Michael Lerner

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Ashby Trailer

Ed Wallis has never really been the popular boy in his class and the thought of having to move to a brand new school and start over isn't exactly his idea of fun. Starting over in a new location with his mum, Ed soon becomes an easy target for the class jocks but he doesn't let it bother him. When he's given a new assignment from school to speak with and write an essay on an older person, Ed doesn't know where - or rather who - to turn to, that is until he sees his neighbour might and thinks he might be just the person to speak to.

Though hesitant at the start, the neighbour agrees to speak with Ed. After the duo spend some time together, Ashby and Ed soon open up to one another and form an unlikely friendship. Ashby teaches Ed some much needed life lessons and vice versa.

Ashby was written and directed by Tony McNamara and had its premiere at this year's Tribeca Film Festival. Natt Wolf recently starred in Paper Towns with Cara Delevingne and The Fault in Our Stars alongside Shailene Woodley.

23rd Annual Night Of 100 Stars Black Tie Dinner Viewing Gala At The Beverly Hills Hotel

Ron Masak - 23rd Annual Night Of 100 Stars Black Tie Dinner Viewing Gala at the Beverly Hills Hotel - Los Angeles, California, United States - Sunday 24th February 2013

Ron Masak

Mirror Mirror Trailer

We all know the tale of Snow White: the girl with hair as black as night and skin as white as snow but is that really the truth?

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Video - Michael Lerner Taking A Break From Acting

Actor Michael Lerner (Godzilla; Elf; A Serious Man) is seen leaving the Hollywood premiere of Like Crazy. Michael tells photographers that he enjoyed the screening and talks about Eddie Murphy, who he worked with on Harlem Nights. He also reveals he is taking a short break from acting.

Michael can next be seen in an untitled retelling of the classic fairytale Snow White, alongside Julia Roberts and Lily Collins, who are portraying the Evil Queen and the title character, respectively. The film is due for release in 2012.

Life During Wartime Review

Solondz takes a sideways approach to this sequel to his 1998 hit Happiness.

With an all-new cast, it feels almost like a jazz riff, playing with the characters and themes and sending them in new directions. And it's both hilarious and clever.

When she realises that her husband (Williams) hasn't overcome his urge to make obscene phone calls, Joy (Henderson) heads to Florida to see her sister Trish (Janney), who has told everyone that her husband Bill (Hinds) has died. But he's actually in prison for abusing a young boy. Trish is now seeing a nice Jewish man (Lerner) and being a bit too honest with her son Timmy (Snyder).

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Yonkers Joe Review

Making a film about a scam artist is probably a lot like being one -- no matter how solid an idea seems, it's really all about the execution. The life of a cheat lends itself to high drama and conflict, but it can also be riddled with clichés. Throw in a mentally disabled son and a shot at the big score, and you've got a combination of storylines so obvious, they seem destined to fail. But Yonkers Joe doesn't fail. It's a spunky little indie that succeeds past its cheap conventions.

Both the credit and the blame go to writer-director Robert Celestino. His cornball plot shouldn't work, but his direction, especially with actors, does. Chazz Palminteri (Celestino's executive producer) is the title guy, a gambling stiff with an amazing ability to cheat crap games. He'll belly up to a table, pull some David Blaine-like moves to drop tainted dice into a game, and make a fortune. Unfortunately, Atlantic City security has his number, and private games are too small for his ambitions.

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Slipstream Review

"It means everything and it means nothing at all. Life is so illusion-like, so dreamlike, that I think it's all a dream... a dream within a dream. What is real? What is fantasy? You grasp this moment and then, suddenly, it's gone. I was talking 10 minutes ago, but that's all gone..."

Isn't it funny that if a stockbroker said that, his friends and family would question his psychiatric health and advise him to find profession help, but when a 69-year-old Academy Award winner says that, he not only gets a movie made, but attracts a renowned cast and crew boasting a combined total of more than 250 awards, honors, and nominations?

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The Last Time Review

For the most part, the bad movies of today are bad for a common, if somewhat broad, reason. They exist merely as products. They neither entertain nor enlighten. They simply fuel the engine of commerce. (Imagine any recent Nicolas Cage or talking animal movie.) Their hackery and awfulness is conspicuous, often involving meaningless action, puerile humor, blaring pop songs, and an unconvincing story. The Last Time is a different sort of bad. It's bad on a much smaller scale. Its hackery and awfulness masquerade as intelligence and crafty storytelling. It doesn't exist to fuel the engine of commerce. It exists to pad the resume of everyone whose name appears in the credits.

Writer-director Michael Caleo clearly fancies himself a David Mamet acolyte. Like Mamet's Glengarry Glen Ross, The Last Time's plot centers on the vicious and primal world of high-pressure sales, and the dialogue comes out fast and caustic. Michael Keaton plays Ted, the top seller at a high-tech company whose product is frequently referred to but never actually defined. Ted is lonely, angry, and mean and he runs roughshod over everyone in his office, including his toothless boss, John (Daniel Stern). Ted is openly pissed off when he's directed to help orient the new guy, Jamie (Brendan Fraser). Everything changes, however, when Jamie introduces Ted to his gorgeous fiancée, Belisa (Amber Valletta). Ted takes an immediate interest in Belisa -- and his feelings only strengthen when he discovers that Belisa and Jamie aren't entirely happy together.

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Safe Men Review

See what Sam Rockwell and Steve Zahn looked like before they both let their hair go insane. This very little-known (and just plain little) indie comedy is extremely witty and often perverse. Even without the humor, the film is worth seeking out to see all the other roles by up-and-comers (at least at the time), including Paul Giamatti and Mark Ruffalo. The nutty premise involves two wannabe singers (Rockwell and Zahn) who are mistaken for safecrackers and threatened into doing a series of safecracking jobs. Not a single serious moment ensues. Excellent.

Poster Boy Review

Poster Boy is an overwrought drama far more interested in making political points than in entertaining its audience. The story of an arch-conservative Senator whose reelection campaign is threatened by the potential outing of his estranged gay son, it's held together with a hard-to-accept mish-mash of coincidences, pontifications, and badly lit sex scenes, all shot with a shaky handheld camera that inspires more wooziness than urgency.

The obese and ugly North Carolina Senator Jack Kray (Michael Lerner) keeps his boozy wife (Karen Allen) on a very short leash and would do the same to his college student son Henry (Matt Newton) if Matt were still close enough. When they reunite on the eve of a speech that the Senator will deliver on Henry's campus, Henry is appalled to find out that father wants him to deliver a fawning introduction to dear old dad. When Henry balks, Dad simply smacks him in the face. Nice.

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Art School Confidential Review

Few things are more mystifying to outsiders than the world of modern art. Which of course makes it the perfect backdrop for a Terry Zwigoff film. Where else is eccentricity, flamboyance, and pretension considered normal? And who's more alienated and misunderstood than an art student rejected by his art school classmates, who are, quite naturally, alienated and misunderstood themselves? Art School Confidential, Zwigoff's latest, mines this territory for humor and poignancy, raising questions about the nature of art and alienation.As in Zwigoff's previous films, which include Crumb, Ghost World, and Bad Santa, Art School's hero is far from heroic. Played by Max Minghella, with his dark eyes and brooding bushy brows, Jerome Platz is a young art student whose primary aspiration is to be the greatest artist of the 21st century, the next Picasso. His secondary concern -- to find an emotional, intellectual, erotic connection with a woman -- proves even more ambitious since he feels only one girl, luminous art model Audrey (Sophia Myles), is worthy of his attention.The trouble is, after an initial connection with Jerome, Audrey shifts her attention to another freshman painter, the hunky Jonah, whose simple, innocent paintings have turned him into something of a campus hero. In order to win Audrey back, Jerome asks for the help of Jimmy (Jim Broadbent), a bitter, reclusive, alcoholic painter. Broadbent's performance is the film's strongest, which is saying something in a film packed with celebrated actors. His Jimmy is sensitive and fearsome, wise, and terrible -- all at once. At several points in the film, during fits of artistic pique, Jimmy's eyes flash with anger and fix on Jerome -- and the misery of a rotten, wasted life paralyzes both Jerome and the audience. The jolting power of these moments, of Broadbent's poisonous eyes, makes his turn a thing to behold.Jerome's classmates and instructors at the Strathmore Institute figure prominently in the film's wry exploration of what makes good art good, and what makes the truest art timeless. Professor Sandiford (John Malkovich) is a failed painter who is unable to see Jerome's talent and potential but wouldn't mind sleeping with him. Jerome's roommate Vince (Ethan Suplee, of TV's My Name Is Earl) is a fast-talking, sexually obsessed film student. And Jerome's friend Bardo is a talentless, wayward womanizer who doesn't belong in art school. Several heavyweight actors play the bit parts that round out the cast, including Angelica Huston as a sage art history professor, Steve Buscemi as a freewheeling gallery owner, and Michael Lerner as a greedy art dealer.Art School marks Zwigoff's second collaboration with Daniel Clowes, who wrote both the screenplay and the graphic novel on which it was based. Their first collaboration, the 2001 film Ghost World, earned them an avalanche of critical praise and an Academy Award nomination for Best Adapted Screenplay. However, Art School isn't as good as Ghost World, despite their abundant similarities. The connection between the central characters in Ghost World, Thora Birch's Enid and Buscemi's Seymour, was fascinating, odd, and easily understood. Jerome and Audrey's relationship, meanwhile, never takes shape, partly because Audrey's character is completely lifeless. Zwigoff and Clowes never get around to showing us who she is or what she wants. It's never clear why she would turn her back on Jerome to pursue Jonah when she knows better than anyone that Jerome is the real talent.Such problems keep Art School from the heights of achievement of Ghost World and Crumb, but don't keep it from being a provocative, entertaining movie. Art School will go down as a minor work from the maker of off-kilter gems.Between you and me...

For Richer Or Poorer Review

Not quite as bad as you've heard, but bad nonetheless. For Richer or Poorer certainly scrapes the bottom of the comedy barrel for Amish humor, done better in Kingpin, without the schmaltz. The story of an estranged husband and wife on the run from the IRS is a throwaway, but this Witness-gone-awry has a few redeeming moments. Probably not one for the permanent collection, but it's better than most sitcoms.

Godzilla (1998) Review

The sad thing about the cast of the new Gozilla is this: you can't put a name for the part of Godzilla. In lieu of such, I state that Godzilla stars Matthew Broderick, Jean Reno, Maria Pitillo, Hank Azaria, Kevin Dunn, and a really big lizard.

Any movie that has a cast like that should give you an immediate clue as to the cinematic quality.

Continue reading: Godzilla (1998) Review

Celebrity Review

Another fall, another movie from the Woodman.

Shot in black and white and filled with about 30 big-name stars, Celebrity is a welcome return to old-school Allen, his first really good film since 1994's Bullets Over Broadway.

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The Postman Always Rings Twice (1981) Review

This remake of the original Postman Always Rings Twice has long been touted as the tougher, sexier, and steamier version of the film -- but other than showing a little more blood and a lot more skin, the movies are virtually identical. Both are good movies, but the remake still feels a little unnecessary. Lana Turner did a better femme fatale than Jessica Lange, and Jack Nicholson is at least John Garfield's equal. But director Bob Rafelson doesn't do much different here at all (think Gus Van Sant's version of Psycho), which ends up leaving the original to shine all the brighter.
Michael Lerner

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