Brian Dennehy - A host of stars were snapped as they arrived to the 15th Annual Monte Cristo Awards which were held at the Edison Ballroom in New York City, New York, United States - Monday 13th April 2015
Brad (Black) is a birdwatcher who decides to do a Big Year, seeing as many birds as possible in 12 months, while holding down a full-time job and borrowing against his credit cards. Jetting around the country for rare spottings, he comes up against his record-holding nemesis Kenny (Wilson) as well as Stu (Martin), a corporate big-wig who has taken a year off work to follow his dream. But will their obsession with birding cause problems in their private lives?
Continue reading: The Big Year Review
Brad Harris is having what he calls a 'no-life crisis'. He is stuck in a soul destroying job and he is still living with his parents, despite him being in his mid-thirties. The one thing that holds any interest for him is bird watching. When he discovers that this year is known to 'birders' as 'The Big Year' - one year where birders set out to find as many birds in the country as possible - Brad is determined to beat the record previously set by Kenny Postick.
Continue: The Big Year Trailer
Ratatouille is an intricate dish, infused with energetic and amusing storylines that are all fully cooked and complementary to the film's rich visual look. It's easily the best Pixar creation next to The Incredibles; arguably it's even better. No surprise that Ratatouille is written and directed by Brad Bird, the same mastermind behind The Incredibles. Bird excels at integrating thematic elements that will entertain the youngest and oldest members of the audience alike.
Continue reading: Ratatouille Review
No matter: She acquits herself far better here, namely ecause she has nearly no lines. This is Dudley Moore's show: An absurd and hopelessly dated bit of slapstick about Moore's showbiz star facing a midlife crisis. Zoom, he's off to Mexico, where he daydreams about Derek (in those hideous braids) at length. Blake Edwards made worse films than this, but his comic timing is all wrong, exiled to long bouts of non-sequitur gags, such as Moore's run-in with dentistry.
Continue reading: 10 Review
So it is that Peter Greenaway's The Belly of an Architect is crammed to bursting with symbolism, analogy, and allusion, all loosed within a circular plot wherein the film opens with the architect and his wife conceiving a child and closes with the opening of Boullée's exhibition, Kracklite's real "baby." But for many viewers, I believe, the most telling parallel is that between Kracklite, with his perpetual stomach upset, and director Greenaway: Both are pretentious gasbags. Another quick connection is that between the "belly" of the title and "taste." The secret subtext of all of Greenaway's work is that his taste is good, or at least arcane in a high-minded way (and despite a predilection for bodily functions that is present in most of his films, which in less tony productions would rightly be termed sophomoric). The viewer is invited to share in this, but it's made clear that those who don't (or who can't follow his esoteric web of allusion) are either pigs (as was the villain in Greenaway's major success, 1989's The Cook, the Thief, His Wife & Her Lover), philistines, or merely dim.
Continue reading: The Belly Of An Architect Review
Tommy "Boy" Callahan (Farley) has just graduated from college after seven years, much to the delight of his beloved father Big Tom (Brian Dennehy), buy no sooner does the widowed Big Tom marry his second wife (Bo Derek) than he drops dead of a heart attack. Now Tommy Boy has to rescue the family's brake shoe business before it's devoured by arch-rival Ray Zalinksy (Dan Aykroyd) while he also keeps an eye on the evil Beverly's schemes and her equally evil son Paul's (Rob Lowe) sabotage.
Continue reading: Tommy Boy Review
Stolen Summer tells the poignant tale of two energetic 8-year old youngsters living in the hazy days of Chicago circa 1976 where disco music and polyester profoundly dominated the scene. Pint-sized rabble-rouser Catholic schoolboy Pete O'Malley (Adi Stein) is sternly lectured by his teacher and told that he must change his mischievous ways over the summertime. And so Pete is released from school with some serious thinking to do while he basks in the glory days of the upcoming summer. But Pete's overworked firefighter father (Aidan Quinn) and stay-at-home mother (Bonnie Hunt) are harried by all their responsibilities and just don't have the time to cater to all the personal and emotional needs of their brood. Thus, Pete has to find his own way to spiritual salvation.
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Closer to an update of West Side Story than anything else, what makes this rendition of the "two star-crossed lovers" saga stand out is dialogue which is largely faithful to the text set against a post-modern backdrop frighteningly reminiscent of Los Angeles. While it's a thrill to watch (if you can avoid a headache), it's maddeningly hard to follow and considerably self-conscious. Plus there's the issue of a soundtrack that's probably sold more copies than the film did tickets.... Will this version survive the test of time? Probably not, but it will forever stand out as an amazing and powerful experiment in filmmaking.
Continue reading: William Shakespeare's Romeo Juliet (1996) Review
Such is the sorry story of Assault on Precinct 13, a reimagining of John Carpenter's 1976 genre gem (which, in turn, was modeled after Howard Hawks' Rio Bravo) about cops and criminals trapped in an old police station who are forced to work together to fend off a horde of murderous invaders. Directed by Jean-François Richet, the new film holds to that fundamental premise, though it tweaks virtually every important aspect of Carpenter's thriller for maximum vapidity. Now set in snow-bound Detroit on New Year's Eve (rather than in arid California), Richet's Assault switches the skin color of its leads - the police sergeant (Ethan Hawke's Jake Roenick) is now white, while the head criminal (Laurence Fishburne's mythic Marion Bishop) is black - and abandons Carpenter's astute portrait of uneasy, ready-to-explode racial tensions. In this version, the cops are Caucasian (including Brian Dennehy's Irish racist, who tellingly refers to the inmates as "those people"), the bad guys are African-American and Hispanic, and any friction generated from such divisions is swept under the rug in favor of ratcheting up the ho-hum action.
Continue reading: Assault On Precinct 13 (2005) Review
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