Russell Harvard, Camryn Manheim , Krysta Rodriguez - Opening night for Spring Awakening at the Brooks Atkinson Theatre - Curtain Call. at Brooks Atkinson Theatre, - New York City, New York, United States - Monday 28th September 2015
Harrison and Travis are two 10-year-old boys out on an adventure in the wilderness. They reach a woodland area where they spot a Sheriff's car, seemingly abandoned with the keys still in the ignition. Unable to resist, the boys rev up the engine and decide to go on a little drive, reassuring themselves that they'll pretend to be cops if anyone catches them. However, when someone does see them, they report it to the local police who, in turn, contact the Sheriff who happens to be the owner of the stolen vehicle. He radios through to his car, to the terror of the boys, and Harrison and Travis soon discover that this is no ordinary cop by just what's hidden in the trunk. They are faced with a seriously crooked officer, who will stop at nothing to track the boys down and silence them. Their only hope is to keep driving, though the open road could prove to be their deadliest enemy.
Continue: Cop Car Trailer
This intriguing drama takes on some darkly resonant themes with such an oddly bright and cheerful tone that it forces the audience to pay attention. As it continues, the terrific Rosamund Pike uses conflicting emotions to explore the aftermath of a horrific assault. But while there's growing suspense in the plot, the bigger tension comes from the viewers themselves as they wonder whether it's going to unravel into melodramatic rubbish.
Pike plays Miranda, a cleanliness-obsessed nurse with ambition to get a better job and move to a bigger house, partly to stop her single dad (Nick Nolte) from worrying about her. Then a nurse colleague (Rumer Willis) sets her up on a blind date. William (Shiloh Fernandez) is flirty and sexy, but after he brutally attacks her he goes to prison, leaving Miranda to put her life back together. Surprisingly, she takes a proactive approach that includes contacting William and trying to achieve some sort of reconciliation. Miranda's father is horrified by this, especially when William is released on parole and turns up to help her fix up her house.
This insinuating set-up keeps the audience guessing whether this is a complex look at how people wrestle with the fall-out from a violent rape, or perhaps either Miranda or William are up to something more nefarious. So whether it's sparking hope or dread, it's relatively gripping. And Pike is superb as a quirky woman who continually faces her fears. This includes both connecting with William and trying to befriend her dad's scary dog Benny. "Hating him only hurts me," she says pointedly. Nolte is reliably solid as her wheezy, concerned dad. And Fernandez is utterly magnetic as the mercurial William. All of the characters are defined by rather simplistic filmmaking shorthand, but the actors give them plenty of weight.
Continue reading: Return To Sender Review
A young nurse training to work in surgery is encouraged to go on a blind date with her friend's single male friend Kevin. However, he doesn't seem at all how he was described when he shows up on her doorstep. Locking the door of her house once inside, he savagely assaults her before fleeing. It's only later, when a kind-faced man with a bunch of flowers arrives (the real Kevin), that she realises she had let a dangerous stranger into her home named William Finn. While being questioned by police, the nurse recalls seeing her attacker once before and he is soon rounded up and thrown behind bars. The attack has left her shellshocked, struggling to concentrate on her job and occasionally giving in to frenzy. She decides to start writing to William, but every letter is returned without being read. He eventually agrees to her visiting, and appears to show remorse just as the nurse appears to show forgiveness. She hasn't told anyone of her intentions, and her father is left terrified as she continues to speak to the brute as a free man.
Continue: Return To Sender Trailer
Camryn Manheim and Cheri Oteri - Ray Azoulay, John Carrabino and CAA Celebrates Maria Bello's new book, 'Whatever...Love is Love' at Obsolete at Obsolete - Culver City, California, United States - Wednesday 6th May 2015
Ashley Judd plays newbie homicide detective Jessica Shepard, a former street beat cop whose quick rise in the department is due to her connections with the police commissioner John Mills (Samuel L. Jackson). When Shepard's parents were killed in a murder-suicide decades before, Mills (who was Shepard's father's former partner) became Shepard's surrogate father and mentor. She still struggles with the death of her family today and attends mandated counseling sessions with Dr. Melvin Frank (David Strathairn). Yet, despite the professional help, she drinks heavy doses of alcohol, sleeps with any man she finds at a bar, and fights with fellow detectives.
Continue reading: Twisted Review
Scary Movie 3 sticks with the program: mind-bogglingly dumb characters hustle their way through spoofs of the industry's most popular recent films. It's no mistake that the roasted movies -- in this case: Signs, The Ring, and 8 Mile -- all pull in huge money and attract a young audience.
Continue reading: Scary Movie 3 Review
A wannabe documentary filmmaker with no real current job, twentysomething David is both shy and repressed and quite unable to make it in the New York gay dating scene. He's a small fish in a very big and barracuda-filled pond. David gets most of his help and moral support from the fat and jolly Gwen (Camryn Manheim), who fills the film's obligatory fag hag slot and who is also seeking some peace of mind as her marriage unravels. David takes her in as his roommate so she's always to provide a wisecrack or a pat on the back.
Continue reading: David Searching Review
Torpid, trite and not the least bit scary -- just unrelen=tinglyunpleasant -- the first 45 minutes of the movie only came to life in twoscenes involving the messy divorce of miserable single mom Jennifer Connelly(proving Oscars don't bring talented actresses good roles). She subsequentlymoves into a drab, creepy cinderblock slum with her sad-eyed daughter (ArielGade), even though it's made very clear that there's nothing keeping herfrom finding a nicer place in the suburbs.
Soon the kid has an "imaginary friend" she won'ttalk about, their ceiling is dripping gooey black liquid from an abandoned(and eerily flooded) apartment upstairs, and the building's greasy manager(John C. Reilly) and bug-eyed, hollow-cheeked building superintendent (PetePostlethwaite) both seem to be hiding something sinister.
Director Walter Salles (the Brazilian behind "TheMotorcycle Diaries," making his inauspicious Hollywood debut) dragsout these routine, oppressively glum establishing scenes to a mind-numbingdegree. (If this apartment building is spooky enough to justify its ownominous soundtrack theme from the moment mom and daughter arrive, how comeConnelly isn't astute enough to realize something's amiss, even if shecan't hear the music?)
Continue reading: Dark Water Review
A comedian whose schtick has always been his acute social-sexual dysfunction, in "What Planet Are You From?" Garry Shandling is nothing if not well-cast as an alien packed off to Earth by his neutered, all-male race to impregnate an earth female as a prelude to invasion.
Given a crash course in inept pick-up lines and fitted with a motorized prosthetic penis that hums when he's aroused, Shandling is transported to the privy of a passenger jet and emerges to piggishly proposition stewardesses and every other female in sight, in what has to be the most awkwardly sexist comedy since the 1960s.
Populated by fundamentally unlikable, abusive men and pathetically needy, bitchy women, the drudging, deadpan farce tracks Shandling's libidinous frustration as he fails to pick up chicks and is chased by FAA investigator John Goodman (his arrival caused an air traffic incident), who figures out his secret with the flimsiest of suppositions.
Continue reading: What Planet Are You From? Review
A notably realistic portrait of borderline poverty and familial dysfunction, "Joe the King" has such commendable performances and such an amazingly assimilating sense of time, place and circumstance that I hate not being able to recommend it.
The writing-directing debut of under-appreciated actor Frank Whaley -- you probably know him as the guy Samuel L. Jackson shot after quoting Ezekiel 25:17 in "Pulp Fiction" -- his "Joe" script won a screenwriting award at Sundance this year for its story of a foul-mouthed 14-year-old boy (Noah Fleiss) trapped in a sullen, angry, desperate life he'll probably never escape.
His abusive, hard-drinking father (a paunchy, intimidating Val Kilmer) is a constant threat and an embarrassment who owes money all over town. A troublemaker at school (to add to his shame, his dad is the janitor), Joe takes ceaseless, cruel criticism from his teachers and more of the same from his boss (he washes dishes at a local greasy spoon). The poor kid has spent his life learning the hard way to fend for himself.
Continue reading: Joe The King Review
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