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Opening Night After Party For Broadway's Big Fish

Atmosphere - Opening night after party for the Broadway musical Big Fish held at Roseland ballroom. - New York, NY, United States - Monday 7th October 2013

20th Annual GLAAD Media Awards - Dinner Held At The Nokia Theater

Chad Allen Saturday 18th April 2009 20th Annual GLAAD Media Awards - Dinner held at the Nokia Theater Los Angeles, California

20th Annual Producers Guild Awards Held At The Hollywood Palladium

Tia Lessin Saturday 24th January 2009 20th Annual Producers Guild Awards held at The Hollywood Palladium Hollywood,California

Tia Lessin

The 20th Annual Producers Guild Awards Held At The Hollywood Palladium - Arrivals

Guests Friday 23rd January 2009 The 20th Annual Producers Guild Awards held at the Hollywood Palladium - Arrivals Los Angeles, California


The World Premiere Of Milk - Arrivals And Inside

Anne Kronenberg - Anne Kronenberg, Alison Pill, at The Castro Theater San Francisco, California - The world premiere of Milk - arrivals and inside Tuesday 28th October 2008

Anne Kronenberg

The Nines Review

In the opening moments of John August's The Nines, an actor (Ryan Reynolds) drinks, drives, scores some crack, hangs out with a hooker, and totals his car. This series of events reverberates through the film, not so much in its literal consequences -- the story is told through three overlapping segments, only one of which features the actor character -- but rather the scene's jittery disorientation. Barely a moment goes by when someone onscreen isn't feeling confused or ill at ease. Following his accident, the actor is confined to a quiet house arrest, supervised by a cheery PR agent (Melissa McCarthy) and eyed by a stay-at-home mom neighbor (Hope Davis), but this mundane imprisonment starts to feel more like a sort of purgatory. Is it the drugs? The lack of drugs? Are the two seemingly benign women in his life actually part of something greater or more sinister?

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

Big Fish Review

Tim Burton's Big Fish tells the story about a man, Edward Bloom (Albert Finney), whose life is best told in the context of tall-tales and glorified fables. When looking at our own lives, it's easy to see that all of us have a Bloom-type somewhere in our families. You know, the person that's able to take the complexities of life and turn them into the wild fantasies appreciated mostly by the young at heart.

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

The Forgotten Review

Wrap your brain around this one. It has been 14 months since grieving mother Telly Paretta (Julianne Moore) lost her son, Sam, in a plane crash that took the lives of 10 other children. She's been seeing a psychiatrist (Gary Sinise) on a regular basis, and the shrink has helped her cope with her sadness as the two discuss how difficult it is to let memories of loved ones fade.

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 Review

At last, a movie with no likable characters that is nothing short of a joy to watch. Let's see if American Psycho can top that!

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).

Continue reading: American Beauty Review

Down With Love Review

Please don't be fooled. Not by the cloying title, the impossibly adorable leads or even the pre-release hype which has been calling Down With Love the resurrection of the Rock Hudson/Doris Day romantic comedy and a couple-friendly alternative to the twin roar of X2 and The Matrix Reloaded. Don't be fooled because Down With Love is less a romantic comedy than a careful study of them. It's very funny, even sweet at times, but not a drag-my-boyfriend-to-it kinda movie, unless figuring it out afterward in the parking lot puts you in the mood.

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

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