F. Murray Abraham - A variety of celebrities were photographed as they arrived at The 2014 Primary Stages Honorary gala which was held at 583 Park Avenue in New York City, New York, United States - Tuesday 4th November 2014
Mandy Patinkin, Tracy Letts, Nazanin Boniadi, Jackson Pace, F. Murray Abraham and Navid Negahban - The 20th Annual Screen Actors Guild (SAG) Awards held at The Shrine Auditorium - Arrivals - Los Angeles, California, United States - Saturday 18th January 2014
F Murray Abraham - Amanda Quaid, Steven Rattazzi, Steven Skybell, F. Murray Abraham, Nick Westrate, Aaron Himelstein and Andy Phelan Thursday 23rd February 2012 Opening night of Classic Stage Companys production of 'Galileo' at the CSC Theatre - Curtain Call.
Once again deciding to rely entirely on creepy art direction, set design, and half-assed CGI, Silver is back again at the whole "haunted house" game. Last time he handed up a haunted insane asylum (House on Haunted Hill) and a group of under- or overrated actors and said "boo." This time he hands us Shannon Elizabeth, Tony Shalhoub, Matthew Lillard, F. Murray Abraham, all sequestered in a glass house with Latin written across its walls -- oh yeah, and let's not forget the comic relief nanny (Rah Digga).
Continue reading: 13 Ghosts Review
Soon after, we and with Salieri first lay eyes on Mozart - not the halo-crowned demigod built up in music history classes, but instead a mischievous, arrogant vulgar puck with a cackling laugh. But Milos Forman's stunning epic didn't win eight Academy Awards for simply reducing classical music royalty to child-like stature.
Continue reading: Amadeus: Director's Cut Review
Fortunately Joshua is the former, and it's probably the most mainstream release to ever make it to theaters. With stars Tony Goldwyn, F. Murray Abraham, and Stacy Edwards, this is a classy production. Not only is the acting credible and the production values high (they even trek to Rome for the finale), but the story isn't all bad either. It's actually pretty simple: A man named Joshua (Tony Goldwyn) wanders into the sleepy town of Auburn one evening, rents a barn to live in, and promptly starts rebuilding the recently-burned-down Baptist church, unbidden by its parishioners. Meanwhile, the local Catholics take an interest in the cryptic man, employing him to carve a wooden statue.
Continue reading: Joshua Review
Amadeus is the story of Mozart (Hulce), the composer with God's gift and the Devil's audacity, and Salieri (Abraham), the composer with God's pity and the Devil's vengeance. In Vienna, Salieri embarks on a jealous quest to bring Mozart to his knees, and, ultimately, his death.
Continue reading: Amadeus Review
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Thornton Wilder's famed novel has been filmed three times, including this one. The story is interesting and its ideas on religion and corruption are certainly timely. Brother Juniper (Gabriel Byrne, wasted as a pointless framing device) has recently collected data and put it into a book about five souls who lost their lives when the Bridge of San Luis Rey collapsed. The book implicates a bit of a conspiracy concerning the bridge's collapse, but the Archbishop of Peru (Robert De Niro) sustains that it was an act of the devil and that Brother Juniper, and his book, are calculating heathens. Most of the film is a flashback to the events leading up to the bridge's failure, mainly concerning the wealthy Marquesa (Kathy Bates), a young actress Dona Clara (Émilie Dequenne), and their relationship with the Viceroy of Peru (F. Murray Abraham). The Viceroy has impregnated Dona Clara and is a bold faced hypocrite for first shunning the Marquesa and then making Dona show her respect and humility. The only one who seems to really care about the poor actress is Uncle Pio (Harvey Keitel), the head of the acting troupe that Dona Clara is in. The film leads up to both the breaking of the bridge and the court's judgment of Brother Juniper. Neither goes well, as you might imagine.
Continue reading: The Bridge Of San Luis Rey Review
But you can't keep Trek down, and the crew saddled up for this lackluster experience, the likes of which would typically comprise an hour-long episode of The Next Generation, and not even a season finale.
Continue reading: Star Trek: Insurrection Review
Pacino and producer Martin Bregman had a good idea in wanting to make an updated version of the original 1932 Scarface, which chronicled the rise and fall of a Prohibition-era Capone-like criminal overlord (screenwriter Ben Hecht was a Chicago journalist with a lot of intimate knowledge of Capone). Handing it over to director Brian De Palma (who had specialized mostly in psychosexual thrillers like Dressed to Kill and The Fury), and screenwriter Oliver Stone (whose credits included an Oscar for 1978's Midnight Express but also Conan the Barbarian), was a daring move. Stone did a lot of research for the screenplay, hanging out and doing coke with drug lords all over Latin America, and De Palma promised to bring a certain visual flair to the proceedings.
Continue reading: Scarface Review
Based on Umberto Eco's dense and demanding bestseller, The Name of the Rose, is basically a love letter to Sir Arthur Conan Doyle. Unfortunately, the film version never passes up an opportunity to remind us of that fact.
Continue reading: The Name Of The Rose Review
What is it lately with all these talented directors challenging themselves to turn TV movie scripts into potent, or at least cogent feature films?
Steven Soderbergh took the lead with "Erin Brockovich" -- a Lifetime Channel story in anybody else's hands -- and with the help of Julia Roberts created this year's Oscar front-runner. Taylor Hackford took the hostage negotiation thriller "Proof of Life" and gave it real punch and humanity, when Hollywood doctrine dictates it should have been either a women's weepy concerning the wife's angst or a Dolph Lungren-level action flick about a rescue raid against Colombian kidnappers.
Now Gus Van Sant, onetime guardian of the quirky avant guard ("To Die For," "Even Cowgirls Get the Blues"), takes on an After School Special of a script about a ghetto littérateur savant and his reclusive white mentor, and creates "Finding Forrester" -- a solidly enjoyable, fairly cerebral feature raised above its roots by stout performances from its two leads.
Continue reading: Finding Forrester Review
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