John Allee, Patrick Page , Reg Rogers - Premiere screening of STARZ Original Limited Series Flesh and Bone at Jack H. Skirball Center for the Performing Arts in New York - NYC, New York, United States - Monday 2nd November 2015
While this geriatric romance is too simplistic and sentimental to be anything remarkable, its lively central performances add some badly needed subtext and make the film worth a look. Meanwhile, the supporting cast add some spark to their scenes, elevating the warm, silly drama with quirky humour and some more resonant themes. It's also remarkably honest about how it feels to grow older.
Set in New Orleans, the story starts as 80-year-old Fred (Christopher Plummer) is moved by his hyperactive daughter Lydia (Marcia Gay Harden) into a small apartment building. Fred's wife has recently died, but they didn't get along very well, so he's enjoying being on his own. Although Lydia's husband (Chris Noth) has yet another crazy business scheme he wants Fred to invest in. And his new next door neighbour is Elsa (Shirley MacLaine), a larger-than-life 74-year-old who claims to have once known Picasso. Her son Raymond (Scott Bakula) looks in on her from time to time, while she secretly supports her younger son Alec (Reg Rogers) in his artistic career. She also immediately starts trying to coax Fred out of his shell.
Obviously, the main idea is that you're never too old to fall in love, so director-cowriter Michael Radford (Il Postino) tries to balance a comedy about ageing with a sweet love story about an engagingly mismatched couple. The blend of genres is somewhat uneven, as the script never quite decides whether it's about making the most of the time you have left, being open to unexpected romance or accepting your family members for who they are. All of these big themes are in here, most with a fairly heavy-handed touch. But at least this means that the film is about more than just a bunch of goofy characters interacting in rather silly ways.
Continue reading: Elsa & Fred Review
Fred Barcroft is an old man struggling to find much good in his life following the death of his wife. While he feels terribly lonely, he hates being around people, and while he despises the tiny apartment his daughter Lydia has moved him into, he can't bear to enjoy the world outside. Soon he meets Elsa Hayes from a nearby apartment; a free spirit of similar age determined to enjoy the last years of her life in the most spectacular ways possible, be it running from an expensive restaurant without paying or going dancing like she did when she was young. She teaches Fred that death is not something to be feared, rather a motivation to live the life you have. While Lydia disapproves of her father's newfound romance, he starts to open up, cheer up and realise that his life is far from over.
Continue: Elsa & Fred Trailer
Katya Campbell, Erika Rolfsrud and Mark Zeisler - The Big Knife Broadway play opening night After Party-Departures. - New York, New York, United States - Tuesday 16th April 2013
Marian (Preston) is struggling to write a novel, in which she pictures two brothers (Chernus and Roberts) living on a land-locked boat wearing just their underpants. Both of them have an awareness of their fate, and an ability to control it. So when Marian's mentor (Pendleton) tells her she needs to kill off her favourite character in order to find truth in the story, one of the brothers rebels and marches into the real world. He emerges in Marian's past, where as a little girl (Lamer) she's watching her widowed father (Rogers) wage war on his depression.
Continue reading: Lovely By Surprise Review
Unfortunately, that's a scene you won't find in the USA Network's made-for-television Attila, the latest attempt to cash in on the success of Gladiator. A boy becomes a warrior who becomes a king powerful enough to challenge an empire. Are you not entertained?
Continue reading: Attila Review
Continue reading: I Shot Andy Warhol Review
The shamefully low standards adhered to in "Analyze That" begin with the comedy's very first scene, in which a conversation is composed of two takes so conspicuously incongruous that the actors aren't even looking the same direction from second to second -- and it's almost all downhill from there.
The performances of Robert De Niro and Billy Crystal (reprising their roles as a mobster and his shrink) are apathetic schtick. The plot is the worst kind of emaciated contrivance (faking insanity, De Niro is released from prison into neurotic Crystal's custody, and havoc ensues). The jokes that aren't reheated leftovers from 1999's "Analyze This" are painfully trite (everyone checks their pockets when a cell phone rings at a funeral), painfully telegraphed (De Niro disrupts a Crystal family gathering in an open bathrobe) or just plain painful ("Maybe if you're quiet enough you can do it without waking your wife," De Niro jibes Crystal about his sex life).
Worst of all, director Harold Ramis actually tries to jerk some tears with a grieving-son story arc for Crystal's shrink and maudlin soft-focus flashbacks of a happy childhood for De Niro's mafioso. Oh, puh-leaze!
Continue reading: Analyze That Review
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