Philip is a typical young English gent, except that he has a deepening desire for revenge burning in his heart. He believes that his strangely dark cousin Rachel Ashley has killed his guardian Ambrose for his money, only it's Philip that receives the inheritance in the end, not Rachel. When she arrives in England, Philip accepts her warily into his home, but despite all evidence against her, he can't help himself falling for her beauty and her grace. She's clearly an intelligent and deceptive woman, and everyone else can see that she is only charming Philip to achieve her own selfish ends. But it really doesn't matter how much he is warned about her by those closest to him - particularly Louise Kendall - he's only falling deeper under her spell.
Continue: My Cousin Rachel - Trailer & Featurette
With a sweeping, picturesque setting and emotive performances, this dramatic epic will appeal to moviegoers who enjoy beautiful imagery and weepy romance. On the other hand, those who get easily annoyed at melodrama will find all of this a bit thin and pushy. Still, no one will deny that it looks gorgeous, and that the cast performs with raw emotional intensity.
Set just after the Great War, the film follows shellshocked veteran Tom (Michael Fassbender), who has taken over the job as the lighthouse keeper and sole resident of the tiny island of Janus, where the Pacific and Atlantic meet. In the nearest town, 100 miles across the sea, he meets the beautiful Isabel (Alicia Vikander), marries her and moves her to the island with him. But their blissful happiness is shaken when she suffers two harrowing miscarriages. So it seems like fate is intervening when a boat washes ashore with a crying baby, which Tom and Isabel secretly adopt and pass off as their own daughter. Then a few years later Tom discovers the baby's real mother Hannah (Rachel Weisz) in town, and they're forced to grapple with the moral issues.
Tom, Isabel and Hannah all face increasingly difficult decisions as this story unfolds, and the events push every button carefully, removing much of the complexity from the situation. It's painfully clear what must happen, and many scenes are darkly disturbing as a result, especially as characters turn on each other, making some very selfish choices and showing unexpected compassion and understanding. Nothing that happens here is easy, and the actors invest the characters with plenty of passion, plus the complexity that's lacking in the script. Fassbender is stoic, Vikander is wrenching and Weisz trumps them both with her sympathetic yearning. There's also a terrific scene-stealing turn from the young Florence Clery as the daughter in question.
Continue reading: The Light Between Oceans Review
Professor Deborah Lipstadt spent her life documenting and writing about the atrocities that happened in concentration camps during the second World War. She wrote numerous books on the subject and in 1993 she eventually published a book on holocaust deniers, a conspiracy theory that was growing in strength mainly down to a few pseudo-historians and Nazi supporters who deny the holocaust ever happened - or at best claim the deaths and gassings have been vastly over exaggerated.
Rightfully documenting the danger of denial, Lipstadt's book brought to light just how such stories take shape to become plausible to readers and creators of such literature. One of the people she named in her book was the British historian David Irving who had written multiple books on Hitler and various parts of the war who supported the notion - amongst many other things - that Hitler didn't kill Jewish people for actively being Jewish and there were no gas chambers at Auschwitz.
Irving sues the professor and her publishers for Liable in the British court system and a long trial is set in motion. Lipstadt and her team of lawyers must find a way to prove in a courtroom setting that the holocaust did happen and Irving's claims (stated in her book) are false and that he is therefore a holocaust denier.
Continue: Denial Trailer
The Light Between Oceans comes as a new drama film and sees the themes of love and loss explored throughout its emotional narrative. Tom Sherbourne (Michael Fassbender) and Isabel (Alicia Vikander) are a couple who are living off the coast of Australia post World War I and are very much in love. However tragedy strikes when Isabel loses the child that she is carrying, which leads to an emotional torture that leaves them both heart broken. In this mist of sadness, a light of hope comes in the form of a baby girl, who is washed up on their beach in a boat with her dead father. Isabel sees this as a gift from God and pleads to Tom that they should raise her as their own child.
Continue: Light Between Oceans Trailer
The Hunger Games shoots in Paris, Warren Beatty films his Hughes biopic in L.A., and Rachel Weisz and Colin Farrell hit the set in Dublin. Trailers reveal more of The Expendables 3 and the Ninja Turtles reboot. And there's a back-stage glimpse of The Giver, while new clips build anticipation for X-men: Days of Future Past...
In Paris, Jennifer Lawrence was caught on camera as she shot scenes for The Hunger Games: Mockingjay Part 2 involving a huge crowd of elaborately costumed extras. The hotly anticipated Mockingjay Part 1 opens this coming November, with Part 2 coming in 2015. Check out photos from 'The Hunger Games: Mockingjay - Part 2' film set in Paris - May 2014.
Meanwhile in Los Angeles, Warren Beatty was shooting his new Howard Hughes movie out on the streets where photographers caught Matthew Broderick and a glammed-up Lily Collins at work. The still-untitled film centres on an affair the elderly Hughes (played by Beatty) had with a younger woman. Costars include Annette Bening, Martin Sheen, Alden Ehrenreich, Brooklyn Decker, Oliver Platt and Candice Bergen. The film will be out next year. Take a look at the photos of Lily Collins and Matthew Broderick prep for filming 'Untitled Warren Beatty Project' - May 2014.
Rachel Weisz - On the set of Giorgos Lanthimos movie 'The Lobster'. A love story set in a dystopian near future where single people are arrested and transferred to a creepy hotel. There they are obliged to find a matching mate in 45 days. - Dublin, Ireland - Monday 5th May 2014
Craig's Bond status, amongst other things, drew crowds from far and wide
The Daniel Craig starring Harold Pinter play Betrayal has taken over $1.1 million for just seven preview shows on Broadway, breaking the Barrymore theater box office record previously set by Death of a Salesman in 2012, according to Variety.
The success comes as no surprise, given Craig's status as the current James Bond and the added intrigue that comes with the very private actor starring opposite his wife. The advance hype for the show was monumental and Betrayal sold out its limited run before performances had started.
The talented actress will walk the London boards for Tennessee Williams' famous play.
Gillian Anderson Is Returning To Stage Acting.
Performed by the Young Vic, the play will be directed by Benedict Andrews who is known for having had great success with Chekhov's Three Sisters at the Young Vic in 2012. The X Files actress began her career in theatre before she found fame on the small and big screens, however Streetcar will mark her first major return to the theatre for some years. Fresh from her acclaimed BBC2 thriller, The Fall,
Christina Aquilera and Rachel Weisz - TIME 100 Gala TIME'S 100 Most Influential People In The World at Jazz at Lincoln Center- Inside Arrivals Featuring: Christina Aquilera Where: New York City, New York , United States When: 23 Apr 2013 Credit: Andres Otero/WENN.com"OZ The Great And Powerful" - Los Angeles Premiere - Arrivals - New York City, New York , United States - Tuesday 23rd April 2013
James Franco jumped at the chance to work with Sam Raimi again.
Oz: Great and Powerful overcame mixed reviews to take the top spot at the U.S. box office over the weekend, earning $80.3 million and an additional $69.9 million worldwide, according to studio estimates. Cynical industry insiders had claimed Sam Raimi's new movie had flop written all over it, though despite a $200 million budget, the prequel to The Wizard of Oz looks in a fine position to make big bucks.
We caught up with its lead star, the chameleon like actor James Franco, to talk why he signed on for the project. "First of all, I heard Sam [Raimi] was directing this movie. I did the three Spider-man films with him, and I've known him over 10 years. Not only is he one of my favourite directors to work with, but I'm a fan of his films. So I jumped at the opportunity to do this", he explained. Franco, who has dedicated much of time to the weird and wonderful scripts of Hollywood in recent years, revealed he'd been a massive fan of Oz since he was a child, "I read all the L Frank Baum books when I was a kid, so I was excited because I'd be able to step into that world of my childhood imagination. And when I read the script I saw that they were going to be loyal and respectful of everything we lovers of Oz expect, and that there would be familiar things that you need for it to be the land of Oz," he added.
The new movie sees Franco star as the wizard, with Mila Kunis, Michelle Williams and Rachel Weisz playing the trio of witches he encounters after crashing in the magical world of Oz. Though it could retain it's No.1 position this weekend, it faces competition from Jim Carrey and Steve Carell's new comedy 'The Incredible Burt Wonderstone' and another of Franco's movies, Spring Breakers.
Read our full interview with James Franco.
Continue reading: Oz Fan-Boy James Franco On Why He Signed On For 'Great And Powerful'
Casting rumours bubble with Carrie Fisher, Harrison Ford, Mark Hamill and Halle Berry all mentioned. Sam Raimi's Oz gets It's global release while Iron Man 3, Good Vibrations, What Maisie Knew and Stories We Tell trailers hit the web.
The movie casting rumour mill has gone into overdrive this week when Carrie Fisher seemed to confirm that she will indeed be back for Star Wars Episode VII. And then George Lucas chimed in to say that all three stars - Fisher, Harrison Ford and Mark Hamill - are on board to reprise their iconic characters 30 years after 1983's Episode VI: Return of the Jedi. Nothing is official yet, but we can probably expect a big announcement soon.
Meanwhile, Ford has joined the cast of the comedy sequel Anchorman: The Legend Continues, which is currently filming with Will Ferrell, Paul Rudd and Christina Applegate. And Halle Berry has officially rejoined the X-men for Days of Future Past, along with her original trilogy costars Ian McKellen, Patrick Stewart, Hugh Jackman and Anna Paquin, plus the cast of First Class.
Michelle Williams had the sort of nightmare that, really, doesn't count as much of a nightmare at all, unless you happen to be the main star at the premiere of your new film, Oz The Great And Wonderful, and there's a load of paparazzi about the place scrutinising your every move.
So, yeah, Williams has had a nightmare, in that she revealed the slightest bit of black underwear when wearing an otherwise classy looking outfit. What was galling for Williams was that her outfit was in no way possible risqué whatsoever, the 32 year-old dressed in a floral frock that raced down towards her ankle. The slit on the right was her downfall, going all the way up to reveal her pants. Damn.
Williams was there alongside co-stars Mila Kunis and Rachel Weisz, both of whom were also looking highly glamorous at the event. Weisz was wearing a red dress and accessorised with a similar coloured clutch, whilst Kunis also went for a floral style in her dress, coupling it up with chrome high heels. Even the three ladies had to take a back seat when it came to turning heads though, with the film's main male star James Franco arriving to the Hollywood premiere in a hot air balloon. Oz the Great And Powerful, a prequel story-wise to the classic Wizard of Oz, is out on March 8.
As Billboard reports, the track, which was co-written by Simone Porter, Justin Gray, Lindsey Ray and Carey herself, will be released by Island Def Jam records on February 19th. It will also be accompanied by a video shot and directed by David LaChapelle, who is the man behind some artwork from Carey's previous, "Loverboy," and a single from "Glitter". It'll include footage of both Carey and the film.
The release date of the song just precedes the release of the movie which is an adaptation of the classic novel The Wonderful Wizard of Oz by Frank Baum. Set before the Judy Garland 1939 movie, it sees the rise of Oz himself, before Dorothy arrives. It stars James Franco as Oz, plus Mila Kunis, Michelle Williams, Rachel Weisz and Zack Braff. Directed by Sam Raimi the narrative content is a far cry from his usual genres of horror and thriller. But judging by the teaser trailers that have been released, he's injecting an appropriately darker tone to the iconic children's story.
We hate to sound shallow or anything, but in her recent, make-up free photo-shoot for W magazine, Kristen Stewart really doesn't look too hot at all.
With bags under her eyes big enough to carry groceries, Kristen looks haggard and as though she's just got home from a weekend-long bender. Frankly, it's not a great look at all. But hey, with her beau Robert Pattinson away in Australia and a dedication to renowned 'grunge' look, this might very well be the impression that the young actress was going for in the first place.
The photoshoot is part of W magazine's end of year salute to the best performances from actors and actresses over 2012, with Kristen's On the Road role coming in at number six at the countdown. Speaking on the part, Kristen discusses the troubles she had with the filming process, namely the difficulty in filming the dancing scenes, as opposed to the nude scenes she appears in. She told the magazine: "Everyone asks about the nude scenes in On the Road, but I also had to dance, and dancing is harder than being naked."
The Golden Globes are one of the biggest film and television awards in the world. Winning an award from them will almost always top the C.V.s of anyone involved in film. 2012 has been one of the best years in film for a long time, with many films being deemed 'instant classics'. Although, of course, that's said every year, with just a quick glance at the calibre of performances, narrative and cinematography this year it's easy to see why it's being said.
2012's nominations were revealed today with few surprises. The favourites during speculation included Argo, Lincoln, Zero Dark Thirty and The Master, and they haven't failed to impress in the Globes' nominations. Lincoln's set to be a big winner with seven nominations, while Argo has 5 nominations, Zero Dark Thirty has 4 and The Master has 3. All four, except The Master, are also in the running for Best Motion Picture, competing alongside Ang Lee's Life of Pi and Quentin Tarantino's re-envisioning of a slave narrative, Django Unchained.
Tarantino's film received 5 nominations, which included two in the category for Best Supporting Performance by an Actor, for Christoph Waltz and Leonardo Dicaprio, which proves to us that it's more than worth the watch. Best Director nominations mirrors the Best Motion Picture, and include Ben Affleck (Argo), Stephen Spielberg (Lincoln), Ang Lee (Life of Pi), Kathryn Bigelow (Zero Dark Thirty) and Quentin Tarantino (Django Unchained), which is no surprise really.
Continue reading: The Golden Globes Nominations, No Surprises For A Great Year Of Film
Awards season got into full swing in New York last night (December 3, 2012), with the NY Film Critics Circle ceremony rewarding the best movies and performances of the year. Though the Golden Globes is considered a key barometer for the Oscars, it's been the New York awards' show that has correctly predicted the Academy Awards winners in recent years. For example, it named The Artist as Best Picture before it had stepped up its Oscars campaign in 2011, it rewarded Meryl Streep for The Iron Lady and crowned The Hurt Locker before it beat Avatar to the biggest prize of them all.
So what do Monday's results tell us about the Oscars race? Well, firstly, that Les Miserables might be in trouble after not picking up a single award. Musical movies have never found much success at the critics' awards, though Anne Hathaway was tipped to win Best Supporting Actress - it went to Lincoln's Sally Field instead. Daniel Day-Lewis won Best Actor, as he's expected to do at the Oscars, while Matthew Mcconaughey usurped the Best Supporting Actor award from The Master's Philip Seymour Hoffman. Another shock was Rachel Weisz's win in the Best Actress category, despite pretty much everyone in the industry predicting that Jennifer Lawrence will win the Oscar for Silver Linings Playbook. The biggest surprise of the evening was reserved for the top award - Best Picture - which went to Zero Dark Thirty. Forget Argo and Lincoln, because it was Kathryn Bigelow's drama about the hunt for Osama bin Laden that took the prize. The film currently holds a perfect score of 100% on Rotten Tomatoes, with Screen Crush writing, "This look at world's biggest manhunt may be the best manhunt movie ever made."
The result has affected the bookmakers' interpretation on the race for the Best Picture Oscar, slashing Zero Dark Thirty's odds to 14/1. Ben Affleck's Argo remains the favorite at 2/1.
Judy Garland's 1939 The Wizard of Oz was a Technicolor work of monumental cinematic genius. It somehow captured the spirit and imagination of children and adults alike, providing the right balance of wonder and terror, with a believable and endearing heroine, as well us a truly horrifying villain and her evil flying monkey minions. Oz: The Great and Powerful has just released it's theatrical trailer and in many ways it's a far cry from the original, but equally, the essence seems to remain.
Oz: The Great and Powerful stars James Franco as the eponymous accidental hero, a 'magician' from Kansas who is swept up, in a hot air balloon, in a terrible tornado and transported to the Land of Oz, where he is thought to be their fated hero. Things don't go to plan. The three good witches are played by Mila Kunis, Michelle Williams and Rachel Weisz, and it is only these four main characters that appear as humans, all the rest are animated, in the vibrancy that pays homage to the original's Technicolor. The trailer gives clues and pointers that let the audience know that the movie is going to be touching and terrifying, much like the original.
The general look of the film, as it appears in the trailer, resembles the OTT Tim Burton version of Alice in Wonderland. However, where Burton massacred the original which didn't really need a remake (and saying massacred really is an exaggeration), Sam Raimi's Oz has the advantage of an entirely different story with almost entirely different characters. Because of this the movie has a real chance of being a gem, and we hope it is.
Continue reading: Star Studded Oz: The Great And Powerful New Trailer!
A new trailer for Sam Raimi’s Oz: The Great and Powerful has been released online, ahead of its March release date.
This second trailer takes a more in-depth look at the story than the original cinematic trailer unveiled at ComicCon, despite the fact that it begins in almost exactly the same way as the first. The Evil Dead director has been taking his time over this movie. It started production back in July 2011, according to the Indiewire blog and Raimi will be hoping that all of the time and money spent on the movie has paid off. Not only is he toying with cinematic legend, by creating a spin off of The Wizard of Oz, but he’s doing so with some of the hottest names in Hollywood. James Franco stars as Oscar Diggs, whilst the witches are played by Mila Kunis, Michelle Williams and Rachel Weisz.
The response to the new trailer has been mixed so far. Indiewire are full of praise for Raimi’s efforts, going so far as to say that he could even put Tim Burton to shame. They’re impressed by the visuals, though that seems to extend to the ‘visual display’ provided by the three witches, as much as anything else, it has to be said.
Continue reading: Are Fancy Visuals Enough To Save Sam Raimi's Oz: The Great And Powerful?
Kelly Brook is about to make her debut in the burlesque show Crazy Horse, though could more serious roles lie ahead? Probably not, but it's a fun story. According to The Sun newspaper - who ran a recent poll - Brook is the public's preferred choice to become the next Bond girl.
She just pipped singer Cheryl Cole in the poll, which was worryingly short on, err, actresses? Anyway, Brook has almost no chance of landing a role alongside Daniel Craig in the next month, likely to be directed once again by Sam Mendes. Her acting experience is pretty much limited to Three, Piranha 3D and Keith Lemon: The Movie. As mentioned, Geordie singer Cole came second, while Craig's real-life wife Rachel Weisz was in third place though the entire poll's credibility was lost entirely with news that The Queen scored well, too.
Earlier this year, Brook suggested she would have flirted with Oscars success had she concentrated on acting at a young age, saying, "I often think if I had been better at focusing on one thing exclusively I'd have had an acting career like Kate Winslet or a career as a top dancer. In many ways I've gone with what people want me to do rather than what I want to do. I am changing that now." Kelly Brook will join the Parisian troupe Crazy Horse for one week from 1 November, 2012.
Continue reading: After Crazy Horse, Could Kelly Brook Be The Next Bond Girl?
Oscar Diggs is an ethically-challenged circus magician who seeks fortune and recognition for his tricks and illusions. One day he and his top hat are sent away from his home of Kansas in a hot air balloon but are subsequently caught up in a destructive storm which takes them to the magical land of Oz. Oscar is in awe of the dazzling place and mysterious creatures and begins to see Oz as the path to prosperity. He soon discovers that this is not so when he meets three beautiful witches Theodora, Evanora and Glinda who rightfully doubt his competence in the field of magic despite the rest of Oz believing him to be the powerful wizard they have all been waiting for. His awe of Oz is soon diminished as he discovers troubles of huge proportions in the land and finds himself struggling to work out who is on the side of good and who is on the side of evil. He uses his expertise in the art of illusion and showmanship to become the great and honourable Wizard of Oz.
Continue: Oz The Great and Powerful Trailer
Hester (Weisz) is tormented by the trajectory of her life: the wife of High Court judge Sir William (Beale), she has fallen for the dashing Battle of Britain pilot Freddie (Hiddleston), who lets their physical relationship dissipate as he struggles to find a role in society after the war. Now isolated and desperate, Hester attempts suicide but only succeeds in making her life worse. Freddie is furious, and William is unnervingly caring. She's caught between the devil and the deep blue sea: is there any way she can have a happy life?
Continue reading: The Deep Blue Sea Review
Set in Alexandria in 391 A.D. Agora tells the story of the astronomer-philosopher Hypatia. Knowing her city's in dire turmoil and about to fall to new christian rule, the only safe haven was in the cities legendary library which was housed inside it's own walls.
Continue: Agora Trailer
This film is packed with involving performances, even though Jackson takes a bloated approach to what should be a quietly emotional drama. And in the end, the production design is so lush that it swamps the story's themes.
In 1973, Susie (Ronan) is a happy 14-year-old just beginning to blossom. Her crush on a fellow student (Ritchie) is about to culminate in her first kiss, but she's instead brutally murdered by a creepy neighbour (Tucci). Her parents (Wahlberg and Weisz) are distraught, and Grandma (Sarandon) needs to come help care for Susie's younger siblings (McIver and Christian Thomas Ashdale). Susie watches all of this from "my heaven", longing for her parents to recover their balance and aching for some form of revenge.
The central theme is that Susie's yearning for vengeance is preventing her parents from moving on, and it's also keeping her from resting in peace. As the months and years pass, she struggles to let go of her connections to her family and also to dislodge her killer's hold on her. This intriguing idea is more suited to a small-budget filmmaker forced to find subtle, creative ways to depict the interaction between the afterlife and the living world.
Jackson, of course, has no budgetary constraints, and indulges in constant eye-catching effects that are drenched in colour and symbolism. This luxuriant approach seems odd for a story this fatalistic; it's not likely to be a commercial hit no matter how glorious the digital artistry is. While some viewers will connect with the raw emotional tone, concepts of the cruelty of fate and the fragility of life are lost.
Even so, Ronan delivers another knock-out performance packed with nuance and meaning even though many of her scenes only require reaction shots. It's in her eyes that the film comes truly to life, as it were. The other standouts are Sarandon, who brazenly steals scenes in what's essentially a thankless role, and Tucci, who never resorts to stereotype in his portrayal of a sinister loner. Jackson, on the other hand, continually applies cliches around him, from shadowy angles that generate palpable suspense to a ludicrously over-the-top coda that erases any subtlety the film might have.
Johnson's brothers Stephen (Mark Ruffalo) and Bloom (Adrien Brody) appear in the film like some kind of magic vaudeville act gone to seed. A spectacularly goofy opener (including a fake magic cave and a one-legged cat locomoting about on a roller skate) about their childhood paints them as Damon Runyon-style scamps set free in a landscape of innocent marks. It's a cotton-candy world that the boys, with their slouchy hats and black suits, are going to take for everything they can. Their roles are cut and dried: Stephen as the storytelling author of their scams, Bloom as his moody and conflicted accomplice, fated to never live a real life of his own.
Continue reading: The Brothers Bloom Review
An odd road movie of sorts that spends most of its time hanging around in diners, bars, and casinos (and precious little of it on the road), My Blueberry Nights will be noted in many quarters for it being the feature film-acting debut of jazz chanteuse Norah Jones. To put it briefly: No actress is she. Playing a lovelorn young woman named Elizabeth, she first shows up in a Brooklyn diner run by Jeremy, a charming Manchester immigrant played with the expected lighthearted dash by Jude Law. In the middle of a breakup, Elizabeth moons about the café, eating the excellent pie (best in the city!) and chatting with Jeremy, winning his heart even as hers is breaking over somebody else. Then Elizabeth ups and skips out, landing next in Memphis, where she waitresses at a café and a bar, telling everyone she's working two jobs to save up for a car.
Continue reading: My Blueberry Nights Review
He isn't exaggerating. And while Will's story has more levels than a New York skyscraper, the pleasure comes in his recounting as Definitely, Maybe cruises along.
Continue reading: Definitely, Maybe Review
One scene will stay with me for the next six Christmases. Vince Vaughn, playing Santa Claus' dishonest brother Fred, attends a support group for second-banana siblings. Frank Stallone is there, sheepishly admitting that his faith in brother Sylvester faded with each new Rocky movie. Roger Clinton explains how difficult it was being "the First Brother." Fred tries to get a word in edgewise but ends up shouting at Stephen Baldwin (who is great, though we also would have accepted Daniel or Billy in the part).
Fred Claus needed two or three more thinking-outside-the-box scenes like this to help it become more than what it actually is: a fragile premise stuffed with hollow Christmas jokes that would collapse in a holiday heap if not for Vaughn's demonstrated charms.
The disgruntled older brother of jolly old St. Nick (played with warmth and patience by Paul Giamatti) isn't a character so much as the Vaughn persona we've seen in Wedding Crashers, The Break-Up, Old School, and Swingers. Dan Fogelman's script imagines an excuse to get Fred to the North Pole -- he needs $50,000 to open a bar, but Santa refuses the loan unless Fred works a few shifts in the family toy factory. Once in the winter wonderland, Fred avoids his judgmental mother (Kathy Bates), coaches an elf (John Michael Higgins) on how to woo one of Santa's beautiful helpers (Elizabeth Banks), and makes life difficult for an efficiency expert (Kevin Spacey) who is threatening to shut Santa's operation down.
Fred falters because director David Dobkin never definitively chooses between making a kid-friendly money maker or an edgy comedy aimed at our inner teenage boy. The PG rating suggests the former, with tall Vaughn looming over pint-sized co-stars and sleeping in undersized beds (too bad his buddy, Jon Favreau, already milked similar visuals with Will Ferrell in the superior Elf). But the concept of sibling rivalry, the outsourcing of elfin labor, and the need for an intervention will fly over the heads of young ones like Santa's sleigh above snow-covered rooftops on Christmas Eve. Ho, ho, oh well. Maybe next time.
Try a Rolaids.
In Sunshine, Svabo looks back through the last 100 years of his country's history for meaning, and finds some --- enough to fill a three-hour, soapy epic about the century's chaos. The film mostly works, and is a worthy addition to Svabo's art.
Continue reading: Sunshine (2000) Review
While the rock-'em-sock-'em trailer may have you thinking that The Fountain is cut from Highlander's action-packed, centuries-spanning mold, be advised this is far from the case. In fact, the only real action in the film occurs in the very first scene. The rest of the movie is a meditation on loss, grief, science, and "closure," more of a sci-fi think piece than the grand adventure you might be hoping for.
Continue reading: The Fountain Review
Pretty badass, right? Definitely. Deep and meaningful? Hardly. This is a violent and apocalyptic story, based loosely on the Hellblazer graphic novels by comic book legend Alan Moore. And much to the relief of comic book fanboys everywhere, this adaptation adheres to the heavy, religious-war foundational spirit of Moore's work.
Continue reading: Constantine Review
Hey, that really sounds poetic! I'm gonna have another Valium before writing the rest of this review -- maybe someday I'll be as glib as Ellis!
Continue reading: This Is Not An Exit: The Fictional World Of Bret Easton Ellis Review
Stealing Beauty fails miserably on both counts.
Continue reading: Stealing Beauty Review
Confidence has triple the pizzazz of any caper movie released in the past several years. To say that it keeps you guessing would be misleading; the film has so many twists, turns, and reveals them in such an order that you don't even know where to start guessing. You'll need a scorecard to keep everything in order. Yet, remarkably, in the end, everything adds up without any apparent plot holes. It's astonishing.
Continue reading: Confidence Review
Collaborating with his City of God cinematographer César Charlone, Meirellas once again fetishistically focuses on destitution and suffering, shooting his squalid Kenyan locations in grimy, slightly overexposed colors and with expressionistic camera angles, turning the beautiful landscape into a harsh pit of fluorescent yellows, rotting greens, stark blacks, and blooming whites. It's a phony-baloney (if striking) visual aesthetic that, when married to the director's rollercoaster-ish hand-held cinematography, provides a sense of both immediacy and self-conscious artistry. Yet no amount of stylistic showing-off can offset the ludicrousness of a love scene between Justin and Tessa - shot in downy hues, it looks like a L'Oreal commercial with excessive zooms - or the preposterousness of Jeffrey Caine's clunky, preachy script, which gussies up its straightforward mystery with numerous flashbacks but fails to confront its central issues of African poverty and corporate malfeasance with anything approaching a rational mind.
Continue reading: The Constant Gardener Review
It begins with two working stiffs, Tim (Ben Stiller) and Nick (Jack Black) plodding their lives away at a 3M facility. By-the-book Tim is creeping into middle management while dreamer Nick wallows on the factory floor concocting wacky ideas for useless products. All of that changes when one of Nick's hare-brained schemes, a spray that dissolves dog excrement called Vapoorize (No. Stop. I think I'm gonna bust a gut.), pans out and makes millions.
Continue reading: Envy (2004) Review
After the somewhat senseless Your Friends and Neighbors and the bafflingly bad period piece Possession, LaBute has at last returned to his roots with the kind of story that made In the Company of Men such a kick in the nuts.
Continue reading: The Shape Of Things Review
Even if you have not yet tired of the eye-bugging, eyebrow-dancing, class-clown schtick of Jack Black or the eye-bugging, eyebrow-dancing, fretful straight-man schtick of Ben Stiller, the first collaboration between these two one-trick ponies is still unlikely to draw a single laugh for its slapdash story of one-dimensional "Envy" run amok.
The pair star as K-Mart-class stiffs in the sandpaper trade who are best pals and neighbors in an under-the-power-lines cul-de-sac of the San Fernando 'burbs. A fusspot pragmatic by temperament, Stiller slowly turns bitter green when Black -- a wild-eyed daydreamer full of half-baked inventions and get-rich-quick schemes -- gets rich quick by helping conceive an aerosol spray that makes pet poop evaporate.
Soon Stiller and family (Rachel Weisz is wasted in a do-nothing role as his wife) are living across the street from the gaudy uber-mansion that replaced Black's tract home, complete with a carousel on the grounds and Corinthian-styled stables for a white horse that's always getting loose and nibbling on their apple tree. When jealous Stiller accidentally kills the horse in a midnight fit of drunken archery (Black's yard also boasts a bow-and-arrow target range), he tries to hide the body with the help of a weird hobo (Christopher Walken), and hilarity is supposed to ensue.
Continue reading: Envy Review
Remember how badly "Indiana Jones and the Temple of Doom" turned out when Steven Spielberg tried to wedge an impish kid into his successful archeology-action-adventure formula? Well, deja vu.
How pathetically contrived and sadly unoriginal is the obviously rushed-into-production "The Mummy Returns"? Everything you need to know can be gleaned from these three facts: 1) Prim-but-sexy Egyptologist Evelyn (Rachel Weisz) turns out to be the reincarnation of Queen Nefertiti. 2) Lantern-jawed adventurer Rick O'Connell (Brendan Fraser) finds out that a tattoo he bears means he was born to be a Medjai warrior. And, 3) their ragamuffin 8-year-old son Alex (Freddie Boath) is "The Chosen One" -- although the movie makes little attempt to explain what that means.
All together now: Oh, brother!
Continue reading: The Mummy Returns Review
Date of birth
7th March, 1970
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