Zuleikha Robinson

Zuleikha Robinson

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New York premiere of 'Show Me A Hero'

Zuleikha Robinson - New York premiere of HBO's 'Show Me A Hero' at The New York Times Center - Red Carpet Arrivals - New York, New York, United States - Tuesday 11th August 2015

Zuleikha Robinson

UNICEF's Next Generation LA Launch

Zuleikha Robinson - UNICEF's Next Generation Los Angeles Launch at the LA County Museum of Art - Los Angeles, California, United States - Thursday 9th May 2013

Zuleikha Robinson

Harper's BAZAAR Celebrates The Launch Of Bravo TV's "The Dukes of Melrose"

Zuleikha Robinson - Harper's BAZAAR Celebrates The Launch Of Bravo TV's "The Dukes of Melrose" Starring Cameron Silver And Christos Garkinos - West Hollywood, California, United States - Thursday 28th February 2013

Zuleikha Robinson

Montblanc and UNICEF celebrate the launch of their new 'Signature For Good 2013 Initiative'

Navid Negahban and Zuleikha Robinson - Montblanc and UNICEF celebrate the launch of their new 'Signature For Good 2013 Initiative' at a pre-Oscars charity brunch, with special guest Hilary Swank, held at Hotel Bel-Air - Arrivals - Los Angeles, California, United States - Saturday 23rd February 2013

Emmy Rossum and Navid Negahban
Navid Negahban
Navid Negahban and Zuleikha Robinson
Emmy Rossum and Navid Negahban
Navid Negahban

The Namesake Review


Good
Mira Nair's latest film, a translation of Jhumpa Lahiri's emphatically praised book The Namesake, caps off a theme that has been heavy in her work thus far: assimilation and cultural duty. Though she's been making films since the mid-'80s, Nair didn't attain commercial attention until 2002 with Monsoon Wedding, an exuberant comedy about a New Delhi wedding between a woman who just ended an affair with a married producer and a native of India prospering in Texas. The modest hit gave her enough clout to secure her a director's chair on the last adaptation of William Makepeace Thackeray's Vanity Fair, an England-based novel given an Indian flair on the big screen.

Monsoon Wedding turned the slow grinding of cross-culture gears into a comfy piece of visual pop. It confronted the situation but seemed complacent enough to leave the confrontation in simple, digestible terms; a stylized My Big Fat Greek Wedding. In contrast, Vanity Fair, originally a satire of England's manners and traditions, was taken deep into the mystic, hitting its most absurd note when Reese Witherspoon seductively belly danced with a tribe of women from India. Though it was easy to see where these moments were pointing, The Namesake gives Nair a broad canvas and a more concise frame to study the American identity and its effects on other cultures without any affectation or pretense.

Continue reading: The Namesake Review

Hidalgo Review


Grim
According to history, for centuries a 3,000 mile race known as the "Ocean of Fire" was run by young thoroughbred horses across the Arabian Desert. This race is the focal point of Hidalgo - a story about a man and his titular horse, who in 1890, surprised the world by winning. What's unclear is that this race may not have taken place!

As the story goes, Hidalgo was considered a long shot to win the race because he was a Mustang, in a race of faster, stronger Arabians. Hidalgo appealed to a wealthy Sheik (Omar Sharif) who brought the horse and its legendary rider Frank T. Hopkins (Viggo Mortensen) from the United States halfway across the world to participate. Despite a potential claim for fame and fortune, Frank is participating for entirely personal reasons. Frank wants to help his half-blood Indian tribe buy back land from the U.S. government that they can use to raise their horses.

Continue reading: Hidalgo Review

The Merchant of Venice Review


Good
When I heard that Al Pacino was playing Shylock in The Merchant of Venice, part of me was extremely skeptical. I was fearful he would bellow every other word ("If YOU prick US!"), which has been his acting technique for over a decade. Or, perhaps he would lapse into the Foghorn Leghorn accent that made The Recruit such a hoot.

It's been a crap shoot with the great actor for some time. Watching Pacino is like watching a beloved, over the hill athlete sticking around. He hobbles, the crispness of his movements isn't there, and the mixture of luck and confidence he once had is just a pleasant memory. More often than not, you just hope he just doesn't stumble. You just want a glimmer of what once was.

Continue reading: The Merchant of Venice Review

Time Code Review


OK
Sorry, Mr. Lynch, your place at the head of the avant-garde experimental filmmaker table has been given away. Messrs. Jarmusch, Toback, Korine, and Cronenberg, you'll all be eating outside. Mike Figgis will be taking over for all of you, and don't come back.

Figgis, who earned a Best Director Oscar nomination for Leaving Las Vegas in 1996, appears to have gone a little funny in the head last year with his inexplicable and nearly dialogue-free The Loss of Sexual Innocence. Now he's fully gone off the deep end with what may be the most ambitious experiment ever: Time Code.

Continue reading: Time Code Review

The Merchant Of Venice Review


Weak

In his bold, brusque re-imagining of William Shakespeare's "The Merchant of Venice," screenwriter and director Michael Radford ("1984," "Il Postino") has successfully solved one of the play's two inherent impediments -- its insensitive, arguably anti-Semitic caricature of the greedy, vengeful Jewish creditor Shylock, who demands a literal pound of flesh as payment for a defaulted loan.

Applying audacious creative license, Radford has reinvented the character as a tragic and more central figure -- played by no less than Al Pacino -- whose villainy is motivated by a sense of indignation for his treatment at the hands of bigoted gentiles. This "Merchant" is no longer a farce, but a drama thick with implications about the dangers of religious power in society.

Unfortunately, Radford's creativity with the Bard's narrative doesn't extend to renovating the film's weightless, transparently contrived primary plot about Bassanio (Joseph Fiennes), a young man who wishes to woo beautiful heiress Portia (uncommonly lovely Lynn Collins), but fears he hasn't the wealth to make the proper impression. These romantic aspirations lead his merchant-shipper best friend Antonio (Jeremy Irons) to securing the sinister, high-risk loan from Shylock on Bassanio's behalf.

Continue reading: The Merchant Of Venice Review

Hidalgo Review


OK

"Hidalgo" stars the magnetically scruffy and unruffled Viggo Mortensen ("The Lord of the Rings") as Frank Hopkins, a famously fast Pony Express rider who became a long-distance legend in 1890 when he and his undersized mustang were the first Westerners to enter the most grueling horse race in the world -- 3,000 parched miles across the Arabian desert.

The film is based on a true story -- well, except for the romance with a sheikh's fiery daughter, the swordfights and shootouts, the kidnapping, and the conspiracies and double-crosses that lead to such things. (Now that's what I call fictionalization!) But if there's a good movie to be made from such archaic adventure clich├ęs, this picture has the right guy behind the wheel: director Joe Johnston.

Having helmed "The Rocketeer," Disney's wonderfully corny revival of 1940s science-fiction superhero-dom, and "October Sky," a vivid, timeless, 1950s-style feel-good biography about a real NASA scientist's rocket-building teens, Johnston has a knack for finding freshness in the most hackneyed of stories. He even breathed new surprises into the third "Jurassic Park" movie. So bring on the quicksand, sandstorms and locusts! After "Hidalgo," I'm starting to think this guy can mold any perfunctory script into a thoroughly fun and satisfying Saturday matinee.

Continue reading: Hidalgo Review

Zuleikha Robinson

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