Kara Swisher, Mike Judge, Alec Berg, Thomas Middleditch, Kumail Nanjiani, Martin Starr, Zach Woods and Matt Ross - HBO Presents The Season Two Screening of Silicon Valley With Mike Judge and Alec Berg at The Village - San Francisco, California, United States - Thursday 9th April 2015
Chris Eigeman makes an impressive debut as writer/director of Turn the River, ably abetted by an intense, edgy star turn from Famke Janssen as a pool hustler who wants to grab her abused son away from his weak, alcoholic father and get the hell out of town fast.
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A schizoid doppelganger mind-bender wrapped around your standard ticking-bomb scenario (it's hidden somewhere in Los Angeles and could take out the whole basin if detonated -- or something), Face/Off is an utterly lunatic film in the best possible way. Originally a futuristic thriller, the script was retooled for a modern-day setting, keeping several of its sci-fi elements but focusing more intently on its personality-shifting aspects which seemed to come straight out of Woo's international breakthrough, The Killer. An FBI agent, Sean Archer (John Travolta) has been hunting jet-set super-criminal Castor Troy (Nicolas Cage) for years. For Archer, it's gone beyond personal to haunted obsession, particularly after Troy tried to shoot Archer but missed and killed his son instead. After a gonzo opening sequence involving a Humvee/private jet showdown on a runway and about ten thousand expended rounds (mostly fired by people flying sideways in slo-mo, of course), Archer's team brings down Troy.
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From the first notes of The Beach Boys' "God Only Knows" ringing under an otherworldly opening credit sequence, Big Love hints at a combination of somber connection and sincere personal adoration. At the center is Bill Henrickson (Bill Pullman), an ambitious home superstore owner who lives a clean, Utah Mormon life... along with his three wives and gaggle of kids.
Continue reading: Big Love: Season One Review
As its title would imply, The Aviator focuses Hughes through the lens of the airplane, his greatest passion in the world. Hughes is known for many things -- business, movies, his women, hypochondria, political scandal (the lattermost is barely touched in this film) -- but it's his love of and scientific advances with aircraft that have had the most lasting effects on society.
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The story of the witch-hunt has endlessly retold, usually laden with the same self-satisfied 20/20 hindsight that afflicts stories of the civil rights movement, and fortunately Clooney and co-writer Grant Heslov see no need to go through it all again. With admirable precision, they've sliced away most all the accoutrements often used to open up the era for the modern viewer, ala Quiz Show. This is a film that takes place almost entirely inside a CBS studio and newsroom, with occasional trips to hallways, elevators, and a network executive's wood-paneled office. Once, they all go out to a bar. It's best in the studio, because that's where we find Murrow - incarnated with almost indecent accuracy by David Strathairn - looking and sounding like as though Rod Serling had decided to rejoin the human race, his manner clipped and astringent, cigarette cocked in one hand like a talisman warding off evil.
Continue reading: Good Night, and Good Luck Review
The Manhattan-based indie traces a few weeks in the life of urban greenhorn Eddie (Matt Ross), whose titular move is from the wide-open, cheesy state of Wisconsin to the dog-eat-dog world of New York City. Eddie, a genetics researcher and rice breeder, faces the world alone -- a stranger in a strange land. He lives in a cheap motel while he tries to find a non-psychotic roommate, can't get a simple hamburger at a restaurant, and finds his Midwestern sensibilities out of place in the big city.
Continue reading: Ed's Next Move Review
It's eight years later, and Poiré has directed another small comedy about two 12th century Frenchmen (hmm, played by Jean Reno and that same popular French guy) who are mistakenly transported to Chicago 2000. Hey, wait a minute!
Continue reading: Just Visiting Review
At its heart, the movie is a haunted house flick in the vein of recent films like House on Haunted Hill and Thirteen Ghosts, albeit one that takes a long time to get going, a long time to build up a story, and a long time to get over with. But they had a lot of commercials to sell, so who can fault them, huh?
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Eschewing every pitfall of the biopic genre and delving deeply into the essence of both Howard Hughes' genius and his slow burn into madness, Martin Scorsese's "The Aviator" is a film of grand scope and masterfully intimate nuance, portraying a wild young mustang of a man who lived a fast life on an epic scale.
Presenting Hughes' view of the world as one in which nothing is impossible and the most momentous, groundbreaking decisions come instantly and instinctively ("What would controlling interest in TWA cost me?"), the film's crux is not the psychosis the man is best known for today, but his gift for sparing no expense to pursue novel visions no one else could see.
"We gotta reshoot 'Hell's Angels' for sound," Hughes decides on a whim in an early scene, after having already spent four years and millions of his own dollars perfecting his first foray into filmmaking -- a World War I epic featuring dozens of biplanes in an ambitious, jaw-dropping dogfight scene, parts of which Hughes shoots from a plane he flies into the fray himself.
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"American Psycho" could be called a personality sketch of a serial killer, but Patrick Bateman doesn't have a personality. His entire existence is a facade.
"There is an idea of a Patrick Bateman," he says in a chillingly apathetic voice over, "But there is no me. I simply am not there."
What is there in this icy, incisive adaptation of Bret Easton Ellis' controversial and bloody psychological thriller -- published in the wake of the Reagan-Bush era -- is an extremely black satire of 1980s aggressiveness and indulgence with a succulently twisted wit.
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The 2016 Republican candidate is already thinking ahead
Richards is eager to begin work on follow-up to 2005's 'A Bigger Bang', but doesn't reckon that will happen until April 2016 at the earliest.
The two-time Oscar winner has been cast as '50s TV sweetheart Lucille Ball, according to new reports.
The star, and committed advocate on environmental issues, took to the streets with dozens of Greenpeace protestors on Wednesday.
Set in an undisclosed African location, the video for the fifth single from '1989' has drawn criticism for its almost entirely white cast.
'The Danish Girl' is a true story of the very first identified transgender woman. The movie has been directed by Oscar winner Tom Hooper.
Florence + The Machine unveil a live recording of their performance of newest single 'Queen Of Peace' at Glastonbury 2015.
'Knock Knock' is a suspenseful horror with some unlikely villains.