The music scene of Austin, Texas becomes tainted by lust and illict desires as two aspiring songwriters named Faye (Rooney Mara) and BV (Ryan Gosling) become entwined in two overlapping love triangles with a major player in the music business named Cook (Michael Fassbender) - who encourages them to take their music careers further - and a charming waitress (Natalie Portman). As much as their lives are about making it in the industry and becoming world renowned successes, their lives get more complicated by disloyalty, temptation and infatuation with each other, pushing all of them ultimately further away. Can love last when betrayal lies at every corner?
Continue: Song To Song Trailer
After 2013's beefy Man of Steel, director Zack Snyder goes even bigger and darker with this sequel, cross-pollenating Clark Kent's story with flashbacks to the origins of Bruce Wayne and his Dark Knight alter-ego. The problem is that the film is so big and loud that it can't help but feel bloated, especially since so much of what's on screen feels rather vacuous. But it looks amazing and is relentlessly gripping.
After a Bat-origin prologue, the story kicks off with the climactic battle from Man of Steel as seen from the perspective of Bruce Wayne (Ben Affleck), watching his city being destroyed by Superman (Henry Cavill). This further fuels the rage that began when his parents were murdered. And that fire is stoked by the mischievous millionaire Lex Luthor (Jesse Eisenberg). Meanwhile, Superman/Clark is struggling with how the world is revering him as a god, which is straining his relationship with intrepid reporter Lois (Amy Adams). As these very different vigilante heros head toward a climactic confrontation, Luthor is up to something seriously nefarious. And the ensuing chaos brings another hero into the open, Wonder Woman Diana Prince (Gal Gadot).
While the various plot threads are fascinating, and Snyder maintains a snappy pace, the overall story centres on the fact that Affleck's prickly, bitter Bruce is easily manipulated into doing terrible things, which makes him rather unlikeable. And Cavill's fundamentally good Clark isn't much easier to identify with. Both are also oddly constrained by their costumes and bulked-up physicalities, which leave them unable to move properly. This allows the side characters to steal the show: Adams adds emotion and passion, Eisenberg provides the nutty nastiness, Irons is hilariously cynical as Bruce's butler Alfred, and Fishburne is all bluster as Lois' editor. But in the end, the film belongs to the gorgeous, clear-headed Gadot, instantly making her stand-alone movie the most anticipated superhero project on the horizon.
Continue reading: Batman V Superman: Dawn Of Justice Review
Holly Hunter - The European Premiere of 'Batman V Superman: Dawn of Justice' held at the Odeon and Empire Leicester Square - Arrivals at Empire Leicester Square - London, United Kingdom - Tuesday 22nd March 2016
Holly Hunter - The European Premiere of 'Batman V Superman: Dawn of Justice' held at the Odeon and Empire Leicester Square - Arrivals at Odeon and Empire Leicester Square, Empire Leicester Square - London, United Kingdom - Tuesday 22nd March 2016
Every superhero has a dark side and being 100% human, Batman is in doubt over how genuine Superman actually is. After all, Superman is from a different planet and has incredibly natural powers; powers that could easily destroy our world.
As Lex Luther manipulates Batman and Superman into a deeper and deeper war, the duo find that they are pitted against a force that's much more of a present threat than either of the heroes. They are joined by a number of other heroes (including Wonder Woman and The Flash) on a quest to save earth from immediate danger.
Warner Bros. Pictures releases Batman V Superman: Dawn Of Justice in cinemas 25 March 2016.
What happens when two superheroes with vastly differing opinions come head to head? Well, not very well if Lex Luthor has anything to do with it. Superman believes Batman is a vigilante and the civil liberties of the people of Gotham are 'being trampled on' whilst Batman feels Superman's abilities are blown out of proportion by the media and is far from a fan of his superhero outfit.
Lex Luthor has enough power to manipulate this situation to his benefit and pitches both heroes against one another - Son of Krypton versus Bat of Gotham however, when his plan doesn't go exactly to plan he creates a monster to destroy both men - on the verge of destruction, Batman and Superman are joined by Wonder Woman, Aquaman and other superheroes on their quest to save their city from destruction.
Batman V Superman: Dawn Of Justice is directed by Zack Snyder and it's a precursor to The Justice League films - which are also written and directed by Snyder.
Daniel Day-Lewis was sounded out to play lead character Vincent Vega in Quentin Tarantino's classic 1994 crime-thriller Pulp Fiction, though Michael Madsen was eventually favored, who himself had to give way for John Travolta due to scheduling conflicts. In a new interview with Vanity Fair, Tarantino revealed producer Harvey Weinstein had the opportunity to land Oscar winner Day-Lewis for the role, though Quentin was adamant Vega should be played by his Reservoir Dogs pal Madsen.
An underprivileged mother (Gyllenhaal) determined to do the best for her child, takes action on discovering the failing situation of her daughter's inner city school. Her daughter cannot read and even comments that the school doesn't care about punctuality or the fact that many students are suffering and struggling with learning difficulties. After her daughter is punished and locked in a closet by an incompetent teacher because she didn't 'follow the rules', the mother decides enough is enough and enlists the help of a desperate teacher (Davis), whose son is also struggling to learn to read and write, to help her take over the school. They put everything on the line to battle through the teacher's union, challenging and incapable teachers, and a sceptical principal and make the school (and therefore the violent gang and drug ridden neighbourhood) a better place for underprivileged children.
Continue: Won't Back Down Trailer
Continue reading: Always Review
Thornton's reserved performance, involving lots of aimless shuffling around town and empty stares into nothingness, is well suited to the rhythms of Solomon's glacially-paced film (which he wrote as well as directed); his Manual a man who, having been unceremoniously dumped back into society against his will (he believes he deserves to stay in prison for his crime), doesn't know how to pick up the pieces of his non-existent life and move forward. With long thinning grey locks and a weathered, creased face, Manual is like a ghost forever doomed to haunt the locale of his greatest error, and when he moves through a subway station tunnel directly after leaving the Big House, it's not surprising to find that the crowds rush past him without acknowledging his presence. Thornton plays the character as though he had shriveled up from the inside out, and his expressions of bemused confusion and timid fright convey the feelings of unwieldy guilt and desperation that plague his conscience.
Continue reading: Levity Review
Judging from Copycat, there's more of them than we're giving credit to. Copycat is the story of a serial killer apparently chasing psychologist Helen Hudson (Sigourney Weaver). The only problem is, some 13 months earlier, another killer (Harry Connick Jr.) almost got her, and the experience was enough for her to lock herself into her snazzy apartment for good. When killer #2 comes around, two detectives, M.J. (Holly Hunter) and Ruben (Dermot Mulroney) try to solve the mystery. This is a much more disturbing and difficult task than it first seems, entangling everyone in an intensely engaging plot full of surprises and "rule-breaking" twists.
Continue reading: Copycat Review
The Incredibles marks a departure from G-rated fare for Pixar, and it's also the studio's first shot at creating an all-"human" cast. There's nary a talking fish, insect, toy, or monster to be found in The Incredibles; these stars are all people with real problems and familiar personalities. This little switch has the surprising effect of making us care far more about its heroes than ever before. You could have served up Nemo as sushi for all I care -- he's a freakin' fish! Mr. Incredible's got a wife, kids, and a mortgage, and his boss is a jerk. Toddlers may prefer a surfing turtle, but the rest of us are going to find The Incredibles Pixar's best film yet.
Continue reading: The Incredibles Review
"There was no other time like it, and it changed our way of life forever," the box's text proclaims. The movie casts "a nostalgic eye on a time when ordinary citizens bonded to accomplish extraordinary things."
Continue reading: Swing Shift Review
Crash is one of the more disturbing movies I've seen in my lifetime, and although I enjoyed it on an aesthetic level, I find it difficult to recommend to the masses, and I think you'll see why in a minute.
Continue reading: Crash (1997) Review
Why didn't this movie find more success? I dunno, maybe it has something to do with the fact that there are two scenes of women sitting on the toilet in the first 20 minutes. Or it could be that it's too chatty, too meandering, and too random to ever really engage the viewer. Whatever, I still don't know what I'm supposed to be able to tell, you know, just by looking at her.
Continue reading: Things You Can Tell Just By Looking At Her Review
After an opening scene in which 13-year-old Tracy (Evan Rachel Wood) and her friend Evie (Nikki Reed, the writer) suck gas from a can of compressed air, laugh hysterically, and slap each other senseless, Thirteen flashes back to four months earlier, in order that we can get an idea of how Tracy got this way. Tracy's family situation is nothing spectacular, what with a distant father who only occasionally pays child support and a flaky mom (Holly Hunter) who scrapes by as a hairdresser and keeps letting Brady, her former cokehead boyfriend (Jeremy Sisto), sleep over. Her life seems pretty dull and irritating, so when Tracy ditches her nerdy friends to suck up to Evie, the lead Heather in the school's hottest clique, it makes an adolescent kind of sense. But when that friendship quickly morphs into an unending stream of shoplifting and drinking, Tracy also starts lashing out at her mother and pretty much everyone else around her, except Evie, who has essentially moved herself into Tracy's bedroom.
Continue reading: Thirteen Review
As the opening credits roll, we meet Stacy (Brittany Murphy), a young college grad heading out into the exciting world of low-budget television production. She dreams of one day working with her childhood idol, Diane Sawyer. And her mother loves Carly Simon. I don't know why the part about Carly Simon is important, but it's a recurring theme throughout the film. If her mother ever actually got any screen time, perhaps the Carly Simon thing would become at least marginally relevant to the story. But no dice. Even so, we're treated to several inexplicable Carly Simon moments that have nothing to do with anything, really, and don't add anything of substance to the film.
Continue reading: Little Black Book Review
Figgis, who earned a Best Director Oscar nomination for Leaving Las Vegas in 1996, appears to have gone a little funny in the head last year with his inexplicable and nearly dialogue-free The Loss of Sexual Innocence. Now he's fully gone off the deep end with what may be the most ambitious experiment ever: Time Code.
Continue reading: Time Code Review
Far less funny and considerably more violent than audiences have come to expect from Pixar movies, "The Incredibles" is the animation studio's first feature to lack the winsome pizzazz that makes for mandatory repeat viewing.
Created by Brad Bird, the writer-director of "The Iron Giant," one of the greatest animated movies of all time, the story revolves around a family of far too sincerely glum superheroes trying hard to live normal suburban lives at a time when frivolous lawsuits have made saving the world cost-prohibitive.
But out of their spandex, they're just a bunch of sitcom clichés. Bob Parr (secretly super-strong do-gooder Mr. Incredible, voiced with idealistic comic-book resonance by Craig T. Nelson) is an irresponsible dad who tries to keep secrets and stupid mistakes from his (literally) stretched-in-every direction wife, Helen (a.k.a. Elastigirl, voiced with adoring irony by Holly Hunter). Their kids are, of course, a hyperactive 8-year-old named Dash (Spencer Fox), who can run 100 mph, and mopey teenage Violet (NPR radio's droll Sarah Vowell), blessed with a gift many junior high girls would kill for -- invisibility.
Continue reading: The Incredibles Review
Date of birth
20th March, 1958
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