Gena Rowlands - 88th Annual Academy (Oscars) Awards held at Hollywood & Highland Center - Arrivals at Hollywood & Highland Center in Hollywood, Oscars - Los Angeles, California, United States - Sunday 28th February 2016
Gena Rowlands - World premiere gala screening of 'By the Sea' at TCL Chinese Theater - Red Carpet Arrivals at TCL Chinese 6 Theatres - Hollywood, California, United States - Thursday 5th November 2015
Gena Rowlands - AFI FEST 2015 Presented By Audi Opening Night Gala Premiere Of Universal Pictures' "By The Sea" at TCL Chinese 6 Theatres - Hollywood, California, United States - Friday 6th November 2015
Zoe Cassavetes, Nick Cassavetes and Gena Rowlands - Gena Rowlands honoured with a hand and footprint ceremony at the TCL Chinese Theatre - Los Angeles, California, United States - Friday 5th December 2014
Throughout the course of one night, we are driven around in five separate taxi cabs that range from familiar ports of L.A. and New York City to the echoing streets of Paris and Rome to the final ride through the frozen-over metropolis of Helsinki, right as the sun is rising. In Los Angeles, a big-time agent (Gena Rowlands) tries to seduce her rough-and-tumble cab driver (an insolent Winona Ryder) into becoming an actress. While in New York, a jerky Brooklynite (the superb Giancarlo Esposito) teaches his German cab driver (Armin Mueller-Stahl) how to drive, talk, and jive correctly while also trying to escort his sister-in-law (Rosie Perez) home.
Continue reading: Night On Earth Review
Nora (Posey) is a thirty-something hotel concierge specializing in VIP guests, but her life has little glamour. When not tending to the VIPs, she's home drinking red wine, popping sleeping pills, and wondering why she can't find just one nice man. A fifth-anniversary party for her best friend Audrey (Drea DeMatteo) adds insult to injury, even as her own mom (Gena Rowlands, director Zoe Cassavetes's mother) tries to cheer her up.
Continue reading: Broken English Review
Project overseers Emmanuel Benbihy and Tristan Carné wanted to create a cinematic map of Paris, with each short film representing one of the city's 20 arrondissements (neighborhoods). They ended up with 18 films, none of them more than a few minutes long and directed by a glittering, international roster of filmmakers. While none of the films here are anything approaching masterpieces, hardly a one is in any way a chore to sit through, which has to be some sort of an accomplishment.
Continue reading: Paris, Je T'aime Review
Cassavetes gets credit for the homage this picture still is paid. The monotone piano music is hauntingly similar to that in Eyes Wide Shut. Remember that music and be warned: Even on DVD, this picture has the worst sound I've ever heard on a feature film. Shame on the studio for not cleaning it up for the digital release.
Continue reading: A Woman Under The Influence Review
Continue reading: She's So Lovely Review
Thanks to papa John (Husbands, Gloria), the name Cassavetes has come to symbolize intrepid, no-apologies filmmaking and the unconventional human interaction within Now, 15 years after the maverick's death, his heir has traveled to the opposite pole, adapting a Nicholas Sparks novel into a standard tearjerker, filling the screen with handfuls of manipulative Hollywood clichés.
Continue reading: The Notebook Review
Continue reading: Faces Review
If you are a female, preferably married, preferably Southern, preferably jilted by your husband, and preferably interested in horses, you'll love this film. If not, you're screwed. Something to Talk About is the story of a married, Southern, jilted female, Grace (Julia Roberts), who works for her father (Robert Duvall) at his horse-breeding ranch. When she finds husband Eddie (Dennis Quaid) with another woman, she dumps him like week-old halibut and heads off into the land of reckless self-indulgence, revenge, and wacky hijinks with her dysfunctional family.
Continue reading: Something To Talk About Review
A first-rate concept for a spine-tingling tale of voodoo, hoodoo and possible hauntings in the swampy Louisiana bayou, "The Skeleton Key" is rendered impotent by bland, generic execution.
The wannabe chiller stars Kate Hudson as a New Orleans hospice nurse named Caroline who takes a job at a remote, run-down plantation manor, looking after a mute and paralyzed elderly stroke victim (played with eerie, deceptive vacancy by John Hurt) in what will probably be his last weeks of life.
Caroline is selfish, snooping and disrespectful (having an unsympathetic heroine is another of the movie's problems), so soon she beings sticking her nose where it doesn't belong -- opening attic doors that have been locked for decades and digging into the house's history. Doing so raises the ire of her patient's bitterly old-fashioned and superstitious Southern wife (Gena Rowlands), but more importantly it puts the skeptical Caroline on a path toward believing in the ghosts of lynched former servants that the old lady claims haunt the place.
Continue reading: The Skeleton Key Review
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