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After Party Celebration for Grounded - Arrivals

Sam Rockwell and Josh Hamilton - After party celebration for Grounded at the Public Theater - Arrivals. at The Public Theater, - New York City, New York, United States - Saturday 25th April 2015

Sam Rockwell and Josh Hamilton

Opening night of 'The Heidi Chronicles' - Arrivals

Josh Hamilton - 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

New Group 20th Anniversary Gala - Arrivals

Josh Hamilton - A variety of stars were photographed as they arrived for The New Group 20th Anniversary Gala which was held at the Tribeca Rooftop in New York City, New York, United States - Monday 9th March 2015

Josh Hamilton
Josh Hamilton
Josh Hamilton

Hamilton Opening Night Arrivals

Josh Hamilton - Opening night of the Alexander Hamilton bio-musical Hamilton, at the Public Theater - Arrivals. at Public Theater, - New York, New York, United States - Tuesday 17th February 2015

Josh Hamilton

Constellations Opening Night Arrivals

Josh Hamilton - Shots of a host of stars as they arrived for the Opening night after party for Broadway's Constellations, the event was held at the URBO restaurant in New York, New York, United States - Wednesday 14th January 2015

Dark Skies Trailer

Daniel and Lacey Barret have always lived a happy and quiet life in their typical suburban American home with their two loving children Jesse and Sam. However, their tranquillity is tested when strange things start happening around the house. Objects are rearranged in their home, hundreds of migrating birds are killed after flying into their windows compelled by some unknown energy and the family start to develop strange illnesses and injuries on their bodies starting with Sam. It becomes obvious that they are dealing with a malevolent alien force intent on destroying the family, children first, and Daniel and Lacey must confront the force head on if they have any chance of survival. To help them, they enlist the help of an expert who claims to have knowledge on what has been happening, after discovering that similar things have happened elsewhere. 

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J. Edgar Review

Exquisitely designed and directed, with finely tuned performances that shine even through some heavy make-up, this true story never quite succeeds in conveying its central relationship. Sure, repression is the point, but passion would have made the film heartbreaking rather than just sad.

John Edgar Hoover (DiCaprio) was only 29 when he became director of the Bureau of Investigation (later the FBI), and he ruled supreme until his death in 1972, holding eight US presidents in the palm of his hand with his notorious files of personal secrets. But he also had loyal friends, including his secretary Helen (Watts) and his right-hand man Clyde (Hammer). As a young man, his mother (Dench) instilled in him a hatred of liberalism and homosexuality, so his enemies included Martin Luther King, Robert Kennedy (Donovan) and himself.

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Away We Go Review

The fifth film by British theater director Sam Mendes, Away We Go, is the most unkempt movie the director has made so far in his career. It was made while he was still in post-production for last year's excellent adaptation of Richard Yates' Revolutionary Road, a film that was dependent on its form and staginess, and there's a sense that Away was made as a sort of counterpoint not only to the familial dread of Road but also to its style.

It is also the screenwriting debut of the wildly post-modern novelist Dave Eggers and his wife Vendela Vida, novelist and co-founder of literary zine The Believer. Being the recent parents of two children, there's certainly a self-reflexive quality to their script, which tells of the travels of a pair of expecting parents attempting to find a proper home for their awaited progeny.

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Alexander The Last Review

For the last couple of years, filmmaker Joe Swanberg has been one of the unofficial "people to watch" in the indie movie world. A passionate participant in the "mumblecore" movement, he gained attention with Hannah Takes the Stairs in 2007, and scored solid reviews (including mine) with 2008's Nights and Weekends. With Alexander the Last, Swanberg aspires to the next level -- in story scope, character development, and artistic commentary -- and just misses the mark.

It's not for lack of trying. Swanberg builds a loose character setup within an ambitious background of reality and artifice. He asks us to consider when intimacy is true, when it is simply make-believe, and when the hell we should be able to tell the difference.

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Outsourced Review

The offshoring of U.S. jobs remains a hot topic in the news... and now it's a hot topic in the movies, too. (At least four projects called Outsourced have been produced in the last three years alone!)

Everyman Josh Hamilton carries this premise handily: His game of computer Solitaire is interrupted by his boss, who's telling him the customer service call center he manages is being shipped overseas, to India. If Todd (Hamilton) wants to keep his job, he'll fly over there and train the new folks, getting their time-per-call numbers down to something more profitable.

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Diggers Review

Listless clam diggers in 1970s Long Island... sounds like a recipe for comedy, right?

I'm not sure what director Katherine Dieckmann (best known as an R.E.M. video director) thought she was grabbing hold of here, but this melodrama (tinged with cheap gags) is all atmosphere, broad Lawn Guyland accents, and jokes at the expense of Jimmy Carter and Gerald Ford. Even the "crying Indian" makes an appearance.

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On_Line Review

Our culture is spending too much time online (shame on you, readers!) So making a movie about being an Internet surfer looking for love in all the wrong places feels redundant -- why would you want to watch a movie about searching for sex and love and, oh yeah, human connection via the Almighty Computer?

On_Line isn't even really a movie in the traditional sense. It feels more like a Web site. The cinematic frame, if you can call it that, is filled up with "pop up windows" as characters talk with one another over webcam. It's a distracting back and forth electronic collage, as bright young slacker John (Josh Hamilton, The House of Yes), suicidal waif Moira (Isabel Gillies), foxy sex goddess Jordan (Vanessa Ferlito), gay best friend Al (John Fleck), and other techno-geek characters communicate over the desktop.

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Kicking And Screaming (1995) Review

Opening night of the Austin Film Festival and Screenwriters' Conference brought me this little gem, a story of five guys who just got out of college, the three women that float amongst them, and the question that haunts them all, "What the hell am I going to do with my life?"

I wouldn't look to Kicking and Screaming for the answer. Rather, the movie is a hilarious example of what not to do when you graduate. The guys, Chet (Eric Stoltz), Grover (Josh Hamilton), Max (Chris Eigeman), Skippy (Jason Wiles), and the show-stealing Otis (Carlos Jacott), can't seem to give up the college life. They hang out at college bars, woo freshmen, and sneak back into classes. Otis can't even seem to get out of his pajamas.

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Don't Look Back Review

Yet another Eric Stoltz drug junkie thriller, only this time it's split between L.A. and Galveston, Texas. Body count = ~11. Oddly, this film has no known producer.

The House of Yes Review

It has often been said that films are like drugs. Let us expand upon this and say that films, in fact, are drugs of sorts. Not in the line that they are completely addictive and that one will begin to need a sort of Methadone to ween off of them but instead that they are drugs along the lines of caffeine. That each different type of movie is akin to a different type of coffee.

With this in mind, an analysis of dark comedies is possible. Dark comedies are triple-espressos drunk at two in the afternoon when your not tired but are already wired. In short, they are strong, biting, and only for the few that are immune to the residual effects.

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Josh Hamilton

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