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Opening Night Party For Scenes From A Marriage

Roslyn Ruff - An opening night party was held for the play adaptation of the 1970's Swedish TV series "Scenes From a Marriage" at Phebe's Tavern and Grill in New York, New York, United States - Tuesday 23rd September 2014

Roslyn Ruff

Dallas Buyers Club Review


In telling this remarkable true story, director Jean-Marc Vallee (The Young Victoria) and his gifted cast keep the characters and events so grounded that we can't help but get caught up in their story. The film never asks for our sympathy, but it earns it over and over again as it explores a disgraceful period in American history when businesses and the government essentially condemned millions to death by withholding proper treatment for HIV and Aids.

It begins in 1985, when homophobic womaniser Ron Woodroof (McConaughey) is told that he has just a month to live. Refusing to believe that he has the same disease that has just killed Rock Hudson, he ignores his doctors (Garner and O'Hare) to find his own supply of AZT, which makes him even more ill. So he heads to Mexico to find a range of treatment the US government has refused to approve, and he imports them himself, creating a members' club to subvert the law. This requires that he set his deep-seated prejudice aside so he can work with the transgendered Rayon (Leto). But a government lawyer (O'Neill) is determined to shut him down.

Yes, it's deeply infuriating to watch the American system try so hard to stop Woodruff from saving lives. Government officials continually outlaw his effective treatments so they can pawn off the toxic, over-priced AZT instead. So Woodruff travels the world in search of new medicine, and his business of course takes off. Vallee cleverly cuts through the 1980s period details to reveal Woodruff's earthy tenacity and an overpowering sense of humanity.

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Dallas Buyers Club - Trailer & Clips

What would you do if you were given just 30 days to live? For Ron Woodroof, he knew he couldn't spend it how he'd previously been spending his days; working as a rodeo cowboy and drinking, smoking, fighting and seducing his way through life. When he is diagnosed with HIV, he rejects doctor's calculations that he only has a month left to live, and instead researches ways in which he can be treated. He discovers that Mexico may hold the answer to his prayers and smuggles huge dosages of 'unapproved' alternative treatments over the border in order to set up a business: the Dallas Buyers Club. Alongside a transgender woman named Rayon, with whom he becomes friends despite his homophobic views, they go about attempting to cure the nation of this killer disease with the illegal selling of possibly life-saving medicine.

'Dallas Buyers Club' is the shocking true story of a real life AIDS victim put to screen by director Jean-marc Vallee ('C.R.A.Z.Y.', 'Cafe de Flore', 'The Young Victoria') and writers Craig Borten and Melisa Wallack ('Mirror, Mirror', 'Bill'). It is the movie we've all been waiting to see since lead actor Matthew Mcconaughey lost a dramatic amount of weight during the filming in order to fulfil the role to his its full potential. It is due to hit UK cinemas on February 7th 2014.

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Opening Night Of THE BIG KNIFE

Evan Cabnet - Opening night of THE BIG KNIFE at the American Airlines Theatre - Arrivals - New York, NY, United States - Tuesday 16th April 2013

Evan Cabnet

The Big Knife

Cherry Jones - Opening night of 'The Big Knife' at the American Airlines Theatre-Arrivals. - New York City, New York , United States - Tuesday 16th April 2013

Premiere Of 'Lucky Guy'

Rosie Perez - Premiere of 'Lucky Guy' at the Broadhurst Theatre -Arrivals - New York City, United States - Monday 1st April 2013

The Pershing Square Signature Center Opening Gala Celebration Held At The Signature Center - Arrivals

Atmosphere and Michael Urie Monday 30th January 2012 The Pershing Square Signature Center Opening Gala Celebration held at The Signature Center - Arrivals

The Grey Review

The story (by cowriter Jeffers) this film is based on was clearly inspired by Jack London's famously bleak short story To Build a Fire, pitting a man against the elements in the harsh, snowy Arctic wilderness. It's a very well-made film, but not very easy to engage with.

Ottway (Neeson) works as a wolf-sniper for a petrol company in the far reaches of Alaska, but is struggling with thoughts of suicide because he misses his wife (Openshaw) so much. Then on a flight to Anchorage, the plane is hit by a severe storm and goes down in the middle of nowhere. There are a handful of survivors, and Ottway soon becomes the leader when they are menaced by howling, growling wolves. Knowing they'd be safer in the treeline, he leads five other men from one peril to another.

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The Grey Trailer

Ottway is an oil driller. One day, his team is dispatched to Alaska for a few days. He says goodbye to his partner and makes his way to the airport. Just before they are due to land, though, the plane crashes and the oil drilling team end up stranded in the middle of nowhere, in the middle of a snow storm.

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Shrink Review

Blackly funny but never as vicious as it clearly wants to be, this rather nihilistic look at modern society keeps us hooked with desperate and lost characters who all have a whiff of soulful humanity.

Henry Carter (Spacey) is a celebrity psychiatrist unable to rebound after a terrible personal tragedy. Anaesthetising himself with alcohol and drugs, he wonders if the fact that he can't help himself indicates that he's useless to his patients too. He's also annoyed that his family keeps trying to help him, from an intervention to a pro bono assignment to treat a troubled teen (Palmer), who has had a similar experience. The fact is that he just has patients, not friends, and the only person he can talk to is his dealer (Plemons).

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Lovely By Surprise Review

One of those wilfully quirky movies that we're not quite sure what to do with, this film actually gets under our skin as it goes along, and as its seemingly random elements start to come together in an oddly moving way.

Marian (Preston) is struggling to write a novel, in which she pictures two brothers (Chernus and Roberts) living on a land-locked boat wearing just their underpants. Both of them have an awareness of their fate, and an ability to control it. So when Marian's mentor (Pendleton) tells her she needs to kill off her favourite character in order to find truth in the story, one of the brothers rebels and marches into the real world. He emerges in Marian's past, where as a little girl (Lamer) she's watching her widowed father (Rogers) wage war on his depression.

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3:10 To Yuma Review

Based on a short story by Elmore Leonard, a writer known more for loan sharks and confidence men than ruthless bandits and old-soul lawmen, 3:10 to Yuma originally sold Glenn Ford as slick outlaw Ben Wade and Van Heflin as Dan Evans, the rancher burdened with delivering Wade to a prison train heading to Yuma. Directed in 1957 by Delmer Daves, the original was a perversely intimate piece of rawhide for a genre that already prided itself on its strange seclusion.

Fit for our time, Evans is now played by master of reticence Christian Bale and Wade is now played by a rough-and-tumble Russell Crowe with just the right hint of sadism. Evans' cathartic mission to get Wade on the train to the gallows now spans three days rather than one, and Bale's cavalry includes Alan Tudyck and Peter Fonda. To give room for the new additions, director James Mangold stretches Daves' film from its airtight 90-minute runtime to a full two hours, throwing in a father-and-son angle and a chase through a railroad path being built by Chinese laborers. The man who keeps the Chinese in line? Luke Wilson, of course.

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Joshua (2007) Review

Shot in wide-angled lens, the apartment in which the Cairn family resides could be any market-trading, publisher-dictating, money-horny Manhattanite's family bungalow. The rooms have respectably high ceilings, there's space for a big ol' piano, and there's even enough room for one of those nifty new fridges with enough compartments to be able to fit tons of leftovers from the Tribeca Grill. The halls look shadowy, and in the daytime the sun comes in basically as a vomit-colored fog. Only in an apartment with this sort of eerie ambience could a so-creepy-maybe-he's-the-devil child like Joshua Cairn be brought up by his insanely yuppie parents.

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.

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Walk The Line Review

You've got to give the filmmakers of Walk the Line a lot of credit, as they're about to take a lot of guff after this film debuts. I mean, how do you create a feature film that captures the story of a man as big and full and complex as Johnny Cash? That's the question that every Cash fan and country music enthusiast has been asking ever since this project kicked off in the late '90s.

The truth is that no film, book, or TV mini-series can really present the entirety of the giant that is Johnny Cash. So instead, what the filmmakers have created here is a tribute to what Cash seemed to hold so dear to himself about his own life: his triumph over his demons and the love of the "greatest woman" he ever knew, who gave him the strength to overcome.

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A Home At The End Of The World Review

An initially touching story that wilts under its own insignificance, A Home at the End of the World is the second film to be adapted from a Michael Cunningham novel, following the footsteps of The Hours, a work that, for all its flaws, A Home can't even come close to. In an opening that veers wildly, and not unpleasantly, between adolescent melodrama and wildly unintended farce, we are given the suburban Cleveland childhood of two buddies, Bobby Morrow and Jonathan Glover. Bobby's eyes were opened to the world at age nine in the late 1960s, when his older brother Carlton introduced him to the joys of acid and hanging out in graveyards.

A few years later, after the deaths of both Carlton and his mother, Bobby is a puppy-eyed teenager who inherited Carlton's magnetic personality and utter lack of guile, which is what attracts another teen, the gawkier Jonathan, to him. After his dad dies, Bobby moves permanently into the Glover household as a sort of unofficial adopted brother to Jonathan - except that they're brothers who occasionally make out and smoke joints with Mrs. Glover (Sissy Spacek). The rather uptight Jonathan (he wears glasses and has braces, you see) can't handle Bobby's openness and is more than a little jealous of how eagerly her mother has embraced him into their family, and their romantic relationship stalls.

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