We leave the scene before Reynolds finds definite answers, but the three primary actors recur in each of the subsequent sections, playing different characters. In Part II, Reynolds is a TV writer trying to cast his actress friend McCarthy (playing a version of herself, a popular supporting player on Gilmore Girls) in a new series over the objections of a network executive (Davis), who wants to hire an actress with a development deal (it goes almost without saying that said actress also happens to be skinnier and more generic, and is played by frequent network TV guest-star Dahlia Salem, and that the character's name is also Dahlia Salem). Later, in Part III, we see Reynolds and McCarthy as characters in that series, with Davis popping up in another vaguely antagonistic part.
Continue reading: The Nines Review
In the film, Bloom's grown son, Will (Billy Crudup) is tired of the imaginative stories his dad has told him since he was young, and decides to only communicate with his mom (Jessica Lange). But, as the elder Bloom approaches the end of his life, Will puts aside his differences and chooses to find the truth behind all the stories in hopes of learning more about his dad. The only way Will knows how to find the answers he seeks is to retell the stories and let us be the judge.
Continue reading: Big Fish Review
Until one day, when all the physical mementos of Sam actually do disappear from Telly's life. Photo albums once filled with snapshots are now blank. Actual fade or Photoshop trick? Drawers that held baseball gloves and caps are now empty. Something wicked this way comes.
Continue reading: The Forgotten Review
American Beauty chronicles the last year in the life of 42 year-old hack magazine writer Lester Burnham (Spacey), a suburban loser that has just about had it with his humdrum life and decides to make a few changes to regain control, for better or for worse. Those changes include quitting his job and blackmailing his employers, buying a vintage Firebird, taking a new job at the local fast food joint, buying thousands of dollars worth of pot, and plotting to sleep with his daughter's best friend (Suvari, the good girl from American Pie, playing the bad girl here).
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Down With Love sets itself gently down in Manhattan, circa 1962, a decision that seems to be made less by the screenplay than the art department. Everybody's got those fabulous right-angled styles Doris and Rock wore so well in, say, Lover Come Back. The apartments and office towers are gorgeous modernist swank. Even the credit sequence (do not arrive late) does that wonderful, hollow chromatic drawing thing that worked so beautifully in Catch Me If You Can. It reminds me of the late, great title designer Saul Bass, after a few afternoon martinis.
Continue reading: Down With Love Review