Tom Hulce

Tom Hulce

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'The Lion' Opening Night - Arrivals

Tom Hulce - Opening night for The Lion at the Lynn Redgrave Theatre - Arrivals. at Lynn Redgrave Theatre, - New York, New York, United States - Sunday 8th February 2015

Picture - Mary Beth Hurt and Tom... New York City, USA, Thursday 6th May 2010

Mary Beth Hurt and Tom Hulce - Mary Beth Hurt and Tom Hulce New York City, USA - The Official 2010 Drama Desk Award Nominees Reception held at the Churrascaria Plataforma. Thursday 6th May 2010

Picture - Tom Hulce New York City, USA, Thursday 6th May 2010

Tom Hulce Thursday 6th May 2010 The Official 2010 Drama Desk Award Nominees Reception held at the Churrascaria Plataforma. New York City, USA

The Hunchback of Notre Dame II Review


Terrible
Our pal Quasimodo finds love of his own in this abortive and unbearably lazy sequel to Disney's moderate success, The Hunchback of Notre Dame.

Unlike mostly no-name productions like The Return of Jafar, the entire original cast is back in this sequel (with the exception of Mary Wickes, who died before the original Hunchback was ever released), and how Disney convinced them to take part is beyond me. (Iron-clad contract or the promise that, after all, this will barely take an hour of their time?)

Continue reading: The Hunchback of Notre Dame II Review

The Hunchback of Notre Dame Review


Grim
Disney's animation studio just about hit rock bottom in 1996, following its worst film ever, Pocahontas, with another weak entry, a difficult adaptation of Victor Hugo's classic novel.

It's typical of 1990s Disney: unlikely hero (Tom Hulce, as Quisimodo), who falls for a ravishing beauty (Demi Moore, as a gypsy gal), while goofy sidekicks (three stone gargoyles) crack jokes. Every five minutes, someone bursts into song. And yet none of this is kid-friendly, and little of it will be of interest to adults.

Continue reading: The Hunchback of Notre Dame Review

Mary Shelley's Frankenstein (1994) Review


Grim
This is what happens when a studio lets a director do whatever they want. Kenneth Branagh (Henry V, Dead Again), has really lost his mind on this one. Frankenstein is a bloody mess (in both artistry and gore-level) and is extremely difficult to watch.

Frankenstein is supposed to be a story of a scientist (Branagh himself, in this adaptation) obsessed with reviving the dead. Branagh must have had some pages missing from his copy of Mary Shelley's book--it seems like there are large chunks of movie missing here and there. The dialogue is silly, the plot is convoluted beyond the normal Hollywood trashing of literature, and the characters are contradictory and really pretty stupid for educated Swiss aristocrats.

Continue reading: Mary Shelley's Frankenstein (1994) Review

Amadeus: Director's Cut Review


Essential
There's a moment early in Amadeus when court composer Antonio Salieri (F. Murray Abraham) wanders through a crowded salon in search of the famed prodigy known to him by reputation only: Mozart. Inspecting each young musician, he looks for some outward sign of genius: the "man who had written his first concerto at the age of four, his first symphony at seven, and a full-scale opera at 12."

Soon after, we and with Salieri first lay eyes on Mozart - not the halo-crowned demigod built up in music history classes, but instead a mischievous, arrogant vulgar puck with a cackling laugh. But Milos Forman's stunning epic didn't win eight Academy Awards for simply reducing classical music royalty to child-like stature.

Continue reading: Amadeus: Director's Cut Review

A Home At The End Of The World Review


Grim
An initially touching story that wilts under its own insignificance, A Home at the End of the World is the second film to be adapted from a Michael Cunningham novel, following the footsteps of The Hours, a work that, for all its flaws, A Home can't even come close to. In an opening that veers wildly, and not unpleasantly, between adolescent melodrama and wildly unintended farce, we are given the suburban Cleveland childhood of two buddies, Bobby Morrow and Jonathan Glover. Bobby's eyes were opened to the world at age nine in the late 1960s, when his older brother Carlton introduced him to the joys of acid and hanging out in graveyards.

A few years later, after the deaths of both Carlton and his mother, Bobby is a puppy-eyed teenager who inherited Carlton's magnetic personality and utter lack of guile, which is what attracts another teen, the gawkier Jonathan, to him. After his dad dies, Bobby moves permanently into the Glover household as a sort of unofficial adopted brother to Jonathan - except that they're brothers who occasionally make out and smoke joints with Mrs. Glover (Sissy Spacek). The rather uptight Jonathan (he wears glasses and has braces, you see) can't handle Bobby's openness and is more than a little jealous of how eagerly her mother has embraced him into their family, and their romantic relationship stalls.

Continue reading: A Home At The End Of The World Review

Mary Shelley's Frankenstein Review


Grim
This is what happens when a studio lets a director do whatever they want. Kenneth Branagh (Henry V, Dead Again), has really lost his mind on this one. Frankenstein is a bloody mess (in both artistry and gore-level) and is extremely difficult to watch.

Frankenstein is supposed to be a story of a scientist (Branagh himself, in this adaptation) obsessed with reviving the dead. Branagh must have had some pages missing from his copy of Mary Shelley's book--it seems like there are large chunks of movie missing here and there. The dialogue is silly, the plot is convoluted beyond the normal Hollywood trashing of literature, and the characters are contradictory and really pretty stupid for educated Swiss aristocrats.

Continue reading: Mary Shelley's Frankenstein Review

The Hunchback of Notre Dame II Review


Terrible
Our pal Quasimodo finds love of his own in this abortive and unbearably lazy sequel to Disney's moderate success, The Hunchback of Notre Dame.

Unlike mostly no-name productions like The Return of Jafar, the entire original cast is back in this sequel (with the exception of Mary Wickes, who died before the original Hunchback was ever released), and how Disney convinced them to take part is beyond me. (Iron-clad contract or the promise that, after all, this will barely take an hour of their time?)

Continue reading: The Hunchback of Notre Dame II Review

Amadeus Review


Essential
He was the first. All right, he wasn't the first. But he was the first to make such a fuss about it. Mozart was the first of all writers to be completely arrogant... and completely controlling, about his work. In this he was not exactly the first. He was, however, the first writer to be right in his self-assessment. Mozart had God's gift, and he treated it so arrogantly that it became his downfall.

Amadeus is the story of Mozart (Hulce), the composer with God's gift and the Devil's audacity, and Salieri (Abraham), the composer with God's pity and the Devil's vengeance. In Vienna, Salieri embarks on a jealous quest to bring Mozart to his knees, and, ultimately, his death.

Continue reading: Amadeus Review

The Hunchback of Notre Dame Review


Grim
Disney's animation studio just about hit rock bottom in 1996, following its worst film ever, Pocahontas, with another weak entry, a difficult adaptation of Victor Hugo's classic novel.

It's typical of 1990s Disney: unlikely hero (Tom Hulce, as Quisimodo), who falls for a ravishing beauty (Demi Moore, as a gypsy gal), while goofy sidekicks (three stone gargoyles) crack jokes. Every five minutes, someone bursts into song. And yet none of this is kid-friendly, and little of it will be of interest to adults.

Continue reading: The Hunchback of Notre Dame Review

Animal House Review


Extraordinary
Youthful indescretion knows no better friend in cinema than the movie that defines it, Animal House. Every frame of the film typifies how every American recalls his college years, whether or not they were filled with debauchery. Especially beloved is John Belushi as Delta Tau Chi's Bluto, the worst cut-up in the most obnoxious fraternity at Faber College (motto: Knowledge is Good), but the entire cast is so perfect -- from Tom Hulce to Bruce McGill to Donald Sutherland -- that one has trouble finding a sour spot in the entire picture. Of note is the new Collector's Edition DVD, which features a 45-minute present-day interview with the cast and crew about the making of the film, plus behind-the-scenes footage of the production. A gem.

Continue reading: Animal House Review

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