Mary Elizabeth Mastrantonio, Spencer Davis Milford, Roger Rees, Alessandro Nivola, Charlotte Parry, Zachary Booth, Henny Russell and Stephen Pilkington - Opening night of The Winslow Boy, at the American Airlines Theatre-curtain call. - New York, NY, United States - Friday 18th October 2013
Director-cowriter Sachs takes an unusually intimate look at a 10-year relationship in this beautifully shot and performed New York drama. The film has been compared to 2011's British break-out hit Weekend, but only partly because it centres on a gay couple. What makes both films notable is the way they tackle serious issues in the context of a relationship, keeping the focus tightly on complex characters who behave like real people we can identify with.
The story starts in 1998 New York, as aspiring Danish documentary filmmaker Erik (Lindhardt) fails to overcome his loneliness by using chat-lines to meet random strangers for sex. Then he meets the lawyer Paul (Booth), and their encounter evolves into a relationship. Over the next decade, Paul is frustrated by Erik's casual approach to his slow-developing career, while Erik becomes increasingly worried about Paul's casual drug use. As this boils over into full-on addiction, Erik turns to his sister (Steen) and his close friend Claire (Nicholson) for help with an intervention. But are drugs the real problem? And even if Paul goes through rehab, can their relationship survive?
Intriguingly, Sachs never lets this turn into a drug-addiction drama, carefully exploring much deeper issues without ever being preachy about it. Everything is presented as matter-of-fact, just part of life, and even the addiction problem is only an obstacle for Erik and Paul to deal with in their life together. Both Lindhardt and Booth bring a stunning transparency to their roles, keeping the characters likeable even when they do awful things to each other. Since we see everything through Erik's eyes, Lindhardt's role is much beefier, and it's also infused with his European sense of humour.
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Even though he's essentially a pampered slacker, Abe (Gelber) exudes confidence, relentlessly going after the depressed Miranda (Blair) despite her hesitance. Living in the shadow of his successful doctor brother (Bartha), Abe works for his father (Walken), but does virtually nothing and resents the fact that his hard-working cousin (Booth) gets the credit. But then Abe feels hard-done by everyone he encounters, creating an arch-rival in Miranda's ex (Mandvi). But at no point does Abe's inner life come close to the reality around him.
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After a nervous breakdown, Walter (Gibson) is struggling to get back into his role as CEO of a toy company, husband to Meredith (Foster) and father to two boys, smart 17-year-old Porter (Yelchin) and curious young Henry (Stewart).
When Walter finds a beaver puppet, he has an epiphany, letting the beaver say what he's afraid to say. While this helps reinvigorate his business and adds a lively twist to his family life, it's not exactly a permanent solution.
Continue reading: The Beaver Review
It wasn't so long ago when Walter Black lived a happy life, the CEO of a toy company and married with two sons, Walter had it all. Those days now seem so far away, through no real fault, Walter's marriage is breaking down and communication with his sons, who he once knew so well, is at an all time low.
Continue: The Beaver Trailer