By taking a sensitive, honest approach to this true story, breakthrough filmmaker Lewin both avoids sentimentality and keeps the focus on the inner lives of the central characters. He also somehow manages to make a movie about a sexual surrogate strongly involving: we are never even remotely tempted to giggle.
This is the story of Mark O'Brien (Hawkes), a journalist from Berkeley, California, who lives in an iron lung that he can only leave for a few hours a week. Paralysed from the neck down by polio as a young boy, Mark decides at age 38 that he wants to lose his virginity. Consumed by Catholic guilt about this desire, he consults his local priest (Macy), who says he deserves a pass on this one. So his no-nonsense assistant Vera (Bloodgood) finds him a surrogate in Cheryl (Hunt), who starts eight sessions that are designed to lead to sex. And as she gets to know Mark, Cheryl begins to let her guard down.
Lewin refuses to shy away from any aspect of this story, confronting everything in honest, sometimes uncomfortable ways that are never remotely sentimentalised. It would be easy to drift into syruppy schmaltz with this kind of material, but the script maintains a bracingly sharp wit, and the actors cleverly underplay every scene. This adds to the realism and helps us understand all of the people on-screen. Hawkes and Hunt are both transparent and revelatory, each in a difficult role that could have been much showier, but is stronger due to their restraint. Macy and Bloodgood are terrific as the sardonic supporting characters. And Marks (as another assistant) and Arkin (as Cheryl's understanding husband) add terrific layers to their much smaller roles.
Continue reading: The Sessions Review
In recent times Kate and Bill's marriage has been a little fragile. Both are committed to their jobs and their 18 year old son, Sam, is spending less and less time in the family home; the Carroll's aren't the family they once were. When Bill and Kate wake up one morning to hear on the news that someone at their son's college has gone on a shooting rampage, they fear for the safety of their son. With the campus on lock down, the only thing they can do is try and call Sam and check everything is OK, as they wait for confirmation of their sons safety, they are greeted by a knock at the door. Not only was Sam killed, he was the one who took the lives of seventeen people.
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After his release from prison, a driver (Johnson) is reunited with his beloved muscle-car and immediately puts a bullet in a man's head, which is only the beginning of his vengeance after being set up and left for dead. The police (Thornton and Gugino) are on his trail, as is a hot-blooded killer (Jackson-Cohen) who's distracted by his gun-happy girlfriend (Grace). But the driver is moving so fast that he doesn't need to hide. He's also brazenly unswerving in his mission to settle this old score.
Continue reading: Faster Review
That's how long we've been hearing about humanity's war against the machines, a battle James Cameron first initiated in 1984 when he sent Arnold Schwarzenegger back in time to terminate an unsuspecting Linda Hamilton. Armageddon was averted, then later triggered, in subsequent sequels before arriving at Salvation. But our predestined, apocalyptic future looks a lot like products from Hollywood's past. Specifically, imagine the love child of Mad Max and The Matrix as delivered by Michael Bay, and you're beginning to get this picture.
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Moon Bloodgood and Jeffrey Donovan - Moon Bloodgood and Jeffrey Donovan Miami Beach, Florida - The Blacks Annual Gala to benefit The Consequences Program and Bay Point Schools at the Eden Roc Resort & Spa - Arrivals Sunday 19th April 2009
That's right: I walked out (after an hour). And this is the only movie I've walked out of my entire life.
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The year for some reason -- the actual events happened in 1957 -- is 1993. Walker plays a guide at the National Science Foundation's base in Antarctica, where he and his eight sled dogs cover the terrain, helping with expeditions. Bruce Greenwood plays a big-shot scientist who comes to the cold continent looking for the remains of an asteroid or something else out of a Michael Bay movie. The men head out on the sled, encounter a heap of trouble, and barely return to headquarters.
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Structured similarly to "When Harry Met Sally,"with its fated couple crossing paths every few years without the romanticpieces quite falling into place, the movie opens "7 years ago,"with meek, shaggy-haired, 20-ish Oliver (Ashton Kutcher) watching fromafar as a magnetically temperamental proto-punk named Emily (Amanda Peet)has a blow-up with a boyfriend who is dropping her off at Los Angeles InternationalAirport.
While waiting for the same flight to New York, these twoexchange long stares (his dumbstruck and smitten but empathetic, hers asad but indignant "what are you lookin' at?!") that establishilluminating layers of humor and character without a single word of dialogue.In this one tacit scene, Peet delivers on the promise of all her sublimesupporting performances (in movies like "TheWhole Nine Yards," "IgbyGoes Down" and "Something'sGotta Give"), and Kutcher ("That '70sShow," "GuessWho?") reveals a hitherto unrealized depthand charm.
Then during the flight, on a whim of newly unfettered lust,Emily follows Oliver into the airliner's tiny bathroom and jumps his bones.
Continue reading: A Lot Like Love Review
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