Restauranteering is not a profession that should be taken lightly. Indeed, it's less of a job and more of a way of life for Adam Jones, who has wanted to become the greatest chef the world has ever seen since as long as he can remember. He was just 16-years-old when he left school to go to Paris and achieve his dream; becoming a Michelin star chef infamous across the Parisian culinary scene. But his rise to success came much too soon, and it wasn't long before his dream began to crumble around him, beaten by a life of drugs, violence, and volatile behaviour. With many of his opponents thinking him dead, he returns to London a new man to reignite his passion, earn a third Michelin star, and open the best restaurant in the world. All he needs is a talented team behind him, who is willing to give him the benefit of the doubt.
Continue: Burnt - Teaser Trailer
An unusually inventive approach brings this story to life, as the filmmakers get into the mind of the Beach Boys' Brian Wilson to reveal how he created those unforgettable songs. Even more impressive is the depiction of Wilson's troubled personal life, which plays out with an unnerving resonance rarely matched by rock-star biopics. This is due to artful direction and writing plus committed performances from Paul Dano and John Cusack, who play Wilson at two key points in his life.
As a young man in the 1960s, Brian Wilson (Dano) is a prodigious genius, preferring to stay in the studio while his brothers Dennis and Carl (Kenny Wormald and Brett Davern) and their bandmate Mike Love (Jake Abel) head out to meet girls on tour. They don't understand Brian's obsession with oddball sounds, but let him do his thing until it becomes clear that he's mentally unstable. Years later, in the late 1980s, Brian (now Cusack) falls for Cadillac saleswoman Melinda (Elizabeth Banks), who realises that he is being over-medicated and possibly abused by his controlling psychiatrist guardian Eugene (Paul Giamatti). And instead of leaving, as Eugene orders her to do, she fights for Brian.
These two time periods are interwoven together in a strikingly seamless way, shifting back and forth to build a potent dramatic and emotional momentum. By seeing everything from Wilson's perspective, the filmmakers are able to take the audience on a remarkable journey through his life, avoiding the usual predictable formula. Wilson's life may follow the usual trajectory of success followed by drug abuse, but his mental illness adds an involving angle that's depicted with sensitivity by Dano and Cusack, as well as director Bill Pohlad and writers Oren Moverman and Michael Alan Lerner. Even more impressive is Banks' performance, which is the key that takes us right into the story. It's a beautifully textured turn that reminds us that she can do a lot more than steal movies in comical roles (see Pitch Perfect, Magic Mike and The Hunger Games).
Continue reading: Love & Mercy Review
The Weston family know they are probably one of the most dysfunctional families around, but they do understand that sometimes it's best to stick together. Violet Weston is the family matriarch suffering from mouth cancer and heavily addicted to prescription drugs which only gets worse after the apparent suicide of her husband Beverly. As the funeral approaches, Violet's three daughters Barbara, Ivy and Karen and their families arrive at the house they grew up in, along with some other estranged relatives, hoping to get the whole ordeal over and done with fairly quickly. However, things don't go as smoothly as they, perhaps naively, hoped as they discover a whole load of closet skeletons they'd rather have not known about.
'August: Osage County' is a remarkable dark comedy directed by multi-Emmy winning John Wells ('The Company Men') and based on the Pulitzer Prize winning play of the same name by Tracy Letts ('Bug', 'Killer Joe'). It has been produced by George Clooney and Harvey Weinstein and is a warts-and-all story about the trials and tribulations of family affairs, uncovering both the heartwarming and the heartbreaking secrets that underline all families. It is set to be released in the UK on January 3rd 2014.
Bobby Walker (Affleck) is a high-flying shipping executive stunned when he's fired after 12 years on the job. Company founder Gene (Jones) is furious at the CEO (Nelson) for sacrificing thousands of employees to guarantee bigger profits for stockholders and executives. And his 30-year-veteran colleague Phil (Cooper) is worried that he might get the chop in the next wave of cuts. While Bobby struggles to accept his unemployment, his wife (DeWitt) is more realistic, suggesting that Bobby take a job with her builder brother (Costner) to tide them over.
Continue reading: The Company Men Review
John Wells and The Company - Marilyn Wells, Director, John Wells and son Jack Wells New York City, USA - Screening of the new film 'The Company Men' at The Paris Theatre - Arrivals Wednesday 8th December 2010
John Wells, AFI and The Company - John Wells with his wife Marilyn Wells and daughter Madison Wells Hollywood, California - AFI Fest 2010 - 'The Company Men' screening held at Grauman's Chinese Theatre - Arrivals Wednesday 10th November 2010
When creator Aaron Sorkin left The West Wing abruptly in 2003, many people wrote the show off. Sorkin imbued the show with his naïve left-liberal bias and scripted much of its glib dialogue, and his leaving seemed to guarantee an identity crisis. In fact, The West Wing was really nothing more than Sorkin's personal wish fulfillment: What if we elected a strongly moral liberal Democrat as president? Or to put it a different way, what if President Clinton (who was still president when the show started, in 1999) had been even more liberal, and not horny all the time? Sorkin's answer was Jed Bartlet, the imaginary president played by Martin Sheen. Bartlet is sort of a Ted Kennedy with gravitas -- a sententious, northeastern liberal Catholic who, because this is TV, is always right. (With John Kerry we actually had a chance to elect someone like Bartlet, minus the intellectual rigor, and not too surprisingly, the electorate didn't go nuts over him. Of course, Kerry was not as telegenic as Martin Sheen.)
Continue reading: The West Wing: Season Six Review
In the wilds of Australia, a mother cheetah is mauled and eaten by two lions, leaving her three cubs to fend for themselves. One of these cubs is picked up by a young Australian boy, Xan (Alexander Michaletos), and his father, Peter (Cambell Scott). On their way home, father and son decide to keep the cub and raise it as their pet, giving him the name Duma. It is obvious that the father and son have a strong connection, and it's made especially clear when they arrive home and the mother (Hope Davis) is hardly seen. Well, little Duma grows up and gets too big for farm life, so Peter tells Xan that they will take Duma back where they found him. Tragically, Peter loses his long battle with cancer and dies right before the trip is to take place. Xan finds it hard to get used to his new city home and, needless to say, so does Duma. After a panic breaks out at his school, Xan decides he needs to take Duma home himself. They take Peter's motorbike and head out to find Duma's home, running into a lost tribesman and several kinds of wildlife on the way.
Continue reading: Duma Review
A few years later, after the deaths of both Carlton and his mother, Bobby is a puppy-eyed teenager who inherited Carlton's magnetic personality and utter lack of guile, which is what attracts another teen, the gawkier Jonathan, to him. After his dad dies, Bobby moves permanently into the Glover household as a sort of unofficial adopted brother to Jonathan - except that they're brothers who occasionally make out and smoke joints with Mrs. Glover (Sissy Spacek). The rather uptight Jonathan (he wears glasses and has braces, you see) can't handle Bobby's openness and is more than a little jealous of how eagerly her mother has embraced him into their family, and their romantic relationship stalls.
Continue reading: A Home At The End Of The World Review
The novel White Oleander was a 1999 selection of the ubiquitous Oprah Winfrey Book Club and you can tell why: There are so many brutally dysfunctional people in the story that Dr. Phil could produce months of television delving into their sorry lives. Astrid (Alison Lohman) is an only child, growing up in the Hollywood Hills with Ingrid (Michelle Pfeiffer), her eccentric, urban-arty mother. After a series of events that Kosminsky smartly keeps off-camera, Ingrid kills her boyfriend. Or does she? And how? Regardless, the beautiful, hopeful, young Astrid is picked up by state services and sent to live in a double-wide with a foster family.
Continue reading: White Oleander Review
Based ever-so-loosely on Sinbad's literary escapades, the film shows our courageous thief (voiced by Brad Pitt) in pursuit of the mystical Book of Peace. When mischievous goddess Eris (voiced by Michelle Pfeiffer) steals the book from Proteus (voiced by Joseph Fiennes), she frames Sinbad for her crime. Now the self-centered rogue and his stowaway love interest, Marina (voiced by Catherine Zeta-Jones), must reclaim the book from the Realm of Chaos to prove Sinbad's innocence and spare Proteus' life at the hands of an executioner.
Continue reading: Sinbad: Legend Of The Seven Seas Review
The closest thing to a best friend that Alig had was James St. James (Seth Green), a trust fund kid with pretenses of writing the Great American Novel but who dulled the agony of his writer's block with endless clubbing and drugging. Sauntering about the streets of New York in a collection of designer trash togs, James was the role model for Alig when he first came to town. When Alig started making a name for himself, throwing parties at Limelight for easily-charmed Peter Gatien (Dylan McDermott in a fierce eyepatch), he put together a band of self-created "superstars" decked out in baroque costumes, modeled on Warhol's Factory of people who were famous for being famous, and James was the biggest; after Alig, of course. "I didn't want to be like the drearies and normals," he says, "I wanted to create a world full of color, where everyone could play. One big party that never ends."
Continue reading: Party Monster (2003) Review
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