This film demonstrates that you don't need guns to make an exciting thriller. Based on a true story, this is a journalistic procedural following a team of newspaper writers who take on a corrupt system. The outcome is well-known (they won a Pulitzer Prize and launched the global investigation into child abuse by Catholic priests), but the film is still utterly riveting, beautifully written and played to perfection.
In 2001, the Boston Globe's investigative Spotlight team is working to report the biggest stories in the city. So newly arrived senior editor Marty (Liev Schreiber) asks them to find out if there's truth to rumours that the local Catholic Archdiocese is covering up abuse. But he's unaware that the church controls the city, and the Spotlight writers (Michael Keaton, Mark Ruffalo, Rachel McAdams and Brian d'Arcy James) quickly encounter heavy resistance from the establishment. As they persistently dig deeper, they realise that the story is exponentially bigger than anyone thought it was. Two lawyers (Stanley Tucci and Billy Crudup) prove to be crucial in this process, as the team works to prove that the Cardinal (Len Cariou) has been covering up abuse for decades.
Cleverly, writer Josh Singer and writer-director Tom McCarthy never play this story for its salacious details. Instead, they focus on the people involved, which gives the film a strong sense of what's at stake here and the urgency of getting the story exactly right. It's a rare movie that can maintain this balance, gripping the audience and building suspense without ever tipping over into sensationalism. And the filmmakers bring out some strong emotional resonance in sensitive conversations between the journalists and the victims. All of this is expertly played by actors who stir in personal details without letting their characters' side-stories interfere with the larger narrative. They also resist the temptation to overplay the material, letting the facts of the case provide every gut-punch.
Continue reading: Spotlight Review
John Hamm, Elisabeth Moss, John Slattery, Christina Hendricks, January Jones and Matthew Weiner - AMC unveils a special art installation at the 1271 Avenue of the Americas, The Time & Life Building Plaza, in celebration of the iconic series, "Mad Men." - New York City, New York, United States - Monday 23rd March 2015
John Slattery - Shots of a host of stars as they arrived and took to the red carpet for a Special screening of 'Mad Men' which was held at The Museum of Modern Art in New York City, New York, United States - Monday 23rd March 2015
John Slattery and Guest - Shots of a host of stars as they arrived and took to the red carpet for a Special screening of 'Mad Men' which was held at The Museum of Modern Art in New York City, New York, United States - Sunday 22nd March 2015
John Slattery - Shots of a host of stars as they arrived to the Opening night of The Heidi Chronicles which was held at the Music Box Theatre in New York City, New York, United States - Thursday 19th March 2015
An awful lot has happened in the world - A Second World War super soldier has risen from the dead, a billionaire playboy has revealed himself as a costumed superhero, and the Norse God of thunder himself has come to earth on four occasions. So for Scott Lang (Paul Rudd), a petty criminal entrusted with the secret of his mentor's super-secret substance designed to shrink a person, it should be seen as just another day in the life for a person of planet Earth. Now, with the ability to shrink his down to a minuscule size while increasing his strength, Ant-Man is born.
Talia Balsam and John Slattery - Snaps of the stars as they arrived at the opening night party for 'It's Only A Play' held at the Marriott Marquis Hotel in New York, New York, United States - Thursday 9th October 2014
The marvel movie picks up speed with these new additions
The Ant-Man cast has added three interesting new members in John Slattery, Bobby Cannavale and the rapper, T.I. The movie begun production in San Francisco this week following a tumultuous few months.
John Slattery at the premiere for 'God's Pocket'
The new faces don’t have roles in Marvel’s upcoming superhero comedy franchise builder, but they’re certainly impressive additions. Slattery, in particular, is a coup for the studio – the actor, celebrated for bringing the character of Roger Sterling to life in AMC’s Mad Men, joins the likes of Paul Rudd Michael Douglas and Evangeline Lilly.
God's Pocket features a typically assured performance from Philip Seymour Hoffman.
John Slattery, the actor and filmmaker who many will know as Roger Sterling from Mad Men, is on the publicity trailer for his debut feature God's Pocket - a new drama featuring one of the final performances from Philip Seymour Hoffman. The actor - regarded as the finest of his generation - died from a heroin overdose after wrapping the movie.
Philip Seymour Hoffman [L] in 'God's Pocket'
The release of God's Pocket has subsequently been a bittersweet experience for Slattery, who told the Huffington Post UK, "I had compartmentalised it. When it happened [Hoffman's death], it was horrible and the movie came out in the US and I stopped talking about it. I hadn't talked about it in a long time, and it's not the experience I wanted to have."
Continue reading: God's Pocket: John Slattery On Seymour Hoffman, "I Wish He Was Here"
Mad Men begins its seventh and final season on Sunday. But how will it end?
Matthew Weiner, the creator of AMC's Mad Men which begins its final season on Sunday (April 13, 2014), says he thought of a "fitting end" to the show several years ago and wants to ensure "to leave the characters in a place where they're going to be in viewers' imaginations forever."
Don Draper in Mad Men, Season 7
The looming end to the Madison Ave drama will conclude the story of creative director Don Draper - a character generally considered as one of the greatest television creations in history, after being played with aplomb by Jon Hamm.
Continue reading: Matthew Weiner Thought Of "Fitting" Mad Men End, Years Ago
But this is a lighter movie, focussing on romance rather than weighty themes.
David (Damon) is a hotshot Congressman destined for greatness when a past indiscretion derails his Senate campaign. Not to worry: the Adjustors (Slattery and Mackie) will put things back to plan. But in the process there's a blip: David meets Elise (Blunt) and can't get her out of his head. He also discovers the existence of the Bureau, and subverting their plan becomes his goal. So they call in feared Adjustor Thompson (Stamp), and over the next four years the cat-and-mouse game escalates.
Continue reading: The Adjustment Bureau Review
Eastwood's follow-up, Letters from Iwo Jima, arrives in theaters early next year and will recount the battle from Japan's perspective. The director hired first-time screenwriter Iris Yamashita to develop Letters from an idea that screenwriter Paul Haggis proposed. He will employ an all-Asian cast, and will not use any of the actors we meet in Flags. It is yet to be determined whether the two movies will offer legitimate parallels, or exist as separate entities.
Continue reading: Flags Of Our Fathers Review
And so we come to the strange, sad, and rather crass case of Sam the Man, a creepy and just plain wrong romantic dramedy that's got no romance, few laughs, minimal drama, and a parade of hateful characters. Wrap them up in a cheap, out-of-focus, underlit, and inaudible package shot on cheap digital video, and the recipe for disaster is complete. Microwave on high for three minutes.
Continue reading: Sam The Man Review
Even when subject matter strikes an uncomfortable nerve, folks are still going to show up for a movie that stars Anthony Hopkins as a cold, emotionless career CIA man and Chris Rock as an unsuspecting agent-in-training, so it's necessary to discuss whether or not the film works. Sometimes Bad Company does, but often, it does not.
Continue reading: Bad Company Review
"Mona Lisa Smile" is such an appalling waste of talent it actually made me mad. Scratch that -- furious.
An ironically conformist piece of mock-intellectual fluff about a forward-thinking art history professor (Julia Roberts) rocking the boat at uppity, conservative, marriage-grooming Wellesley College in the 1950s, I'd call it an estrogen-infused "Dead Poet's Society," but even that would be giving the picture too much credit for originality.
To wit, the opening voice-over in which we're told "this bohemian from California...didn't come to Wellesley to fit in. She came because she wanted to make a difference." This gives way to a parade of Eisenhower-era stock characters, like the school's board of directors who bristle at Roberts' "subversive" audacity for, among other things, suggesting that "Picasso will do for the 20th century what Michelangelo did for the Renaissance."
Continue reading: Mona Lisa Smile Review
Even if it did drop the ball on tracking Sept. 11 terrorists, the real CIA still looks a whole lot smarter than their movie counterparts who recruit Chris Rock as a temporary agent in the dumb, loud and flashy action-comedy "Bad Company."
A high-gloss, low-IQ product of an unholy union between producer Jerry Bruckheimer ("Pearl Harbor," "Coyote Ugly," "Armageddon") and director Joel Schumacher (who helped bury the "Batman" franchise), the film plays like somebody spliced random moments of a Chris Rock stand-up routine into what is otherwise a cliché-riddled but self-serious spy thriller -- and did a poor job of it to boot.
Standing out like a circus clown at a funeral, Rock plays the long-lost twin brother of a CIA operative killed in the middle of negotiating a deal for a stolen Russian nuclear suitcase bomb. To keep the deal on track, a high-ranking spook played by the venerable Anthony Hopkins (what was he thinking?) taps Rock with the old "your dead twin brother was a spy and we want you to take his place" speech.
Continue reading: Bad Company Review
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