Gabriel Macht and Jacinda Barrett - Shots of a host of stars as they took to the red carpet for the Premiere of the new Netflix original series 'Bloodline' The premiere was held at the SVA Theatre in New York City, New York, United States - Tuesday 3rd March 2015
Zero Hour, the American conspiracy television series created by Paul Scheuring, premieres on ABC tonight (February 14, 2013), though early critics reviews have left us with absolute NO IDEA as to whether it's going to be any good. Some viewers may have made their minds up - the pilot episode has been available on Hulu since February 1.
The show certainly seems to boast a decent pedigree - Scheuring was the mastermind behind the thrilling drama Prison Break. The show won the 2006 People's Choice Award for Favorite New TV Drama and was nominated for the 2005 Golden Globe Award for Best Television Series Drama. Zero Hour follows the story of Hank (E.R.'s Anthony Edwards), who runs the magazine Modern Skeptic with his friends Rachel (Addison Timlir) and Arron (Scott Michael Foster). The group finds themselves involved in a dangerous worldwide conspiracy after Hank's wife (Jacinda Barrett) is kidnapped.
As mentioned, the show has polarized critics - basically, nobody knows whether it's the best or worst television drama since, err, Prison Break. Dorothy Rabinowitz of the Wall Street Journal was generally impressed by Zero Hour, "It's a measure of the skill brought to this script by Paul Scheuring that a first episode so awash in multiplying complications manages to maintain its coherence and even a significant measure of suspense," she wrote. David Hinckley of the New York Daily News offered cautious, though Tom Goodman of the Hollywood Reporter wrote, "Zero Hour has lots of twists and turns that could be worth following. It also has the DNA to be laughably bad." It's safe to assume Aaron Riccio of Slant Magazine will not be tuning in for the rest of the series, writing, "The first 12 minutes are enough to bury it, though given the shoddy acting, overwrought dialogue, and poor production values, it's easy to imagine that 12 full episodes would in fact bring about the end of time itself."
Continue reading: 'Zero Hour' Is Either Laughing Bad Or Ridiculously Good, You Decide
All of these stories take place in Manhattan, with only one or two brief forays into other boroughs, and they all centre around relatively well-off people, mainly white or Asian. They're also quite serious and emotional, with only brief moments of humour dotted here and there, although some make us smile more than others. Each is about a male-female relationship--marriages, brief encounters, possibilities, life-long companionship. Most have a somewhat gimmicky twist, and a few are intriguingly oblique.
Continue reading: New York, I Love You Review
Gabriel Macht, AFI and Jacinda Barrett - Gabriel Macht and Jacinda Barrett Hollywood, California - World Premiere of Love & Other Drugs at AFI Fest 2010 Opening Night Gala held at the Grauman's Chinese Theatre Thursday 4th November 2010
Monsoon Wedding turned the slow grinding of cross-culture gears into a comfy piece of visual pop. It confronted the situation but seemed complacent enough to leave the confrontation in simple, digestible terms; a stylized My Big Fat Greek Wedding. In contrast, Vanity Fair, originally a satire of England's manners and traditions, was taken deep into the mystic, hitting its most absurd note when Reese Witherspoon seductively belly danced with a tribe of women from India. Though it was easy to see where these moments were pointing, The Namesake gives Nair a broad canvas and a more concise frame to study the American identity and its effects on other cultures without any affectation or pretense.
Continue reading: The Namesake Review
The catchy pop ballads found on the soundtrack for Tony Goldwyn's The Last Kiss will break your heart in two. The movie these songs support only wishes it could make such a claim.
Back to the music for a minute. Coldplay, Cary Brothers, Fiona Apple, Snow Patrol, and a smattering of other fashionable artists - each handpicked by leading man Zach Braff - croon (and sometimes whine) about infidelity, loss, and life-changing mistakes that target the love of your life. Sample lyrics include, "She's moving on... without you." Sentiments rarely deviate from this norm. It's a nice place to wallow on a rainy afternoon.
Braff worked similar musical magic for his directorial debut Garden State. His ear for stirring, soulful melodies earned him a Best Compilation Soundtrack for a Motion Picture Grammy award. But where Braff's Garden mix tape enhanced his quirky and personal little comedy, this new song collection can't lift Goldwyn's somber material from the doldrums.
Continue reading: The Last Kiss (2006) Review
Scoundrels gets off to a sluggish start as it introduces its main character, Roger (Jon Heder), a geeky New York City meter maid (meter butler?) whose life is falling apart. He gets robbed at work. His boss is unsympathetic to his problems and his coworkers ridicule him. He regularly humiliates himself in front of his gorgeous neighbor, Amanda (Jacinda Barrett). And even his volunteer work is a disaster, as his Little Brother asks to be assigned to someone else. Heder channels the inner nerd that carried Napoleon Dynamite to its stratospheric success, but the script doesn't provide enough originality or comic punch to bring his character to life. The opening 15 minutes are flat, dimensionless, and largely laugh-free.
Continue reading: School For Scoundrels Review
34 years ago, The Poseidon Adventure rode the trendy disaster meme of its day to stellar box office and numerous Oscar nominations. Today, Poseidon sits poised to ride the current effects meme to similar financial reward and perhaps some technical nods to boot. What it probably won't see is acclaim for its dialogue, story, or characters, but those laurels largely eluded its predecessor as well.
As with its forerunner, Poseidon opens with an introduction to its namesake, a massive luxury liner, and its passengers, which in this installment include an ex-mayor/firefighter (Kurt Russell), his daughter (Emmy Rossum), her beloved (Mike Vogel), a gambler (Josh Lucas), a jilted lover (Richard Dreyfuss), a stowaway (Mía Maestro), an inevitably hot single mom (Jacinda Barrett), her inevitably adorable tyke (Jimmy Bennett), and a waiter (a completely wasted Freddy Rodríguez). If you think reading a list of these stereotypes is tiresome, watching them establish their personas is more so.
Continue reading: Poseidon Review
Anthony Hopkins is Coleman Silk, a Classics professor at a Massachusetts university, who, because of an alleged racial epithet (he refers to delinquent African-American students as "spooks"), is not only forced into early retirement, but also into unexpected bachelorhood after his wife suddenly drops dead from the news. Coleman is an erudite Jewish man who harbors a great secret about his past, and soon his tortured life has become intertwined with kindred souls. He befriends the reclusive Nathan Zuckerman (Gary Sinise), a novelist who has retired to a remote cabin after a cancer scare has left him petrified of his own mortality. Soon afterwards, he meets a striking post office janitor named Faunia Farley (Nicole Kidman), who, because of a former marriage and a terrible accident, fervently shuns the outside world. Coleman and Faunia strike up a May-December romance, much to the chagrin of both Faunia's loco ex-husband Lester (Ed Harris) and a community whose fascination with Clinton's sexual indiscretions hints at an illogical obsession with political correctness.
Continue reading: The Human Stain Review
Well, throw enough money at something and it's bound to change people's minds. In fact, that seems to be the operating assumption for the entirety of this sequel, Bridget Jones: The Edge of Reason, a lackluster follow-up to the mildly enchanting original.
Continue reading: Bridget Jones: The Edge Of Reason Review
At the same time, Ladder and its creators make no bones about the fact that the film is pushing our emotional buttons. It manipulates our heart strings and tugs at our tear ducts in its quest for inspirational cinema. Admittedly, it's a bit slick and overdone, but it's difficult to fault a picture that wears its intentions on its soot-stained sleeve and holds the serviceman position of firefighter on such a lofty pedestal.
Continue reading: Ladder 49 Review
Director Robert Benton's quietly compelling adaptation of Philip Roth's novel "The Human Stain" has two conspicuous problems: The very beginning and the very end, both of which are such arrant cinematic affectations that I knew immediately -- without ever having read the book -- the scenes were supplements of the screenplay.
The film opens with a flash-forward revealing its two main characters in a car crash on an icy road. This disclosure has the opposite of its intended effect -- it squelches half the story's escalating tension because you already know what's coming, even if you don't immediately know the ultimate fate of the people in the car.
The faux pas at the end of the picture is that Benton overshoots a perfect finale (the last scene from the novel, I've since learned) for the sake of a heartstring-tugging Hollywood epilogue.
Continue reading: The Human Stain Review
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