark Schultz (Channing Tatum) and and his big brother David (Mark Ruffalo) both won gold medals for wrestling. But they need help with funding to train for Seoul 1988, and Mark gets a remarkable offer from billionaire John du Pont (Steve Carell) to start a wrestling team at his vast Foxcatcher estate in New England, which is known for the thoroughbred horses managed by John's imperious mother Jean (Vanessa Redgrave). Aside from wanting to stay home with his wife (Sienna Miller) and kids, David doesn't trust John, so Mark heads to Foxcatcher on his own. But John's obsession knows no bounds, and soon he lures David and family to join them.

Initially, John's interest in wrestling feels like a mere eccentricity, a way of creating a team of "thoroughbreds" to rival his mother's prize-winning horses. But Carell cleverly plays the role with an insinuating glint that makes us wonder what he's up to, and his wrestlers see it too, going along with his nutty plans simply because the money is so good. Then the squirm-inducing twists and turns start, as John introduces Mark to cocaine and everything starts to spiral out of control. Nearly unrecognisable with a prosthetic hook nose, Carell is genuinely terrifying because his performance burns so slowly.

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Begin Again Review


Fans of the Oscar-winning 2006 Irish film Once (and its more recent stage-musical adaptation) may find this American drama a little derivative, but it's a strong story in its own right. This time writer-director John Carney has assembled a starry cast to nicely capture the rhythms of New York's streets. And the songs, while not quite as integral to the story, are gorgeous.

The opening sequence sets up the story from two perspectives, as music producer Dan (Mark Ruffalo) hears songwriter Greta (Keira Knightley) reluctantly perform at a bar's open-mic night. Both of these people are at their rope's end: always seeking offbeat talent, Dan is on the outs with his record label partner (Yasiin Bey, aka Mos Def), and wants to reconnect with his estranged wife and teen daughter (Catherine Keener and Hailee Steinfeld). Meanwhile, Greta has just been dumped by her rising pop-star boyfriend Dave (Adam Levine), who got his big break from a song she wrote. To stop her moping, her pal Steve (James Corden) encourages her to start singing her own songs. In Greta, Dan sees the kind of artist he longs to make records with, so with nothing to lose the two set out to record her songs at locations around the city for a new album.

Like Once, this is a love story that doesn't actually involve romance: these two people need each other to discover their life's passions. So Ruffalo and Knightley get the chance to create some terrific chemistry without much of a threat that they'll fall for each other. Indeed, each has other fish to fry, as they try to sort out their emotional connections elsewhere. Their flirty friendship plays out in a fresh, effortless way that generates some complex emotions and ideas. Ruffalo is always great at creating these kinds of loose, slightly hapless characters, while Knightley delivers an even more earthy performance, letting her own sparky personality emerge on-screen for the first time along with some serious skill as a singer. And the supporting cast add texture in just the right places.

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Enough Said Review


With a strikingly against-type performance from the late Gandolfini, this film gives the romantic-comedy formula a welcome adult spin. Writer-director Holofcener keeps the characters authentic even as she indulges in some rather farcical plotting. And her astutely observational dialog lets the cast members create characters who are funny, flawed and thoroughly engaging.

At a party, massage therapist Eva (Louis-Dreyfus) meets two people who become important in her life. First is Marianne (Keener), whose snappy wit and honesty make her much more than just a new client. And then there's Albert (Gandolfini), an unlikely suitor who charms Eva with his dry wit and warm camaraderie as they share common emotions about daughters (Fairaway and Hewson) who are leaving home for university. But as Marianne moans about her miserable ex-husband, Eva realises that she's talking about Albert. And she knows that if she tells them that she's made this connection, she'll lose both a friend and a boyfriend.

Holofcener takes this simple idea and stretches it nearly to the breaking point. Fortunately, the film's real strength lies in the interaction between these people, and it's easy to identify with their hesitance as they endure a series of awkward moments that feel bracingly realistic. All of the dialog bristles with humour that feels improvised, and Louis-Dreyfus has always been an expert at combining comedy with both underlying strength and fragility (see Veep). Gandolfini seems like a strange match for her, but he plays the role so beautifully that we root for them as a couple.

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The Oranges Review


There's plenty of potential for jagged black humour in this suburban comedy-drama, but the filmmakers never take a single risk. So with its soft and simplistic approach, the movie is never as quirky or hilarious as it should have been, or as the filmmakers seem to think it is. The only pleasure in watching it comes through understated touches the gifted cast members manage to inject here and there. And what a great cast!

It's set in West Orange, New Jersey, where two families have been best friends for decades. David and Paige Walling (Laurie and Keener) have two grown children: Vanessa (Shawkat) lives at home while Toby (Brody) drops in to visit every now and then. Across the street are the Ostroffs, Terry and Carol (Platt and Janney), whose wayward daughter Nina (Meester) is home for Thanksgiving. Everyone thinks a romance between Toby and Nina would be wonderful. But as the Wallings try to work out some marital problems, it's David who drifts into a transgressive affair with Nina. Which sends these long-time friendships into spiralling chaos.

The plot is so perfectly suited to a black comedy that we wonder what happened along the way. Director Farino smooths every edge, instead straining for silly farce that leads to some sort of emotional catharsis. But he fails to recognise that these people are all intelligent adults, so the fallout from David and Nina's fling feels contrived and obvious. The script also never makes us feel like they are doing anything besides reacting to their previous relationships: this isn't real love, so why should we care?

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Please Give Review

Writer-director Holofcener cleverly keeps the emotions gurgling right under the surface of this engaging interpersonal comedy. It's more about smiles than laughing out loud, but the superior cast members get terrific characters to play with.

Kate and Alex (Keener and Platt) are socially active New Yorkers, supporting charities and trying to help their feisty teen daughter (Steele) understand what's important. But Kate's beginning to feel guilty about their work; they buy furniture from families with recently deceased relatives and resell it at a profit. This is taken to the extreme as they wait for their aging neighbour (Guilbert) to die so they can annex her apartment, and Kate and Alex struggle with how to interact with her very different granddaughters (Hall and Peet).

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Carriers Review

Well-made but not particularly inventive, this post-apocalyptic thriller is like a college road movie crossed with Mad Max. The cast is much better than this thin script deserves, but the film does generate some great jolts.

Brainy Danny (Pucci) and his more action-oriented brother Brian (Pine) are driving through Colorado with Brian's girlfriend Bobby (Perabo) and their friend Kate (VanCamp) when they encounter a man (Meloni) who's trying to get his sick daughter (Shipka) to a clinic. She has the highly contagious disease that has killed off almost everyone, so extreme measures are needed to prevent infection. As they continue across the Southwest, heading for a Gulf Coast beach they remember from childhood, they encounter various other survivors and are forced to make some brutal decisions.

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2009 Film Independent's Spirit Awards At The Santa Monica Pier - Press Room

Philip Seymour Hoffman and Michelle Williams - Philip Seymour Hoffman and Michelle Williams Saturday 21st February 2009 at Santa Monica Pier Los Angeles, California

Penelope Cruz
Penelope Cruz
Penelope Cruz
Penelope Cruz
Penelope Cruz

Synecdoche, New York Review

If it weren't for Charlie Kaufman, the phrase "famous screenwriter" would be an oxymoron. Kaufman has never won an Oscar, and most people, even true movie geeks, probably couldn't pick him out of a police lineup, but he's the only writer in Hollywood whose name is used to promote his movies. From Being John Malkovich and Adaptation to Confessions of a Dangerous Mind and Eternal Sunshine of the Spotless Mind, each of Kaufman's movies is a singular experience -- quirky, affecting, and humorous. Kaufman's renown as a screenwriter even surpasses that of Quentin Tarantino's back in the mid-nineties, when he penned a string of critical and box-office hits that included Reservoir Dogs, True Romance, and Pulp Fiction. Tarantino's real acclaim, however, came as a result of his work behind the camera, not the keyboard. So it's no surprise to find Kaufman making the same transition in Synecdoche, New York -- his debut film as a director.

Synecdoche (sih-NECK-doh-kee) is a word whose meaning is too long to type out here -- and isn't essential to understanding the film, anyway. But it's just the type of word you might throw in the title of your first movie as a director if you wanted to let people know in advance they're in for something offbeat. And Synecdoche, New York is nothing if not determinedly offbeat.

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Friends With Money Review

It's hard to be in L.A. - to live, to visit, to see in movies - and not think that being jaw-droppingly wealthy is the only way to live life. People drive tricked-out cars worth as much as the (astronomical) average housing price and think nothing of tossing away a few hundred on a pair of ripped jeans because they hug the butt just so. This casual relationship with opulence is the setting for Friends with Money, writer-director Nicole Holofcener's (Walking and Talking, Lovely & Amazing) new comedy about how tough the world can be for the haves and the have-mores.Not some "money doesn't solve everything" morality play - if anything, money solves a heck of a lot here - we instead get a more general look at the dissatisfaction and ennui striking women of a certain age, regardless of whether they are rich or not. (But not, apparently, if they are really, really rich - then they get to be happy.) It's familiar ground for Holofcener, whose semi-feminist films always follow a group of women trying to work out a sense of identity at a particular stage of life.So what do these women, walking illustrations of "having it all," have to complain about? Well, for Christine (Catherine Keener, a Holocener mainstay), the problem is her crumbling marriage to an unsympathetic and superior screenwriting partner/husband. Jane (Frances McDormand) is a chichi clothing designer in a life crisis that who quits washing her hair and is sent into fits of apoplectic rage by everyday aggravations in traffic and customer service. It's very baffling to her sweet, sympathetic, and very probably straight husband. Only Franny (Joan Cusack), the wealthiest of the bunch, seems to have a functioning marriage and a deeply satisfying life as a stay-at-home-mom (with full time help, of course - no need to be primitive).And then there is Olivia (Jennifer Aniston); poor, unmarried, childless, house cleaner Olivia. She is likely supposed to be the stunted one, but... it's still Jennifer Aniston; she's hardly a plebe. Olivia has taken to drifting through life, smoking a lot of pot, obsessively stalking a past (married) lover, and letting her current guy degrade mistreat her - and pay for the privilege. The film's title (and casting) suggest that Olivia is meant to be the focus, but her melancholic foundering isn't really given a priority in screen time. It's a good thing, too, considering her passivity doesn't always make her the most interesting.Friends offers little indication how these four women became close, with Olivia so much younger and leading an utterly different life. Franny comments that she isn't certain whether they still would be friends if they met now; but for the other two, there is the feeling they keep Olivia around to maintain a sense of superiority - their lives may be disintegrating, but at least they aren't maids. Olivia clearly has a tendency towards masochism, but at least her friendships offer something to aspire to.That is the crux of the appeal - and potentially off-putting nature - of Holofcener's work: Her women are complicated, troubled, and often inscrutable. They are not always likeable, or fleshed out to minute details, and they rarely experience grand transformations or realizations. But they are always relatable - who hasn't wanted to lash out when someone brazenly cuts in line and totally gets away with it? - and Holofcener writes them brilliantly acerbic and sharp, so her script stays jaunty and blithe (lean, too, at under 90 minutes).It might have no real resolutions to speak of, and male characters are shallowly drawn and peripheral at best, but Friends with Money is the kind of chick flick that offers genuine accessibility instead of rah-rah sisterhood empowerment. And if still working on figuring out who you are when you're already supposed to be a grown up offers no kinship, well, we've all sat awake at night, pondering where to donate that extra two mil so it doesn't burn us at tax time.Friend with monkey.

Eternal Sunshine Of The Spotless Mind Review

Jim Carrey fans who roll in the aisle and clutch their sides every time the lanky megawatt talks out of his rear will despise the first 30 minutes of Eternal Sunshine of the Spotless Mind. They shouldn't be able to form an opinion on the remainder of the film because most of them will have walked out by then.

Carrey traditionally makes silly comedies for his loyal supporters and risky pictures for his critics. His career path to date has alternated every bombastic Bruce Almighty with a tragic The Truman Show, and whatever Carrey camp you subscribe to will help you determine whether or not Sunshine is worth your time.

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Thumbsucker Review

For once, the film's title is hardly a coy allusion or abstract metaphor - Thumbsucker is a movie about, yes, a thumbsucker. More specifically, he's a 17-year-old thumbsucker, a fact that hardly endears him to his schoolmates or family. As would be expected in most any film about a socially awkward teen, the story is ultimately about his maturation (or lack thereof) into the adult world. What it ends up being, however, is more like the chronicle of some hardworking parents stuck with a truly problematic son who's about as unlikable as it gets.

As parents Audrey and Mike Cobb, Tilda Swinton and Vincent D'Onofrio seem an odd choice, but it's an absolutely perfect one. Director Mike Mills may not have the best ear for story or subject matter (the source novel by Walter Kirn, should likely have been left on the unfilmed backlist) but he's dead-on when it comes to tone and casting. A pair of tired out working-class adults in a small Northwest town who can't quite accept being grownups, they have their two boys call them by their first names. Everything around them betrays this hope, of course, with Audrey working night shifts as a nurse at a celebrity drug treatment clinic just to catch a glimpse of an addict TV star she's got a girlish crush on, and Mike as the beaten-down manager of a sporting goods store unable to forget that but for an injury he could have gone pro.

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Lovely & Amazing Review

Lovely & Amazing, Nicole Holofcener's follow-up to her feature debut Walking And Talking, doesn't quite rank with suburban classics like Ordinary People and American Beauty -- it never takes itself quite seriously enough for that; but it has the right makings for a memorable movie experience. Simple, sweet, and direct, this sensational portrait of engaging characters ranks as one of the year's best movies to date.

The film observes the daily rituals of four hapless but elastic women as they struggle with various demands of their eventful lives. While most movies would become lost in the complicated world of these spontaneous situations, Lovely & Amazing simply observes as the characters deal with thought-provoking issues involving relationships, health, age, romance, and work.

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Human Nature Review

If nothing else, writer Charlie Kaufman has created a style of comedy all his own. He is one of the very few screenwriters able to distinctly stamp his unmistakable personality on a film. Much like his previous Being John Malkovich, Kaufman again has his script brought to the big screen by a music video/commercial director. This time French helmer Michel Gondry is behind the camera, and the result is every bit as uniquely offbeat and original as one might expect. The result being that Human Nature may be an acquired taste, but anyone who welcomes a dash of the avant-garde fused with their humor should take pleasure in this crazed, joyous romp of a film.

Patricia Arquette plays Lila, a best-selling environmental book author, who suffers from a hormonal disorder that causes her to sport an overabundance of body hair. Prior to finding success, the young woman learned to use the affliction as a source of strength and was able to get in touch with her true self while living in the wilderness for several years. Upon Lila's return to human civilization, she begins seeing an electrolysist named Louise (Rosie Perez) who helps her deal with the excess hair. She also introduces Lila to a brilliant, though maladjusted, behavioral scientist Nathan (Tim Robbins). A relationship soon blossoms.

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The Tao Of Steve Review

The word "Tao" has many meanings, one of which is, "The art or skill of doing something in harmony with the essential nature of the thing."

The Tao of Steve is a story is about a guy named Dex (Donal Logue), an unlikely hero living in Santa Fe who has grafted this ancient Chinese philosophy with the super-cool personalities of guys like Steve McQueen, Steve McGarret, and Steve Austin (though not "Stone Cold"). This mutation of philosophies has become a foolproof theory on dating that Dex and his buddies refer to as "The Tao of Steve". In other words, it's the art of scoring with women while being in harmony with the essential nature of all things cool.

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