Somebody messed with the wrong mother when they murdered her daughter Angela Hayes (Kathryn Newton). Mildred Hayes (Frances McDormand) will stop at nothing to make sure that her child's killer is caught and after several months of still no arrests, she decides to take drastic action. She forks out for three enormous billboards to go up in her Missouri town with a message to the highly respected Police Sheriff Bill Willoughby (Woody Harrelson). An embarrassed Willoughby visits her to encourage her to take the billboards down, but she's standing firm and will certainly not be intimidated by police involvement - or, indeed, anyone who dares complain about them. She assaults her dentist with his own drill after discovering that he made a complaint and attacks two local high school kids who try to mock her. Even the local vicar is trying to appeal to her sanity at this point, but when she torches the local police station, it becomes clear that she's quickly becoming way out of control.
Željko Ivanek , Greg Pierce - Opening night of Marjorie Prime at Playwrights Horizons Mainstage - Arrivals. at Playwrights Horizons Mainstage, - New York City, New York, United States - Monday 14th December 2015
Zeljko Ivanek and Greg Pierce - Opening night after party for 'The Oldest Boy' at the Mitzi E. Newhouse Theater - Arrivals at Mitzi E. Newhouse Theater, - New York, New York, United States - Tuesday 4th November 2014
Martin McDonagh gleefully plays with both the gang thriller genre and the moviemaking process with this enjoyably absurd action comedy. It's a little self-indulgent, acknowledging how difficult he found it to follow up his acclaimed film In Bruges. But a continual stream of hilariously clever gags make it thoroughly entertaining, and the seriously great actors are so playful that it's infectious.
At the centre, naturally, is an Irish writer named Marty (Farrell), living in Hollywood and struggling to write his next screenplay. He settles on the title Seven Psychopaths, and decides that his lead character will be a nonviolent Buddhist killer. Otherwise he's stuck. Then he discovers that his hyperactive pal Billy (Rockwell) is running a scam with Hans (Walken), kidnapping dogs and claiming the rewards from their owners. This all goes terribly wrong when they grab the beloved shitzu of the mercurial thug Charlie (Harrelson), sending him into a murderous rampage. And as Marty finds himself in the middle of it, his script starts to take shape.
McDonagh is adept at combining freewheeling wackiness with more astute observational comedy. This film isn't as emotionally resonant as In Bruges, but it crackles with the same sharp dialog and offhanded violent silliness. Most of this plays up the amusing shock value of sudden death, although there are moments that are surprisingly touching, mainly due to a wonderfully textured turn from Walken. Rockwell is the other standout as the manic, unpredictable Billy, an enthusiastic mischief-maker. And Harrelson has a great presence as the funny-terrifying Charlie.
Continue reading: Seven Psychopaths Review
When the Iranian Revolution protests began to take place in 1979, their main target was the US embassy in Tehran. It didn't take long for an army of militant Islamic extremists to infiltrate the building and seize 52 American citizens as hostages with only six victims managing to escape and take refuge inside the Canadian ambassador's home. It is decided that the six escapees must be found and smuggled out of Tehran before they are killed. Tony Mendez is a CIA officer specialising in covert government operations who is enlisted by the government to conceive a plan of exfiltration. His plan involves him and his team travelling to Iran under the guise of a film crew preparing to shoot a pretend movie called 'Argo'. However, as is expected, not everyone is confident in this less than risk free operation.
'Argo' is loosely based on a true story depicted in the real Tony Mendez' account of the events that took place during the hostage crisis as well as an article written in Wired in 2007 called 'How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran' by Joshuah Bearman. It has been directed and starred in by Ben Affleck ('Good Will Hunting', 'Pearl Harbor') and written by Chris Terrio ('Heights') and will be released in US theaters on October 12th 2012.
Starring: Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman, Victor Garber, Tate Donovan, Scoot McNairy, Rory Cochrane, Christopher Denham, Kerry Bishe, Kyle Chandler, Chris Messina, Zeljko Ivanek & Titus Welliver.
Marty is a budding screenwriter in LA with hopes of completing his major screenplay 'Seven Psychopaths' but involuntarily gets mixed up in his friends Hans and Billy's career of dog kidnapping; a way of earning money that involves stealing people's pet pooches and returning them some days later to claim the reward. Billy is an actor and Marty's best friend who tries desperately to keep him safe when he is almost killed after Billy and Hans steal the much-loved Shih Tzu of unhinged gangster, Charlie; a man whose fury and devastation at losing his dog is enough drive to execute whoever he thinks is involved. Hans is religious with a violent past but now recognises non-violence as a better way to live. However, he, Billy and Marty will struggle avoiding violence at the hands of Charlie especially as they choose to ignore their worried and annoyed girlfriends' suggestions to return the dog.
'Seven Psychopaths' is a wonderful crime comedy that spoofs the trend of all the serious gangster movies that have been released this year. Directed, written and produced by the Oscar winning Martin Mcdonagh ('In Bruges', 'Six Shooter'), this star-studded flick is definitely one for dog lovers and gangster film lovers alike. It is scheduled for release in the UK this winter on December 7th 2012.
Starring: Sam Rockwell, Colin Farrell, Christopher Walken, Woody Harrelson, Abbie Cornish, Olga Kurylenko, Zeljko Ivanek, Tom Waits, Helena Mattsson, Gabourey Sidibe, Kevin Corrigan, Brendan Sexton III, Sandy Martin and Ronnie Gene Blevins.
Genetically altered government agent Aaron Cross (Renner) is part of Outcome, a parallel programme to Treadstone, which created Jason Bourne. Since Bourne's antics have lifted the lid on Treadstone, Outcome director Eric (Norton) decides to terminate his programme by brutally killing everyone involved. But Aaron slips through the net, as does geneticist Marta (Weisz), whom Aaron needs for the meds that keep him going. As Eric's team hunts them down, they head to Manila to find a solution.
Continue reading: The Bourne Legacy Review
Rory Jansen is a young writer who is failing to achieve any kind of literary recognition and is on the edge of giving up as he and his wife Dora struggle to pay the bills. One day, as a kind gesture, Dora buys Rory an antique looking leather case in which he later discovers a collection of papers detailing a highly compelling and well written novel. In a moment of utter desperation and thoughtlessness, Rory copies the story and gets it published under his own name finally achieving the recognition and success he so craved. It's only a matter of time before he gets found out and he begins to realise how many people's lives he has affected by his one moment of stupidity. He must face the consequences for stealing the work of another writer and find a way to fix everything.
Continue: The Words Trailer
Writer/director McDonagh has dabbled in fairy tales before, in his grimly funny and ultraviolent stage plays like the Tarantino-esque The Lieutenant of Inishmore and, particularly, The Pillowman, which knocked Broadway audiences for a loop back in 2005 with its mix of bloody, Grimm-like Germanic storytelling and anonymous, Kafkaesque modernity. With his feature directorial debut (his short film, Six Shooter, won an Oscar in 2006), McDonagh takes his particular theatrical affinity for finding cockeyed laughs in horrendous situations and creates a precisely structured and knock-you-down hilarious comedy of violence with a film that (hopefully) announces a great new cinematic talent.
Continue reading: In Bruges Review
Richard Gere, perfectly cast, plays Clifford Irving, a down-and-out writer who in 1971 wrote (and nearly got published) a fake biography of Howard Hughes. Desperate to jump-start his career, Irving duped his editor Andrea Tate (Hope Davis) and the top dogs at McGraw-Hill into believing he was not only a friend of Hughes, the notorious recluse, but that the billionaire had tapped Irving to write his life story. Smelling a publishing sensation, McGraw-Hill offered Irving a then-record publishing deal, and the writer suddenly found himself the crown prince of the publishing world.
Continue reading: The Hoax Review
Lars von Trier's peculiar compulsion to humiliate his heroines (and by extension the actresses who play them) has finally crescendoed to a deafening din of indiscriminate, exasperating martyrdom in "Dogville," a daring experiment in heightened performance and minimalist filmmaking that is fatally undermined by the Danish writer-director's conceit as a narrator.
His last four movies ("Breaking the Waves," "The Idiots," "Dancer in the Dark" and now "Dogville") have all dealt largely with the psychological (and sometimes physical) torture of vulnerable female protagonists. While his storytelling and cinematic style are almost always compelling, he's never seemed so arbitrary in his sadism than in this allegory of a beautiful, 1930s flapper fugitive hiding from the mob in a ragged, remote, austere Colorado mountain hamlet, where the tiny populace goes from distrustful to accepting to maliciously cruel on little more than von Trier's say-so.
Played with discernible dedication by Nicole Kidman, Grace is a porcelain enigma of self-flagellation so determined to escape some kind of shadowy past that, in exchange for the skeptical township's shelter, she agrees to indentured servitude -- doing handy work, favors and manual labor one hour a day in each of the seven households. She gradually comes earn the friendship of all -- even those most reluctant to accept her.
Continue reading: Dogville Review
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
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