Craig Lucas, Max von Essen, Leanne Cope, Christopher Wheeldon and Robert Fairchild - Opening night for An American in Paris at the Palace Theatre - Curtain Call. at Palace Theatre,, Palace Theatre - New York City, New York, United States - Sunday 12th April 2015
Craig Lucas and Frankie Krainz - Opening night after party for An American in Paris at The Pierre Hotel - Arrivals. at Palace Theatre, - New York City, New York, United States - Sunday 12th April 2015
Craig Lucas, Veanne Cox, Robert Fairchild, Leanne Cope, Brandon Uranowitz, Max von Essen, Jill Paice and Christopher Wheeldon - Meet and greet with the cast of An American In Paris at the New 42nd Street Studios. at New 42nd Street Studios, - New York, New York, United States - Wednesday 11th February 2015
Jeffrey (Campbell Scott) is a bottom line-driven producer interested in Robert's (Peter Sarsgaard) script "The Dying Gaul," a semi-autobiographical tale about AIDS based on his relationship with his now-dead agent and partner Malcolm (Bill Camp). However, to make the project commercially viable, Jeffrey demands that Robert change the central couple from a homosexual to heterosexual duo. Jettisoning his integrity, Robert sells out and does as Jeffrey asks, in the process pocketing $1 million and establishing a close-knit friendship with Jeffrey and his failed screenwriter wife Elaine (Patricia Clarkson), whose life is so purposeless that learning how to control her multi-million dollar house's blinds constitutes an exciting afternoon. Yet the happy threesome's relationship is soon torn asunder when, after learning that Robert frequents chat rooms, Elaine strikes up an in-disguise online conversation with her new friend and learns that he's having an affair with Jeffrey. This devastating discovery frighteningly undercuts Elaine's sense of security and stability while also igniting a desire for retribution, leading to a dangerous game of cyberspace cat-and-mouse in which Elaine poses as the back-from-the-dead spirit of Malcolm and, ultimately, each character's true, less-than-savory personalities are drawn out into the blinding L.A. light of day.
Continue reading: The Dying Gaul Review
Dentists (adapted from Jane Smiley's novel The Age of Grief) opens with a brisk, gorgeously rendered sequence where David spies Dana being caressed lovingly by an unknown gentleman before she takes the stage in a small-town production of the opera Nabucco. As Verdi blares, David's mind swims. We rush through their romance in grainy flashbacks: Falling in love in dental school, starting a practice together, raising three daughters, and buying a weekend cabin in upstate New York. Scott, who's an expert at roles where he plays the well-meaning victim of circumstance, is excellent here. Subtly, he captures the way that wronged, anti-social people speak: Speaking a bit too loud to Dana, you can feel him studying her for evidence of sin. His eyes - and the camera - study her legs and the hem of her skirt, wondering what her sexual needs might be.
Continue reading: The Secret Lives Of Dentists Review
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