RT @SenSanders: The President's statement to discredit Christine Blasey Ford is sexist, outrageous and based on ignorance. Dr. Blasey is a…
Spark is a teenage monkey living in an underground bunker on the virtually destroyed planet Bana, alongside his best friends Chunk and Vix - a pig mechanic and a fox warrior respectively. Once upon a time, the planet was an incredible place to live, but with the arrival of the ruthless General Zhong thirteen years ago, it has become a wasteland. It's a dangerous world out there, but Spark wants to go out on missions with the other survivors and prove that he has what it takes to aid them in taking their planet back. But rescuing the Queen and his own parents from Zhong's prison-like rule is much harder than he ever could have anticipated.
Continue: Spark Trailer
Susan Sarandon - Susan Sarandon and Geena Davis attend a "Women in Motion" photo call during the 69th Cannes Film Festival at Majestic Hotel, Cannes Film Festival - Cannes, France - Sunday 15th May 2016
Susan Sarandon - Actors and celebrities attends the premiere for "Money Monster" at the Palais de Festival for the 69th Cannes Film Festival. at Cannes Film Festival - Cannes, France - Thursday 12th May 2016
Sarandon spoke ahead of the New York primary this week, which was won by Hillary Clinton.
Susan Sarandon weighed into ongoing battle for the Democratic presidential nomination earlier this week, saying that it is “sexist” for Hillary Clinton campaigners to argue that women must vote for their candidate simply because they are women.
Last month, the actress was forced to calm a Twitter storm when she clarified that she would not be voting for Donald Trump if her favoured candidate, Bernie Sanders, ended up losing the Democratic nomination to Hillary Clinton.
In an interview with Entertainment Weekly just ahead of the New York primary earlier this week, 69 year old Sarandon, a devoted supporter of the left-wing candidate Sanders, was asked whether it was sexist to believe that women should automatically vote for Clinton out of feminist solidarity.
Susan Sarandon - CinemaCon Bi Screen Achievement Awards held at Caesars Palace Hotel & Casino in Las Vegas, Nv on April 14, 2016 at Caesars Palace - Las Vegas, Nevada, United States - Thursday 14th April 2016
Susan Sarandon - 22nd Annual Screen Actors Guild Awards at The Shrine Expo Hall - Arrivals at Shrine Auditorium, Screen Actors Guild - Los Angeles, California, United States - Saturday 30th January 2016
Susan Sarandon , Eva Amurri Martino - 22nd Annual Screen Actors Guild Awards at The Shrine Expo Hall - Arrivals at The Shrine Expo Hall, Screen Actors Guild - Los Angeles, California, United States - Saturday 30th January 2016
The event, honoring the charity work of poweful women, found a new home in New York this year.
Variety’s annual Power of Women luncheon made its New York debut this weekend with a star-packed guestlist. The event has been held in LA every fall since 2009, when it was started by publisher Michelle Sobrino-Stearns.
The very first New York luncheon opened with a speech by Sarah Jessica Parker, who has certainly earned the title of “successful woman”. On Friday afternoon, she took the stage and started with an appropriate quote by the late choreographer George Balanchine.
Sarah Jessica Parker (l) and Iman (r) were just two of the honorees at the New York event.
Tammy's life seems to have just become an unfortunate string of events having been dismissed from her job at fast food joint Toppy Jacks and discovered that her husband has been having an affair with the neighbour. Now penniless and virtually homeless, Tammy decides to set out on a road trip to Niagara Falls. Her mother down the street refuses to lend her the car, however, and she is forced to beg a favour from her diabetic but resolutely alcoholic grandmother Pearl. Unfortunately for Tammy, Pearl wants to come along for the ride, and after finding out that Pearl has enough money to provide for them both on the way, Tammy accepts - even if it means becoming her grandmother's personal carer. It's by no means a smooth ride, with Pearl getting arrested and Tammy trying to rob a Toppy Jacks, but it could change both their lives forever.
Continue: Tammy - Teaser Trailer
This lively and engaging documentary may be set out like an informercial, but it teaches us about the drug trade with a pungent sting in its tail. The emphasis is on how America's War on Drugs has only made things worse, criminalising the wrong people and missing the whole point of the drug issue. It's a strong statement, made with passion, intelligence and a refreshing lack of political correctness.
"If the American Dream broke its promise to you, we have an answer!" This is how the film opens, informing us that the American population is the biggest market for marijuana and cocaine on earth. So keeping them supplied is a job that can't help but earn you a fortune as you climb from being a corner supplier to a local dealer to a kingpin to a cartel boss, all while learning lessons from cops and federal agents. And even working with them. Sure, there are dangers, including violence and prison, but the money you can make is worth the risk.
Obviously, this is deeply sarcastic. Telling stories are recounted on-screen by a wide variety of interviewees including activists like Sarandon and Harrelson, former dealers (Jackson), ex-addicts (Mathers, aka Eminem), cops, lawyers, scholars and even a TV series creator (The Wire's Simon). All of them point out the dangers of drugs as well as the fact that people use them because they feel good.
Continue reading: How To Make Money Selling Drugs Review
The new documentary features tell-all segments by drug dealers and high-profile former addicts.
Eminem recalls his battle with prescription drug addiction in a new clip from the tell-all documentary How To Make Money Selling Drugs. The film is co-produced by Entourage star Adrian Grenier and also features testimonies by 50 Cent and Russel Simmons among others. Director Matthew Cooke explains that the selection of interviewees had much more to do with experience, rather than fame alone.
Grenier takes on the heavy topic in his latest documentary.
"it wasn't just random people." He explains in an interview with Maxim. "The celebrities were also picked because they have an invested interest in talking about [the issues] they brought to the screen. I think everyone in the film who participated was the best representative we could find to speak to a particular aspect of this very complex and deeply relevant, moving issue." "When I took my first Vicodin, it was like this feeling of 'Ahh.' Like everything was not only mellow, but [I] didn't feel any pain ... I just remember liking it more and more," Marshall Mathers, aka Eminem, recalls in a particularly chilling part of the released clip. Through the stars’ personal accounts, the film tackles the goal of exposing the drug trade in America. However, the almost sympathetic look on drug dealers that Grenier provides, presented some challenges, like making it difficult to find subjects willing to appear on camera.
Dwayne Johnson tries to flex his acting muscles in this smarter-than-usual action movie, based on a true story that gets under our skin. He's never played someone as fragile as this, which is fascinating even if the film ultimately can't resist cranking up the action while turning rather preachy.
Johnson plays John, a construction company owner whose bright 18-year-old son Jason (Gavron) is caught in a drugs sting by an undercover agent (Pepper). Jason is facing 10 years in prison, and offered a way out if he can finger another drug dealer. But he doesn't know any, since he was set up himself. So John makes a deal with a federal prosecutor (Sarandon) to find a big dealer himself. He convinces reluctant ex-con employee Daniel (Bernthal) to work with him, contacting a local dealer (Williams) before going after the kingpin (Bratt). But of course things get increasingly dangerous the deeper they go.
While Johnson's acting chops aren't terribly subtle, he's such a charismatic screen presence that we are fully engaged with him from the start. The tender scenes between him and Gavron add weight to the whole story, while the tetchy connection between him and Bernthal keeps the film on a knife edge. By contrast, Sarandon and Pepper are pretty much just scene-stealing sharks using innocent people to do their dirty work.
Continue reading: Snitch Review
An all-star cast very nearly goes down with the ship as filmmaker Justin Zackham (The Bucket List) indulges in relentlessly farcical silliness. Thankfully the actors play it relatively straight, injecting moments of dark emotion and sharp wit in between the corny wackiness. But the script is more interested in humiliating its characters than finding any genuine humour.
The eponymous nuptials are between Alejandro and Missy (Barnes and Seyfried), who haplessly watch their families implode as the big day approaches. Alejandro's adoptive dad Don (De Niro) and his long-time girlfriend Bebe (Sarandon) are planning the event, but Alejandro's deeply religious birth-mother (Rae) is coming from Colombia, so he asks his dad to pretend to still be married to his ex-wife Ellie (Keaton). Meanwhile, Alejandro's sister Lyla (Heigl) is having her own marriage crisis, while his brother Jared (Grace) can't keep his libido under control.
As the preparations continue, the plot gets increasingly tangled. But it also becomes strangely ingrown, as if these people have never met anyone outside their small circle of family and friends. Past secrets are revealed and dark peccadillos come to light, leading to a series of manic confrontations. Through it all, the film remains blandly amusing, although its rather extreme moments never quite escalate to Meet the Parents hilarity. Thankfully they avoid the strained goofiness of Death at a Funeral.
Continue reading: The Big Wedding Review
After the 'Shawshank Redemption' actor ended their two-decade relationship in 2009, Susan Sarandon found it very difficult to start dating again.
'Cloud Atlas' actress Susan Sarandon was shocked by her sudden split from 'Shawshank Redemption' actor Tim Robbins. The couple were partnered from 1988 until their sudden split in 2009, having two sons in the process - Jack and Miles. The split came as part of what Robbins described as his "mid-life crisis", and led to 'The Rocky Horror Picture Show Actress' being devastated and having to lean on her friends to help her through.
In an interview with 'The Daily Mail' newspaper, Sarandon explained that: ''I didn't think it would ever happen. You need your girlfriends. You need to take long walks until you're exhausted and no longer crying out and you hold on until a new dawn.'' The 66-year-old actress later began dating 36-year-old Jonathan Bricklin, an entrepreneur.
Continue reading: Susan Sarandon Explains Her Split From Tim Robbins
The trailer for 'The Company You Keep' suggest Robert Redford has returned to form as a director.
Robert Redford appears to be back on track. Some five years after his disappointing drama 'Lions For Lambs', the Oscar winning director has returned to similar territory with 'The Company You Keep,' a slick looking drama starring an all-star cast. And when we say all-star cast, we really do mean it.
Redford stars and directs in the story of Jim Grant, a public interest lawyer and single father living in New York. Shia LaBeouf plays a scruffy intrepid journalist who exposes Grant as a man wanted for a murder he allegedly committed in his days as an anti-war radical. When another member of the Weather Underground - played by Susan Sarandon - is arrested, LaBeouf's Ben Shepard smells an opportunity to make a name for himself with a national story. The superb Stanley Tucci plays his prickly finger-pointing editor (is it us, or was he born to play a prickly finger-pointing editor?) while the excellent Anna Kendrick plays a vulnerable FBI agent. Elsewhere, there's a gruff looking Nick Nolte, the old-hand Richard Jenkins and legendary western actor Sam Elliott. Oh, and there's Brendan Gleeson. And Terrence Howard. And Julie Christie.
Ben Shepard is a young and ambitious reporter determined to make a name for himself in the media world. When Sharon Solarz, a member of the radical left organisation Weather Underground, is arrested for her involvement in a bank robbery and subsequent murder 30 years ago, Ben smells an important story that could be his big break. Meanwhile, attorney Jim Grant, a single father of an 11-year-old daughter named Isabel who was also involved in the crime, is forced on the run from the FBI as Ben sparks a new manhunt, but on the way he changes course in an effort to expose the truth and prove his innocence. Ben discovers that the whole story is more complicated than he initially thought, particularly as not everyone appears to be who they say they are.
Continue: The Company You Keep Trailer
A warm drama that drifts into light, goofy comedy, this film is too slight to be a classic, but its subtly sharp-edged script holds our interest and gives the cast something to work with. Frequently very funny, this is much more than just a story of an old man with a robotic sidekick, as it explores jagged family relationships and even features a lively caper subplot.
At the centre is Frank (Langella), who doesn't want to leave the rural home where he raised his now-adult children (Marsden and Tyler). Even as they have their own lives far away, they worry about him living alone, so his son buys him a robot assistant (voiced by Sarsgaard) whose only mission is to look after Frank's mental and physical health. Frank dismissively names it "Robot" and tries to ignore it until he realises that its prime directive allows it to help him secretly relaunch his cat-burgling career. His first target is to rescue the town library run by his old friend Jennifer (Sarandon), which is about to be turned into a high-tech social centre by a young businessman (Strong).
Director Shreier keeps the film's pace gentle, underplaying both the comedy and suspense while letting Langella indulge in an enjoyably grumpy scene-stealing performance. Frank may be losing his memory, but he is still sharp as a tack when it comes to planning a heist, especially with the help of Robot. And watching him build up the confidence to pursue Jennifer is enjoyable as well. Meanwhile, Sarsgaard nods to 2001's Hal in the way he invests Robot with deadpan humour and emotion. By comparison, none of the side characters has much to do since they haven't a clue about what Frank is up to.
Continue reading: Robot & Frank Review
Richard Gere delivers such a charming, layered performance that he overcomes a contrived plot that piles too many financial and personal crises on the central character. But Gere is magnetic, and the film's themes resonate at a time of economic difficulty, most notably in the idea that all major world events revolve around money.
Gere plays 60-year-old financial mogul Robert, who lives the high life with a private jet, glamorous philanthropist wife Ellen (Sarandon) and sexy French art-dealer mistress Julie (Casta). He seduces the press with his intelligent wit, and has managed to conceal the fact that he's in severe money trouble. Everything hinges on selling his company, but the buyers are dragging their feet. Then he is involved in a fatal car crash that could undo everything. He turns to an estranged friend (Parker) for help, but a tenacious police detective (Roth) is beginning to piece it all together.
Having Gere in the central role makes all the difference here, because he is able to add the subtext and moral ambiguity that's lacking in the script and direction. Otherwise, it's shot like a too-obvious TV movie with close-up camerawork, a bland Cliff Martinez score and constant moralising about family values. By contrast, Gere is a shady character who is up to all kinds of unethical things and yet holds our sympathies because we can see that he's not all bad. Even so, the script puts him through the wringer, with a never-ending stream of personal and professional problems.
Continue reading: Arbitrage Review
Mad geniuses Tom Tykwer (Perfume) and the Wachowski siblings (The Matrix) boldly take on David Mitchell's layered epic novel, which connects six generations through the power of storytelling. The film takes so many huge risks that it's breathtaking to watch even when it stumbles. And as each tale is passed on to the next generation, the swirling themes get under the skin.
The six stories are interlinked in a variety of ways, transcending time to find common themes. On a ship in 1849, a seriously ill American lawyer (Sturgess) shows kindness to a stowaway ex-slave (Gyasi). In 1936 Edinburgh, a great composer (Broadbent) hires a musician (Whishaw) to transcribe his work, then tries to steal the young man's magnificent Cloud Atlas symphony. In 1973 San Francisco, a Latina journalist (Berry) gets a tip about dodgy goings on in a local nuclear power plant. In present-day London, a publisher (Broadbent) is trapped in a nursing home by his brother (Grant) and plots a daring escape. In 2144 Neo Soul, an official (D'Arcy) interrogates a replicant (Bae) who started a rebellion alongside a notorious rebel (Sturgess). And in a distant stone-age future, an island goatherd (Hanks) teams up with an off-worlder (Berry) when they're attacked by a warlord (Grant).
While the themes in this film are eerily involving, what makes this film unmissable is the way the entire cast turns up in each of the six story strands, changing age, race and gender along the way. Even so, they're essential variations on each other. Weaving is always a nemesis, whether he's a hitman, a demon or a nasty nurse. Hanks' characters are always strong-willed and often badly misguided. Grant goes against type to play sinister baddies. And D'Arcy is the only actor who plays the same character in two segments, as Whishaw's 1930s young lover and Berry's 1970s elderly informant. Meanwhile, each segment plays with a different genre: seafaring epic, twisted drama, political mystery, action comedy, sci-fi thriller and gritty adventure.
Continue reading: Cloud Atlas Review
Frank is former burglar suffering from increasingly worsening dementia. His lawyer son Hunter notices his condition deteriorating and decides to introduce him to a robot caretaker programmed to take care of him and assist him in his daily tasks such as gardening. He is at first extremely mistrustful of the machine but soon begins to become fond of it as it cannot tell the difference between legal and illegal actions. The pair decide to commit a huge jewellery heist to win the heart of the local librarian Jennifer's library which is about to close down. His daughter Madison, meanwhile, tries to persuade him to get rid of the robot due to her own uncertainties but Frank insists that it is his friend. However, with his dementia becoming worse and worse, there looks to be only so many things that the robot is able to help him with.
This heartwarming comedy drama is set in the near future and has been directed by Jake Schreier in his feature film directorial debut and written by Christopher D. Ford ('The Scariest Show on Television', 'The Fuzz'). The robot it based on the Japanese humanoid creation called Asimo which was introduced in 2000. 'Robot & Frank' is set for release on March 8th 2013.
Director: Jake Schreier
Continue: Robot & Frank Trailer
She's nudging 66 but Susan Sarandon's still got it. The veteran actress put in a star turn at the annual CNN Heroes All Star Tribute in Los Angeles last night (December 2) and, as our pictures show, she possessed a physique that many of her younger cohorts would kill for, not to mention an enduring taste in fashion that ensured she was one of the stand out red carpet walkers of the night.
When a young man named Jason accidentally and unwittingly gets caught up in drug dealing with a gang, he faces a mandatory minimum sentence of up to 10 years after being wrongly arrested for the crime. His father is a strong believer of his innocence and will do everything in his power to have his son let off. He visits a lawyer who says that he can be granted his liberty if he acts as an informant in the gang and help the police make arrests. However, Jason is too frightened after his ordeal and his father asks instead if he can be the one to go undercover. He does so and uses his construction business to find a manual labourer who may have contacts to the criminal world and be able to offer him an introduction. With the offer of help, he is soon ranked highly in the mob which increases his chances of collecting information, but puts his own life and the lives of his wife and young child at immense risk. Just how far will he go to protect his son from wrongful imprisonment?
'Snitch' is based on the PBS Frontline documentary of the same name which details the increase in the use of informants to reduce prison sentences. It has been directed by Ric Roman Waugh ('In the Shadows', 'Felon') who co-wrote it with Justin Haythe ('The Clearing', 'Revolutionary Road') and is set for release on February 22nd 2013.
Director: Ric Roman Waugh
Continue: Snitch Trailer
Robert Miller is billionaire hedge fund businessman who at first glance seems to have the perfect life; successful, plenty of money, a supportive wife and a daughter/ business partner willing to take on the company when he retires. However, something much darker is going on underneath as he is struggling to cover up many years of fraudulent activities while trying to sell away his business to a bank. Not only this, but he has also embarked on an illicit affair with the young and beautiful Julie Cote who he attempts to whisk away with him for a while. As fate would have it, Robert finds himself drifting off to sleep in the car as they drive out of town and subsequently fails to prevent a crash that instantly kills Julie. As he attempts to cover his tracks by setting fire to the vehicle, his whole life is on the line with suspicious police officers, a mistrustful wife and a daughter with an unfortunate eye for detail threatening to collapse the empire he has worked so hard for.
This gripping thriller drama premiered in the US in September 2012 and serves as the full-length feature directorial debut of Nicholas Jarecki ('The Informers' screenwriter) who was also responsible for writing the fantastic screenplay.
Starring: Richard Gere, Susan Sarandon, Tim Roth, Brit Marling, Laetitia Casta, Nate Parker, Stuart Margolin, Chris Eigeman, Graydon Carter, Bruce Altman, Larry Pine, Curtiss Cook, Reg E. Cathey, Felix Solis, Monica Raymund, Gabrielle Lazure, Shawn Elliott, Maria Bartiromo, David Faber, Josh Pais, Alyssa Sutherland, Paula Devicq, Zack Robidas & Betsy Aidem.
Continue: Arbitrage Trailer
Don and Ellie have been divorced for a long time but when their adopted son Alejandro and his fiancé Missy decide to get married, it looks to be time for a family reunion. If things weren't awkward enough with Ellie seeing that her best friend Bebe from years ago is now married to her ex-husband, Alejandro's biological mother has also decided to fly over from Columbia for the occasion. However, she happens to be an extremely devout catholic with the belief that divorce is a sin so the family's only resolution to appease her and make her feel that giving away her son was the right decision is for Don and Ellie to pretend that they are still married on the big day, to Bebe's resentment. As expected, things are not as straight forward as they planned and the days leading up to the nuptials couldn't possibly be more tense and disastrous for this unusual family.
This ridiculous though rather touching comedy has been based on the French movie 'Mon Frère Se Marie' written by Jean-Stéphane Bron and Karine Sudan and is the wonderful story of how broken families can mend or, at least, unite for their mutual relatives when it is a matter of importance. It has been directed and written by Justin Zackham ('Going Greek', 'The Bucket List') and is set to be released on May 31st 2013 in the UK.
Starring: Robert De Niro, Susan Sarandon, Diane Keaton, Katherine Heigl, Amanda Seyfried, Topher Grace, Robin Williams, Ben Barnes, Megan Ketch, Greg Paul, Christa Campbell, David Rasche, Christine Ebersole, Kyle Bornheimer,
With his upcoming film, Cloud Atlas ready for release later this month, one of the film’s stars, Tom Hanks, has alluded to the deep plotline that runs through the book adaptation and said that the film is as “risky as Inception” was when it was release in 2010.
Hanks was plugging his new film during a chat with Canadian paper The Montreal Gazette, when he brought up the Christopher Nolan film, suggesting that it was the closest thing to compare to his latest movie outing. Cloud Atlas follows the intertwining lives of a massive cast that drifts between centuries both past and present, examining the impact of fate on good and bad behaviour.
In his discussion, he not only had praises to sing for Brit-director Nolan, but also his three “bold” directors for the upcoming project; Tom Tykwer and Lana and Andy Wachowski. And if three directors were a lot to take on board, then the number of characters the actors have to transform themselves into throughout the film will take some effort to get your heads round too, with Hanks alone taking on 6 different roles.
Continue reading: Cloud Atlas Is As Risky As Inception, Says Tom Hanks
'Cloud Atlas' is the story of how the separate lives of individuals and their actions affect each other through time. It explores a variety of different themes making it difficult to be pigeon-holed into a particular genre; action, romance and drama create the twists and turns that can change a human being from being a violent killer to being a compassionate hero. This tale explores how one act of basic humanity can influence a revolution centuries into the future.
Continue: Cloud Atlas 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.
Giselle lives in the conflation of every single Disney trope ever, in an animated, magical fairy-tale kingdom full of songs of her one true love. The evil queen (who is also a wicked stepmother) can't have some upstart marry the prince and move in on her territory, so she banishes Giselle from animation to reality: New York, to be precise.
Continue reading: Enchanted Review
Cats & Dogs is ridiculous and harmless, a Mission: Impossible for the animal world. For years, a secret high-tech espionage war has been waged between the feline and canine races, right under the noses of ignorant humans. The spark of this high-tech war came about as the result of the dog race overthrowing the then-dominating cat race during ancient Egyptian times (they even ruled the human race). Man's best friend re-established the humans as the dominant race and has protected that balance for years. And a breakthrough for dogs is approaching, as one human, Professor Brody (Jeff Goldblum), is on the verge of discovering an allergy vaccine which will enable all humans and dogs to co-exist in peace. The only problem is that the diabolic Mr. Tinkle (voiced by Sean Hayes), a furry white Persian with the attitude of Richard Grant's character from Hudson Hawk, and his small army of pesky felines have "cat-knapped" the family dog Buddy, who has been guarding the Professor and his family from the tuna-breathed fiends. The bodyguard job then falls on the shoulders of a Beagle pup named Lou (voiced by Toby Maguire) -- who is mistaken as a secret agent dog by an Anatolian Shepard named Butch (voiced by Alec Baldwin).
Continue reading: Cats & Dogs Review
Crowe's uncanny knack for turning up the volume has allowed countless scenes to soar to their potential. One problem nagging Elizabethtown, Crowe's most awkward project to date, is that the director is obligated to crank the knob again and again to overcome bland performances and missed emotional connections. He has assembled another astonishing collection of inspirational rock tracks, but for the first time the soundtrack outshines the accompanying movie by a long shot.
Continue reading: Elizabethtown Review
Gere plays Chicago lawyer John Clark, a man in a rut. Day after depressing day, it's the same routine of drawing up a few wills, running a couple miles on the treadmill, and returning home to apathetic wife Beverly (Susan Sarandon) and their two teenage children. The only highlight of his day is the fleeting moment when the "L" train passes by the beautiful but solemn looking woman in the window of Miss Mitzi's Dance School. Drawn to her, John impulsively jumps off the train and into the dance studio where he's confident that lessons will bring happiness back to his life.
Continue reading: Shall We Dance? (2004) Review
Maybe it's just me, but doesn't it seem flagrantly irresponsible to market a cartoon to kids in which a diaper brigade of babies have wonderful adventures when they wander away from their parents and get lost?
I've never seen the "Rugrats" TV show, but the plots of both nerve-grinding movies that the Nickelodeon series has spawned have involved children disappearing, and treated such events as a cornucopia of light-hearted entertainment.
I might be a little sensitive to the subject, but in a cultural climate in which kids seem to get kidnapped (and often murdered) more and more frequently, do we really want G-rated movies giving our little ones the impression that going missing is great fun?
Continue reading: Rugrats In Paris Review
Playing an inveterate womanizer as a sympathetic hero didn't work especially well for Michael Caine in 1966's "Alfie." He was Oscar-nominated for the performance, but his title character was a misogynistic, egomaniacal cad -- taking advantage of vulnerable women, then disposing of them offhandedly. Even when a vague health problem became a plot point meant to turn his life around, there was still nothing redeemable about the jerk.
On the other hand, in this year's "Alfie" remake, the irresistible Jude Law plays a more credibly charismatic and playful playboy whose contented superficiality steadily gives way to emerging self-awareness and perceptible depth -- which surprises even Alfie himself.
As the wily rake admits -- frankly, charmingly and direct-to-camera -- his concurrent affairs with a bevy of Manhattan beauties are a product of good looks, practiced flattery, an upscale metrosexual wardrobe, his English accent and the fact that he drives a limo.
Continue reading: Alfie Review
A wonderfully ambitious, old-school ensemble piece, very much in the can-do spirit of the community to which it pays homage, "Cradle Will Rock" is a politically-undertoned dramedy about theater, censorship, ambition, apprehension, oppression, Orson Welles and the Great Depression.
Written and directed by Tim Robbins -- never one to shy away from cause-fueled entertainment -- this passionate labor of love celebrates and fictionalizes a legendary moment in American theater, when the government shut down the performance of a musical produced by the Works Progress Administration -- and the actors, at the risk of losing their jobs during the bleakest economic season in U.S. history, staged it anyway in a show of inspiring solidarity.
The play was entitled "The Cradle Will Rock" and its story of a greedy industrialist taken down by the organized working man made a lot of federal bureaucrats see red -- as in communism.
Continue reading: Cradle Will Rock Review
RT @SenSanders: The President's statement to discredit Christine Blasey Ford is sexist, outrageous and based on ignorance. Dr. Blasey is a…
RT @ACLU: You’re completely wrong, President Trump — about sexual abuse and its reporting. To all those who are survivors of sexual assau…
I promised @KidsforPeace that I would share their message on the Int'l Day of Peace. They're trying ignite 1 billio… https://t.co/jMzSMh6zi1
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@scribblercat @ejbeals @AliaMalek @im_PULSE @DGisSERIOUS @mollycrabapple @juliamacfarlane @SulomeAnderson… https://t.co/INonRznh6c
@DGisSERIOUS @IanPannell @ejbeals @AliaMalek @im_PULSE @mollycrabapple @scribblercat @juliamacfarlane… https://t.co/T3KGbybupx
@ejbeals @AliaMalek @im_PULSE @DGisSERIOUS @mollycrabapple @scribblercat @juliamacfarlane @SulomeAnderson… https://t.co/AJOGNC2F9p
I hear you and I stand corrected. https://t.co/fOqpwu7JO9
The Tempest John Cassavetes 1982 #TBT https://t.co/kaYFBQXSGX https://t.co/4kn8sf6U6d
@scribblercat @DGisSERIOUS @ejbeals Me too
@scribblercat @DGisSERIOUS @ejbeals I understand why you would feel that way, Diane F talked to me directly. A lot… https://t.co/WGjBEHZoSk
@scribblercat @DGisSERIOUS @ejbeals @jimmy_dore Catherine, as I said to Danny, I'm completely with you in terms of… https://t.co/1fi4NecJ8a
@DGisSERIOUS @ejbeals @jimmy_dore I do Danny. That’s why I said this isn’t about Emma, Jim Foley, etc. in Syria or… https://t.co/ycGX6d52zS
@DGisSERIOUS @ejbeals @jimmy_dore I know who Emma is and admire her work on Syria. This is about avoiding the group… https://t.co/oMzyKEu8cn
Standing with these brave women in their fight. 40 percent of female fast-food employees have experienced unwanted… https://t.co/BkPJYuXTTI
In which @ejbeals, journalist, misses the point of @jimmy_dore’s Tweet completely by replacing “American Corporate… https://t.co/wf6LZujZRB
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