The New York premiere of 'Selma' took place at the Ziegfeld Theatre. The red carpet in New York was graced by the likes of Aretha Franklin, and American actor, director and screen/playwright, Tyler Perry.
Celia Weston - Shots of a variety of stars as they took the the red carpet for the premiere of the movie drama 'Selma' which was held at the Ziegfeld Theater in New York City, New York, United States - Sunday 14th December 2014
Celia Weston - Photographs from the red carpet as a vast array of stars arrived for the World Premiere of Disney's film musical 'Into The Woods' which was held at the Ziegfeld Theatre in New York City, New York, United States - Tuesday 9th December 2014
Sandra Bullock talks about researching her role as a cop in Boston in a brief interview on the red carpet at the New York premiere for 'The Heat' held at the Ziegfeld Theater. 'White Chicks' star Marlon Wayans and 'The Blue Lagoon' actress Brooke Shields with her husband Chris Henchy are also snapped at the event.
After June (Diaz) bumps into Roy (Cruise) in the airport, she finds herself in a mid-air shootout and a cornfield crash-landing. But she wakes up at home as if everything is fine. And so continues her adventure, as Roy turns out to be a possibly rogue federal agent trying to stay one step ahead of the spies chasing him (Davis and Sarsgaard) and keep June safe from the bad guys as they dart to the Azores and across Europe, where they meet a technology nerd (Dano) and a smirking arms dealer (Molla).
Continue reading: Knight And Day Review
In 1976 Virginia, Norma and Arthur (Diaz and Marsden) are quietly struggling to keep their lives on an even keel while their teen son Walter (Stone) notices something's up. Then a facially deformed stranger (Langella) appears with a box topped by a button and a tantalising offer: push the button and earn $1 million, the hitch being that someone you don't know will die as a result. But Norma and Arthur are sucked down into the stranger's rabbit hole when their initial moral dilemma becomes something much more sinister and confusing.
Continue reading: The Box Review
Director George Ratliff's shift into narrative cinema isn't completely unlike his hair-raising Trinity Church documentary Hell House. Though intriguingly unexplored, the idea of religious fundamentalism gets breached in a scene when the young Joshua (Jacob Kagon) takes a trip to church with his grandmother (Celia Weston). He later announces that he is prepared to accept Christ; his mother (Vera Farmiga) responds by reminding her mother-in-law and Joshua that she is a "big, fat Jew". The father (Sam Rockwell) takes his son's eccentricities and disturbing statements ("you don't have to love me") with a shambling good nature, only truly breaking down when the family dog dies. In a wicked twist, Ratliff only hints at the father's possible infidelity and revels in the lame AM radio rock he sings as he enters his apartment palace.
Continue reading: Joshua (2007) Review
"Junebug" has received much praise since its debut at the Sundance Film Festival, and I don't understand a bit of it.
A returning-home drama centered on a artsy newlywed couple (Alessandro Nivola and Embeth Davidtz) from Chicago visiting the Southern family of folksy, dysfunctional, uncommunicative, bump-on-a-log suburban rednecks from which the husband fled several years ago, it's a dreary, stagnant story about people who make no effort to think or grow.
Director Phil Morrison certainly nails the film's atmosphere with simple, static shots of empty spaces that capture the humid North Carolina pace of life, and he offers up fantastic little moments of body language that speak volumes about various characters. But when the characters are as chronically useless and emotionally stunted as this bunch, it's darn near impossible to care.
Continue reading: Junebug Review
The bad news is, the big green guy is no Gollum.
In computer-animating the not-quite-life-like title character of "The Hulk" from scratch -- instead of motion-capturing an actor who embodied the part as "Lord of the Rings: The Two Towers" did in creating its memorably alive CGI co-star -- F/X house Industrial Light and Magic isn't able to shake that herky-jerky signature look of a creature born of zeros and ones.
The monster inside emotionally repressed scientist Bruce Banner (Eric Bana, "Black Hawk Down") that is unleashed by Gamma radiation has emerald eyes that lack depth and a mechanical way of blinking. When he runs, he looks like Fred Flintstone twinkle-toeing his lane approach at the blowing alley. When he's not in a rage, his body language is just a touch too mathematically smooth to seem real. And as actor Bana is morphed into the CGI Hulk, you can see the digital seams.
Continue reading: The Hulk Review
An extraordinary homage to, and deconstruction of, Douglas Sirk's melodramas of the 1950s, "Far from Heaven" is a layer cake of potent emotion, puritanical taboo, composed anguish, and forbidden affections festering below the idealistic facade of an Eisenhower-era New England family.
Operating on three levels at once while giving each a rich, resonant texture, writer-director Todd Haynes ("Safe," "Velvet Goldmine") ensnares the audience in the idyllic Technicolor fiction of the period in which it takes place -- right down to the sweeping, cursive title credits so corny they get a laugh. He plumbs the highly sensitive, highly secretive true hearts of his characters, who desperately try to plaster over cracks in the perfect-family facade as their lives unravel. But at the same time he discredits the halcyon image of a time that demanded such concealment by exposing its rampant, acute discrimination and its all-consuming importance of keeping up appearances.
Julianne Moore gives an intense, captivating, flawless performance as Cathy Whitaker, a consummate '50s housewife with a seemingly perfect husband named Frank (Dennis Quaid) who is a sales executive for a line of televisions, and two obedient children who never need scolding for infractions any worse than saying "Aw, jeez!" when told it's time for bed.
Continue reading: Far From Heaven Review
Writer-director M. Night Shyamalan is well aware that many fans now go into his spine-tingling thrillers hoping to out-smart him, dissecting every scene for advance clues to his celebrated plot twists. In "The Village," he plays into this expectation, leaving trace insinuations everywhere, most of which provide the film with curious touches of character while leading viewers with over-active imaginations in completely the wrong direction.
One actor in this latest unnerving endeavor is most blessed by this technique (although not necessarily a source of false leads herself). The delicate, expressively supple Bryce Dallas Howard (the offspring of director Ron Howard) makes a mesmerizing debut as young woman with a secret, supernatural gift for seeing people's auras -- but little else.
She plays freckled, crimson-haired Ivy, the plucky, spirited, near-blind, daughter of the head elder (William Hurt) in a 19th-century community strangely and willfully content in the isolation forced upon its tiny populace by petrifying mythical creatures that haunt the surrounding woods.
Continue reading: The Village Review
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Tristan Corrigan on the difficulties of making music within a genre that is so popular.
From 'Happy' to 'Banana Pancakes', these are soaked in positivity.
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"Junebug" has received much praise since its debut at the Sundance Film Festival, and I...
The bad news is, the big green guy is no Gollum.In computer-animating the not-quite-life-like title...
An extraordinary homage to, and deconstruction of, Douglas Sirk's melodramas of the 1950s, "Far from...
Writer-director M. Night Shyamalan is well aware that many fans now go into his spine-tingling...