L to R, Michael Emerson, Amy Acker, Sarah Shahi, Kevin Chapman and Jim Caviezel - The Paley Center for Media Presents Paleyfest Made in NY Person of Intrest 10 03 13 - NYC, NY, United States - Friday 4th October 2013
The Cast, Person, Interest, L-R, Kevin Chapman, Taraji P. Henson, Michael Emerson and Jim Caviezel - The Cast of Person of Interest, L-R, Kevin Chapman, Taraji P. Henson, Michael Emerson, Jim Caviezel, Monday 24th September 2012 at the screening of 'Person of Interest' - Arrivals
Muscled ladies' man Black Dynamite (White) is a legend in 1970s drug-ridden Los Angeles. When his brother is murdered in a drug deal gone wrong, he teams with his former CIA colleague O'Leary (Chapman) to solve the mystery. He gets help from his pals, the flaming Cream Corn (Davidson) and tough-guy Bullhorn (Minns), and also has time to romance the orphanage activist Gloria (Richardson). And the trail to the killer leads him through the kung fu treachery of the fiendish Dr Wu (Yuan) right to Tricky Dicky's White House.
Continue reading: Black Dynamite Review
Real-world credibility is a really big problem for "In Good Company," a weightless, dishonest dramedy about a middle-aged ad man whose 20-year career is upended when a corporate takeover sees him demoted in favor of a clueless, under-ripe young executive.
Dennis Quaid is believable enough as the head of ad sales for a sports magazine, and Scarlett Johansson is well cast as his 19-year-old daughter who becomes an object of desire for Quaid's wet-behind-the-ears new boss. But Topher Grace, who was great as a young man in over his head with an older woman in "P.S." a few months back, is badly miscast as the nervous ladder-climber who takes over Quaid's job, then uses the older man's experience like a life raft to keep himself afloat. And that's one of the movie's lesser problems.
Written and directed by Paul Weitz (who made "American Pie" and "About a Boy" with his brother Chris), almost every scene in the movie lacks authenticity on some level. There's never a single discussion of sports in the offices of Sports America, where not a single person wears a team jersey or baseball cap, and where there's not a single TV anywhere in sight for watching sporting events. The wood-paneled halls are populated entirely by tired, 50- and 60-year-old men (like character actors Philip Baker Hall and David Paymer) in drab suits, whom Weitz portrays as sacred cows being led to the slaughter by the insolent invasion of youth culture.
Continue reading: In Good Company Review
The third line of dialogue in "Ladder 49" is the all too familiar refrain "I'm gettin' too old for this s***!" -- an indicator that freshness and originality weren't the highest priority for this firefighter drama built around a post-9/11 brand of sacrificial All-American heroism.
But the formidable opening image of a towering warehouse embraced in the beautiful, horrible tentacles of a furious fire goes a long way toward gluing you to your seat anyway -- especially once fireman Jack Morrison (Joaquin Phoenix) is trapped inside by a floor collapse only seconds after saving a civilian's life.
As the injured Jack awaits what may be an impossible rescue, the film revisits in flashbacks his 10 years as a firefighter, husband and father, beginning with his practical-joke-filled first days at his Baltimore firehouse and at his first fire, where for the sake of character arc and moviegoer accessibility he's made to seem a little too inexperienced to be credible.
Continue reading: Ladder 49 Review
Clint Eastwood is a uniquely self-possessed director in the face of short-attention-span modern Hollywood. He isn't afraid to take his time telling a story, letting it breathe like a good wine and thereby making it feel more like life than a movie, as the winds of emotions and atmosphere blow through each scene.
His more profound dramas aren't just set in a place and time -- they take you there. This is true of the cruel, muddy underbelly of the Old West in "Unforgiven," it's true of the sleepy, humid, esoteric mint-julep charm of Savannah in "Midnight in the Garden of Good and Evil," and it's true of the downtrodden, blue-hued, 24-hour dusk of South Boston -- and the psychological wreckage of the characters therein -- in his tragic new mystery "Mystic River."
The story is of three distant childhood friends whose lives collide back together, after 25 years, with the murder of one man's daughter. But that murder doesn't come in the opening scene or even in the opening reel. Eastwood and screenwriter Brian Helgeland ("L.A. Confidential," and Eastwood's "Blood Work"), who adapted a novel by Dennis Lehane, first linger in the lives and street-stickball memories of Jimmy (Sean Penn), a bottled-up ex-con fiercely devoted to his family; Sean (Kevin Bacon), an exacting homicide detective; and Dave (Tim Robbins), whose kidnapping by a sexual predator when the boys were young shook their friendship and shaped their lives, leaving Dave an meek, unstable wreck of a man with demons at play in his subconscious.
Continue reading: Mystic River Review
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This outrageously wacky blaxploitation pastiche keeps us laughing nonstop for its first hour, simply because...
Real-world credibility is a really big problem for "In Good Company," a weightless, dishonest dramedy...
The third line of dialogue in "Ladder 49" is the all too familiar refrain "I'm...
Clint Eastwood is a uniquely self-possessed director in the face of short-attention-span modern Hollywood. He...