Actor Tom Cruise appeared unexpectedly at The Joanne Baron & D.W. Brown Studio graduation to impart some words of wisdom.
In an unexpected appearance, actor Tom Cruise gave a surprise speech The Joanne Baron & D.W. Brown Studio graduation this weekend, in a talk intended to inspire the acting graduates to pursue their dreams. Shocked students sat up and took note as the Mission Impossible actor told of how he was first inspired to become an actor, started becoming successful and maintained his success to become one of the world's most famous actors.
Tom Cruise: Inspiring Young Minds In A Surprise Speech.
In a rather unanimated speech - hardly the kind of inspiration acting graduates trying to make their way in a tough job market need - Cruise spoke of his early days as a wannabe actor, trying to find success without having had any formal training. Looking sharp in a suit and tie, the Scientologist sex symbol instilled some of his guru-like acting knowledge upon the advice-hungry ears, peppered with anecdotes from his rise to the top. He told the acting cohort that his dream to become an actor was forged when he discovered his enthusiasm for comedy.
Continue reading: Tom Cruise Inspires Students With Surprise Graduation Speech [Video]
On the day a new planet is discovered, 17-year-old science genius Rhoda (Marling) causes a car crash that only John (Mapother) survives. Four years later, she's out of prison, living with her parents and brother (Baker, Begerage and Taylor) and working as a cleaner. But when she finally gets up the nerve to apologise to John, she ends up cleaning his house instead. Meanwhile, the new planet is now much closer, and its mirror-image geography has earned it the name Earth 2. Maybe up there she can have a second chance.
Continue reading: Another Earth Review
William Mapother - Actors William Mapother, Brit Marling, Director Mike Cahill , New York City, USA - at the premiere of Fox Searchlight Pictures 'Another Earth' at Landmark's Sunshine Theatre. Wednesday 20th July 2011
Ostensibly a Lovecraftian creature flick set in 1870s Dakota Territories, the film's monster plot is housed in a gorgeous Malick-like picture of homesteaders and Indians lost and wandering in the vastness of the American plains. And while it might have been tempting to get all political, the film eschews rough ideology for sweeping vistas, rugged men, tribal mythologies, and downright creepy flesh-dissolving grasshopper men.
Continue reading: The Burrowers Review
By this roundabout logic, Gellar seems a natural fit for The Grudge, Takashi Shimizu's sufficiently creepy remake of his own cult Japanese horror flick Ju-on, a film he's made versions of a shocking five times now. Americanized and aimed squarely at the people who turned The Ring into a surprise hit, Grudge should satisfy audiences seeking a few cheap jolts for their dollar this Halloween season.
Continue reading: The Grudge Review
The film takes place in a small Maine community called Camden. Here, it's not all that uncommon to see chipped wooden houses on every other corner or sleepy-eyed churches that feature old rusty bells hanging in the steeple. The aura of small-town life is apparent and could pass for a Norman Rockwell painting. Among this quaint town's residents are a prototypical middle-aged couple named Matt and Ruth Fowler (Tom Wilkinson and Sissy Spacek). Matt is a distinguished physician and native Mainer. New Yorker Ruth is a high school choral music teacher who enjoys her occupation. The Fowlers have one child named Frank (Nick Stahl), a college graduate student studying architecture, who has returned home for the summer while working as a lobsterman to earn some extra money.
Continue reading: In the Bedroom Review
2002's "Dogtownand Z-Boys" (now available in an excellentDVD) was an adrenaline-rush history of the Zephyr Skateboarding Team, adaredevil band of teenage surf bums who were the first to take wave-ridingmoves to the streets and empty swimming pools of drought-stricken SantaMonica in the early 1970s.
This handful of young turks (oneof whom became the director of that film andthe writer of this one) invented the board-gripping, back-scratching, wall-climbingstyle that launched the entire rebel culture of extreme sports -- but youwouldn't know it from "Lords of Dogtown," which concerns itselfmore with fabricated love triangles, unhappy home lives and rivalries thatformed when fame came calling.
While the performances of the young cast members -- keyZ-Boys are played by John Robinson from "Elephant,"Emile Hirsch from "TheGirl Next Door" and Victor Rasuk from "RaisingVictor Vargas" -- are multifaceted, they sometimes have the under-rehearsedfeel of a bawdier after-school special. Or maybe that's just the clumsyexpository dialogue: "Hey, I think we should start a skateboard team,man," says one shirtless, long-haired dude to another. "There'smoney in this!"
Continue reading: Lords of Dogtown Review
Tragic movies that bore into their characters' raw emotions are all too often just melodramatic showpieces in which actors histrionically wrestle with their feelings in overwrought, look-at-me-cry performances. Think of any disease-of-the-week or ensemble-of-women flick in which somebody dies, and you'll know what I mean.
If "In the Bedroom" had been ground through the Hollywood machinery and offered to big name stars, it might have been one of those movies. But in the low-budget hands of actor-turned-director Todd Field (the piano player in "Eyes Wide Shut") it's a powerfully understated exposed nerve of a film, about the emotional wreckage of losing a child, told through the body language of broken hearts and depleted souls.
Beginning as a love story, the film stars Marisa Tomei as Natalie Strout, a young, small town mother preserving through an ugly divorce with the support of her even younger boyfriend, Frank Fowler (Nick Stahl), a promising architecture student ready to forgo an Ivy League scholarship to stay with her.
Continue reading: In The Bedroom Review
Remaking hit Japanese horror movies (a la 'The Ring') is Hollywood's latest plan to rake in big bucks without actually having to be creative or original -- and while "The Grudge" is nothing more than a cultural twist on the standard-issue haunted house movie, I will give credit to director Takashi Shimizu (remaking his own film "Ju-On") for giving me goosebumps. Lots and lots of goosebumps.
He succeeds on this front by providing truly chilling ghosts -- floating specters of inky black tendrils that form into the gray porcelain faces, horrifically gaping mouths and kohl-ringed, milk-saucer eyes of a family murdered in a Tokyo house that is now occupied (but not for long!) by the wife and terrified, catatonic mother of an American businessman.
But Shimizu also lends the film a unique structure that helps set it apart from the kind of prefabricated scary movies that dominate the genre. He follows a psychological (rather than chronological) narrative into an interactive patchwork of long flashbacks that reveal the genesis of the haunting and tie the whole six-degrees-of-separation story together in its latest victim -- an exchange student played by Sarah Michelle Gellar.
Continue reading: The Grudge Review