Donna Gigliotti

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Film Independent Spirit Awards Press Room

Bruce Cohen, Donna Gigliotti and Jonathan Gordon - 2013 Film Independent Spirit Awards at Santa Monica Beach - Press Room - Los Angeles, California, United States - Saturday 23rd February 2013

Bruce Cohen, Donna Gigliotti and Jonathan Gordon

Film Independent Spirit Awards Press Room

Producers Bruce Cohen, Donna Gigliotti and Jonathan Gordon pose with the Best Feature award for 'Silver Linings Playbook' - Film Independent Spirit Awards Press Room at Tent on the Beach, Independent Spirit Awards - Santa Monica, CA, United States - Saturday 23rd February 2013

85th Academy Awards Nominees Luncheon

Donna Gigliotti and Jonathan Gordon - 85th Academy Awards Nominees Luncheon Los Angeles California United States Monday 4th February 2013

Producers Guild Awards

Donna Gigliotti, Jonathan Gordon and Bruce Cohen - Producers Guild Awards Los Angeles California United States Saturday 26th January 2013

Donna Gigliotti, Jonathan Gordon and Bruce Cohen
Donna Gigliotti, Jonathan Gordon and Bruce Cohen

AACTA Arrivals

Jonathan Gordon, Donna Gigliotti and Bruce Cohen - AACTA Arrivals West Hollywood California United States Saturday 26th January 2013

Jonathan Gordon, Donna Gigliotti and Bruce Cohen

Silver Linings Playbook Review


Writer-director David O. Russell's out-of-control filmmaking style is perfectly suited to a romantic-comedy involving mental illness, and he infuses the film with a sparky unpredictability that's echoed in the perfectly graded performances of the entire cast. Cleverly, even though most of the characters are clinically unhinged, they're all likeable and easy to identify with.

Cooper stars as Pat, who has spent eight months in a mental hospital before his mother (Weaver) comes to take him home early. His dad (De Niro) isn't so sure it's a good idea, but everyone's happy to have him home. And since he finally accepts that he's bipolar, Pat is ready to get on with life. But it's not so easy. He's prevented from reuniting with his wife because of a restraining order, so he visits mutual friends (Stiles and Ortiz) instead. And they set him up with Tiffany (Lawrence), who's psychologically damaged in her own way. Recognising similar needs, they agree to help each other.

Yes, the film has a clear rom-com premise, but the characters are so unpredictable that we are never quite sure what they'll say or do next. And it's not like Pat and Tiffany are the only unstable people here: they're just the only ones with official diagnoses. All of which gives the actors almost too much colourful material to work with. Cooper is a likeable, charming presence at the centre, eliciting our sympathy even when he does something stupid. And Lawrence delivers a full-on performance that often takes our breath away with its clever layering.

Continue reading: Silver Linings Playbook Review

I Don't Know How She Does It Review

There are plenty of skilled people behind this female-empowerment movie, but the film badly botches its core message. The script may reflect a certain reality about the sexes, but it also misses the point.

In Boston, Kate (Parker) has a loving husband, Richard (Kinnear), and two adorable children. Everyone watches her in wonder as she juggles her responsibilities as a wife, mother and high-powered investment banker. But the constant business trips are taking their toll, especially when she's required to work regularly in New York with investor Jack (Brosnan). It's a struggle, but Kate keeps everything running. The question is whether anyone is actually happy with the situation.

Continue reading: I Don't Know How She Does It Review

Let Me In Review

While there was no way this would recapture the magic of the 2008 original Let the Right One In, this remake is a decent film in its own right. Moody and atmospheric, the film subverts expectations by mixing darkly introspective drama with full-on horror.

In 1983 New Mexico, Owen (Smit-McPhee) lives with his absent mother (Buono) in a generic apartment complex. It's the dead of winter, and a new neighbour attracts Owen's interest: Abby (Moretz) is also 12 years old, "more or less".

Although she says they can't be friends, they clearly already are. And Owen needs a friend, since he's being horribly bullied at school by Kenny (Minnette) and his pals. But Abby has problems too: she needs human blood to survive and her guardian (Jenkins) is struggling to supply it.

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Two Lovers Review

Joaquin Phoenix has a reputation for diving heartily into roles, and his starring turn in James Gray's Two Lovers is no exception. In the film's first scene, Phoenix's dive is literal: A Brooklyn kid plunging into the bay in an arresting setup that rings of despair and confusion. It's an appropriate introduction to Phoenix's delicate character development, a performance that buoys an impressive romantic drama.

And that's a genre we don't see too often anymore: romantic drama. Today's cinematic romances are usually steeped in light comedy (even decent ones like Definitely, Maybe) or predictable form posing as drama. But Two Lovers is hardcore drama, with desire at its center. Or more accurately, two desires.

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The Good Night Review

T.S. Eliot has remarked, "Human kind cannot bear very much reality." And who would dare to contradict him? Reality is a nasty, horrible mess. But a rash of new films offer a variety of nostrums for escape from the Real World. Wristcutters: A Love Story offers the easiest way out but other films prefer to seek an unsteady balance between reality and oblivion -- whether it be warbling away your miserable home life (Romance & Cigarettes), erasing your troublesome memories (Eternal Sunshine of the Spotless Mind) or, in the case of Jake Paltrow's entertaining but slight debut film as director/writer, The Good Night, increasing your dream life at the expense of your depressingly mediocre and despairing waking reality.

In The Good Night, Martin Freeman, in an interesting amalgam of Tim from The Office and the Arthur Dent of A Hitchhiker's Guide To the Galaxy, plays Gary, an ex-rock musician, now toiling away in a dead-end job at a commercial jingle firm, working for his former bandmate Paul (Simon Pegg). One of Gary's problems is that he knows he is wallowing in banality but can do nothing about it; his boss exhorts him to "make it bad."

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Shakespeare in Love Review

Easily the best comedy of the year - and the best film of the year to star Joseph Fiennes and feature Queen Elizabeth as a major character - Shakespeare in Love gets a hands-down recommendation for all filmgoers.

The clever premise follows one William Shakespeare (Fiennes), stuck with writer's block while trying to pen "Romeo and Ethel, the Pirate's Daughter" and unable to get his own love life going to boot.

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Vanity Fair Review

Mira Nair has groomed her sumptuous adaptation of William Makepeace Thackeray's novel Vanity Fair for Oscar contention, and the period epic easily could compete in a number of technical categories. Pencil the handsome film down for costume design, art direction, and makeup nominations. Declan Quinn's cinematography certainly deserves a nod, too. It's a little early to tell how all the races will shake out, but leading lady Reese Witherspoon could even surprise a few people by seeing her name on a short list of Best Actress nominees.

Too bad no one is going to pay to see the film. Most mainstream filmgoers would opt for root canal over having to sit through a 19th century social commentary piece. Take Ang Lee's Sense And Sensibility as an example. It earned seven Oscar nominations back in 1995, but only grossed $42 million in the States.

Continue reading: Vanity Fair Review

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