Siobhan Fallon, Atlantic Theater Company Linda, Gross Theater Grand Reopening and New York City Monday 1st October 2012 Siobhan Fallon attending the Atlantic Theater Company Linda Gross Theater Grand Reopening. New York City, USA
Eva (Swinton) is a shell of her former self, living in isolation as the target of anger from an entire community. She clearly blames herself for an act of violence unleashed by her 15-year-old son Kevin (Miller), and misses her husband (Reilly) and daughter (Gerasimovich). But as she finds a job and starts to put her life together, the memories won't stop swirling in her mind. Does she even deserve to have survived such a horrific event? Can she ever make peace with the grieving, enraged people around her?
Continue reading: We Need To Talk About Kevin Review
Eva is an ambitious woman who is very career orientated, but she puts this to one side in order to give birth to her first child, Kevin. The mother and son relationship is awkward from the very start and despite her best efforts to bond with her child, Eva's attempts are in vain. When Kevin reaches 15, he does something irrational and inexcusable in the eyes of the community and the rest of society.
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When hypothermia is first experienced, you gasp, your skin begins to cool, your muscles tense and shiver, and your blood pressure increases. This happens almost immediately in New in Town when we are introduced to tight-assed Miami business executive Lucy Hill (Zellweger), sent to New Ulm, Minnesota by her employer to close down a local food manufacturing plant. (As she tells a factory worker, "I'm here to do a job, not to make friends.") Lucy is so stiff and uptight, she recalls an ancient film performance like Elizabeth Allen's priggish and cool New Englander sent to Hawaii and thawed out by John Wayne in Donovan's Reef -- or maybe even Diane Keaton in Baby Boom.
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Selma, as played to perfection by the almost childlike Björk, does her share of singing and dancing, but she's got a reason: It's all in her head. And with that said, get ready for the creepiest, most depressing, and certainly the most unique movie musical ever put on film.
Continue reading: Dancer In The Dark Review
Martin Lawrence and Danny DeVito -- two stars with pretty shaky comedy credits of late -- seem to be tempting fate with the title of their new criminal vs. corporate scoundrel caper. It's called "What's the Worst That Could Happen?" and the answer to that question is, the entire movie could have been as dim-witted and haphazard as its last five minutes.
But until director Sam Weisman ("George of the Jungle," "The Out-of-Tonwers" remake) starts running out of story and grasping at straws in the middle of the last act, it's pretty generous with the laughs.
Lawrence plays a professional cat burglar who hears on the news that a media tycoon (DeVito) has been ordered to vacate one of his mansions as part of a bankruptcy proceeding. Lawrence imagines easy pickings at a plush billionaire's pad that's guaranteed to be uninhabited. Little does he know that DeVito has figured on sneaking into the empty house to cheat on his snooty, country club wife (Nora Dunn) with a buxom centerfold sucking up to him for a job at his TV network.
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For years filmmakers have been trying to reinvent the musical. "Evita" went big, "My Best Friend's Wedding" sneaked musical numbers into its semi-standard romantic comedy, the "South Park" movie mocked the cartoon musical while besting it with genuinely catchy tunes, "Love's Labour's Lost" was an homage to the Fred and Ginger sing-songs of the 1930s.
But no one has succeeded in making a truly modern movie musical, one that employs emerging filmmaking techniques instead of reaching back 50 years for inspiration. In fact, no one has ever even attempted something like "Dancer In the Dark."
Writer and director Lars von Trier -- the reclusive Dane behind the minimalist Dogme95 movement that espouses natural lighting, no props and handheld cameras -- discovers a way to marry his trademark sparseness with the unfettered showmanship of song and dance numbers in this daring retooling of the musical genre.
Continue reading: Dancer In The Dark Review