Jude gets the surprise of his life when his biological father Les shows up at his adoptive mother's house in Vermont, ready to take him to Manhattan and become a real father to him. Jude is reluctant, given his father's questionable lifestyle and his drug-dealing ways, but the prospect of re-connecting with his friends Eliza and Johnny is tempting. Jude has more reason than most to hate the way his father makes money; it's not long since the death of his friend Teddy, who overdosed after a night out; and it's made even worse now that Les is in a relationship with Eliza's rich English mother Di. He has one escape though; his passion for straight-edge hardcore punk is at an all-time high and now that he's back with his friends, he can seize his guitar and play away the angst. Unfortunately, his peace isn't very long-lasting, because Eliza has one bombshell to drop that no-one was expecting - and it's going to change everything.
Continue: 10,000 Saints Trailer
Emily Mortimer, Ewan McGregor, Dolly Wells and Alessandro Nivola - Edinburgh International Film Festival - 'Doll & Em' - Photocall at Lyceum Theatre - Edinburgh, United Kingdom - Saturday 20th June 2015
Emily Mortimer, Ewan McGregor, Dolly Wells and Alessandro Nivola - Edinburgh International Film Festival - 'Doll & Em' - Photocall at Lyceum Theatre - Edinburgh, United Kingdom - Sunday 21st June 2015
Samantha Mathis, Emily Mortimer and Alessandro Nivola - American Film Institute's (AFI) 42nd Annual Life Achievement Award honoring Jane Fonda at The Dolby Theatre - Arrivals - Los Angeles, California, United States - Thursday 5th June 2014
Aaron Sorkin's political drama prepares to sign off for good.
The Newsroom will come to an end after the finale of the upcoming third season, which is set to air this autumn, according to HBO, via Digital Spy. The network confirmed that the political drama would return for a third and final outing after actor Jeff Daniels first tweeted the news back in September.
Jeff Daniels Won An Emmy For His 'Newsroom' Anchor.
HBO president Michael Lombardo said in a statement: "The Newsroom is classic Aaron Sorkin - smart, riveting and thought-provoking," adding "I'm sure this farewell season will be one to remember," he added. Production for the third season is apparently underway and is expected to premiere this coming autumn.
There was a huge diversity of movie stars arriving at the annual White House Correspondents' Association Dinner at the Washington Hilton including 'Nashville' star Connie Britton, 'Homeland' star with her husband Hugh Dancy and 'Parks and Recreation' actress Amy Poehler.
Based on the Brian Selznick novel The Invention of Hugo Cabret, Scorsese's first family movie combines a young boy's adventure with a cinematic history lesson. It's a celebration of wide-eyed wonder that's a joy to watch, although the title isn't the only thing that's dumbed-down.
In early 1930s Paris, the orphaned Hugo (Butterfield) lives in Montparnasse station, where he scurries through forgotten passageways maintaining the clocks. He learned this skill from his late father (Law), but an automaton they were fixing is his only reminder of his happier childhood. Dodging the tenacious station inspector (Baron Cohen), Hugo worms his way into the life of grouchy shopkeeper Georges (Kingsley), and has a series of adventures with his goddaughter Isabelle (Moretz). When they learn that Georges is forgotten pioneer filmmaker Georges Melies, they decide to help bring him back to life.
Scorsese tells this story with bravura moviemaking trickery, from whooshing tracking shots to wonderfully inventive uses of 3D. He also peppers the screen with witty references to film history from Modern Times to Vertigo, clips from early cinema and flashbacks to the Lumiere brothers' exhibition and Melies' busy studio. Meanwhile, the main plot unfolds with a warmly inviting glow, sharply telling details and a colourful cast of memorable side characters.
Intriguingly, everyone is a bit opaque; like the automaton, the gears turn but we never really understand them.
Butterfield's Hugo may be consumed by an inner yearning, but he's always on guard, providing a watchful pair of eyes through which we see the drama, romance and slapstick of the station. And it's in these details that Scorsese and his cast draw us in. Standouts are Baron Cohen, who adds layers of comedy and pathos to every scene, and McCrory (as Mrs Melies), with her barely suppressed enthusiasm. As usual, Kingsley never lets his guard down: he invests this broken man with a bit too much dignity.
As the film progresses, the passion for the movies is infectious. Scorsese's gorgeous visual approach and writer Logan's controlled cleverness never overwhelm the human story. And even if Melies' life and Paris' geography are adjusted for no real reason, the film's warm drama and delightful imagery really get under the skin, making us fall in love with the movies all over again.
In 1954 Boston, Ted (DiCaprio) is a US Marshal heading with his new partner Chuck (Ruffalo) to the Shutter Island hospital for the criminally insane. A patient (Mortimer) has mysteriously disappeared, and the head doctor (Kingsley) is acting suspicious. So is everyone else for that matter. As Ted delves deeper into the mystery, which hints at a big conspiracy, he struggles with the implications these events have for his own life, including the death of his wife (Williams) and his experiences liberating Dachau at the end of the war.
Continue reading: Shutter Island Review
The full-contact humor propagated by the program obviously appeals to the masses. The simple formula has worked on Videos for 17 years now. So why, then, am I still surprised when a preview audience sitting through something as moronic as The Pink Panther bursts out laughing when a cyclist crashes into a car door or a senior citizen takes a blunt object to the skull?
Continue reading: The Pink Panther (2006) Review
What if you really had the chance to change all of that? What if you could talk to yourself when you were only eight years old and explain how to take a stand for yourself, give the younger you understanding of why dad is so angry at the world, and give yourself hope for retaining individuality in a sea of conformity. In the new Disney film The Kid Russ Duritz gets that once in a lifetime chance.
Continue reading: The Kid (2000) Review
For a long time I've had a theory that the musical genre couldn't survive the cynicism of modern audiences except as a ironic in-joke, like the "South Park" movie or as a post-modern homage, like Woody Allen's "Everyone Says I Love You."
I couldn't have been more wrong -- and leave it to Kenneth Branagh, a writer-director-actor who has made his name revitalizing old (old, old!) school entertainment -- to prove it by bringing back the kind of weightless musical delight that carried Fred Astaire and Ginger Rogers to stardom.
For his new adaptation of Shakespeare's "Love's Labour's Lost," Branagh has re-imagined the buoyant romantic comedy as a classy, corny, 1930s movie musical, complete with uplifting dance numbers and a catalog of favorite big band ditties sung with great enthusiasm (if not great skill) by a quality cast of cheerful actors clearly having the time of their lives.
Continue reading: Love's Labour's Lost Review
Disney sure lays it on thick in "The Kid," a feel-good family flick starring Bruce Willis as a snide, fundamentally unhappy L.A. "image consultant" who meets himself as an 8-year-old boy and learns to embrace his inner child.
The incidental music sounds like the soundtrack from "E.T." crossed with a "Teletubbies" song. Willis -- more determined than ever to avoid being pigeon-holed -- spends a good third of the movie looking wistful or misty. The Kid himself (roly-poly, and yes, adorable newcomer Spencer Breslin) isn't a terribly good actor, but boy has he mastered the art of the wide-eyed double-take. It's enough to send a cynical, grown-up movie critic into sugar shock.
But while I have no trouble pointing out everywhere this rather slight movies is flawed -- and its flaws are significant -- I can also admit when I've had a good time at the movies. And "The Kid" made me smile like, well, a kid.
Continue reading: The Kid Review
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