Like a symphony that's incomplete because all the notes aren't available, what I didn't get out of this is a three-dimensional portrait of the subject. The show, structured as a dead or dying man's vision of his life played out like a movie and stage production, is loaded with talent and a detailed recreation of his period. The portrayal of the swank, rich life is as festive to behold as it is off-putting. The world in which Porter whirls and commands with assured, inevitable success is an alien one. Rather than feel a part of it, we are there to revel in the entertainment.
Continue reading: De-Lovely Review
Stop me if you've heard this one before: Two crazy girls overhear a crime going down, then decide to turn the tables on the criminals by extorting some cash for themselves. Hilarity ensues! Oh, you have heard it... well this time it's different -- you see, one girl is British and one is American.
Continue reading: High Heels and Low Lifes Review
I have two things I need to get off my chest right off the bat about "High Heels and Low Lifes." The first is, I'm dumbfounded that nobody at Hollywood Pictures was bright enough to catch and correct the grammatically erroneous title. Call it a pet peeve, but "Lowlifes" is one word, for cryin' out loud.
The second is, despite the fact that I'm about to rip into this picture for its non-stop, intelligence-insulting assault of idiotic clichés, plot holes, predictability and common sense chasms, "High Heels" has such an infectious, lively spirit that I wish it could have been better.
Minnie Driver and Mary McCormack play ditzy post-feminist pals living in London, who inadvertently overhear the coordination of a overnight bank heist on surveillance equipment belonging to Driver's lousy live-in boyfriend. (He's a wannabe avant-garde artist working on an "urban noise symphony" that includes snippets of intercepted cell phone calls.)
Continue reading: High Heels & Low Lifes Review
"This is one of those avant-garde things, is it?" says a droll, dubious and dying Cole Porter (Kevin Kline) as he sits in an empty theater at the beginning of "De-Lovely," watching his life pass before his eyes on the stage, in a production conducted by an enigmatic, ironic, ethereal director named Gabe (Jonathan Pryce).
The answer to his question is a delighted "yes." This film is an imaginative, deconstructionist, celebratory musical biography woven together from elements of theater, meta-cinema, chamber drama and Porter's own MGM musicals with gratifying -- if deliberately glossy -- results.
Kline opens the picture as a frail but feisty old man (the age makeup is remarkable) who, as he watches his own story unfold, is alternatively tickled ("Oh, look, it's an opening number!"), critical ("He'd never wear that! Change it."), fondly reminiscent and pained by regret. And the actor also plays the younger Porter in the bulk of the picture, which has a merry, dreamlike quality to its stop-and-start interactions with the elderly Porter and his theatrical spirit guide.
Continue reading: De-Lovely Review
Ricki and the Flash is a music comedy drama about the high price of a musician's pursuit of fame.
The new doc comes courtesy of '20 Feet From Stardom’ filmmaker Morgan Neville.
Gaz Coombes has reworked the title track from his latest solo album 'Matador' and is planned to be released as a limited edition EP on numbered and...
Pine will star opposite Gal Gadot in the upcoming Warner Bros. comic book movie.
The model turned actress was promoting her new movie ‘Paper Towns’ on the early morning talk show.
Sweet Baboo (aka Stephen Black) is set to release his fifth studio album The Boombox Ballads on August 14th through Moshi Moshi.