At a time when there's so much incertainty in the US political climate, a film like 'The Post' arrives to remind us all of the importance of whistle-blowers. Directed by Steven Spielberg, it follows the important decisions that a group of journalists had to make when they received the Pentagon Papers.
When the New York Times released a information of from a 7,000 page document on the involvement of the US in the Vietnam War, which included evidence that the Pentagon had been lying to the media and the public, The Washington Post were determined not to let it be swept under the carpet.
Editor Ben Bradlee (Tom Hanks) and the Post's first ever female publisher Kay Graham (Meryl Streep) are hellbent on obtaining the documents known as the Pentagon Papers so they can ultimately expose the government for the liars that they are. However, things take a dangerous turn when they release their own series of articles just weeks after The New York Times is forced to cease its own coverage of the scandal.
Continue: The Post Trailer
Those who have read the blockbuster novel may be disappointed to know that author Gillian Flynn hasn't changed anything in adapting it to the big screen, so there aren't any surprises along the way. But they'll be glad to see the story so faithfully and skilfully adapted, with snaky direction from David Fincher and actors who add layers of new meaning to the characters. And non-readers are in for a thrillingly twisty experience as a mysterious conundrum shifts into a full-on thriller and then something much more intensely personal.
When Nick (Ben Affleck) discovers that his wife Amy (Rosamund Pike) is missing on their fifth wedding anniversary, he has no idea what has happened. As recounted in Amy's journal, their marriage has been a whirlwind of sexy highs and dark lows, as both writers lost their jobs in New York and moved to rural Missouri to take care of Nick's terminally ill mother. As a result, their marriage ran aground, and Nick increasingly turned to his twin sister Margot (Carrie Coon) for support. As two police officers (Kim Dickens and Patrick Fugit) investigate Amy's disappearance, the media circus begins to paint Nick as a villain, led by rabid tabloid-TV host Ellen Abbott (Missi Pyle). So while he suspects Amy's stalker-like ex (Neil Patrick Harris), Nick has little choice but hire a high-powered lawyer (Tyler Perry) to defend himself.
Even at nearly two and a half hours, this film races along breathlessly as events and revelations continually shift the perspective. It's clear from the start that neither Nick nor Amy (in diary-entry flashbacks) are particularly reliable narrators. Both are a bundle of secrets, although Nick remains far more sympathetic. Affleck gives one of his most textured performances in years as a nice guy who struggles to look "nice" for the cameras. His isolation and confusion are hugely involving, which contrasts strongly to Amy's far too confident point of view. Pike manages to bring out the peeling onion of Amy's personality beautifully, offering telling glimpses of the real woman beneath the characters she seems to always be playing. And the supporting cast add details that twist their roles as well. Dickens and Fugit are a terrific double act, while Coon and Harris constantly offer surprising hints about their characters beneath the bravado and concern.
Continue reading: Gone Girl Review
During the 52nd New York Film Festival, the world premiere for 'Gone Girl' took place. Many celebrities that appear in the film were in attendance on the red carpet, including Neil Patrick Harris, who plays Desi Collings in the new David Fincher thriller. Also photographed were Kim Dickens (who plays Detective Rhonda Boney), Patrick Fugit (Officer Jim Gilpin) and Lisa Banes (who plays Marybeth Elliott).
'Gone Girl' opened the New York Film Festival on Friday 26th September. In addition to the film's cast - some of whom include Ben Affleck, Neil Patrick Harris and Rosamund Pike - other famous faces who attended the event included Reese Witherspoon, Lisa Banes and David Clennon.
The opening of the New York Film Festival on Friday (26th September) was attended by many of the great and the good from the acting community. Check out the pictures from the red carpet!
Ben Affleck stars in Gone Girl.
Nora has a dark past. And a dark present. And future, judging by this episode.
Let’s talk about The Leftovers, which came back this week with a particularly depressing episode. We got a look inside Nora’s everyday life, which we already knew included torturing herself by interviewing people in her situation – those, who have lost loved ones in The Departure. It turns out that Nora isn’t freelancing at all. In fact, she’s working for the government, ostensibly trying to suss out who actually deserves money from the government for their tragedy. It wouldn’t be a pleasant job for anyone, but for Nora, who lost her husband and children in The Departure, it takes on a particularly creepy masochistic undertone.
Justin Theroux in The Leftovers.
Speaking of masochistic and creepy, this episode also sees Nora paying a prostitute to shoot her. No, don’t worry, she does this all the time. Ok, but it’s completely normal, she’s wearing Kevlar and has a mattress laid out. What do you mean that doesn’t make it any better? Angel, the panicked hooker that Nora wants to pay for the “service”, also doesn’t think it’s normal, but she takes the money anyway and shoots. After a tense moment, Nora rises up, alive and relatively unscathed. We’ll leave the amateur psychoanalysis to anyone else, who wants to open that can of worms.
Continue reading: ""The Leftovers" Recap: What's Eating Nora? EVERYTHING.
Nick Dunne finds himself at the fore of a police investigation when his wife Amy mysteriously goes missing on their fifth wedding anniversary. He has mixed emotions about the whole thing as he enlists volunteers to help find her; their marriage has been on the rocks after he lost his job and dragged Amy away from New York to open a new business. Their relationship was often volatile, further implicating his involvement in her disappearance. A part of him is not so worried about her; he knows how manipulative and deceitful she can be, but unfortunately his lack of visible devastation on TV goes solidly against him for those who are sure he's killed her. As it turns out, he's not so honest either and things come to a head when it turns out that every person in this story has a secret.
Continue: Gone Girl Trailer
Nick and Amy Dunne are a couple whose marriage is struggling following the loss of Nick's journalism job and their subsequent move away from New York City. Nick sets up a new business to support them, but nothing seems to be cutting the tension between them as their relationship gets more and more fractured. When Amy goes missing on their fifth anniversary, a series of suspicious circumstances point him out as the prime suspect in a possible murder investigation; though he denies any involvement in her disappearance, we are left questioning everything he says when his true, deceitful nature starts to shine through. However, it soon becomes clear that he's not the only dishonest character in this tale as nobody is quite what they're making out to be.
Continue: Gone Girl Trailer
Edward Albee's derisive, acerbic and witty 1962 play 'Who's Afraid of Virginia Woolf?', now starring Tracy Letts and Amy Morton, has undergone a re-vamp and a re-debut at the Booth Theatre on Broadway, celebrating exactly 50 years since its original opening. Directed by Pam McKinnon, this version draws on a down to earth and disturbing approach to the play.
The unfolds in three acts, dissecting and probing the dysfunctional American marriage that Albee envisions for the great nation. George and Martha, a middle aged couple; George a history professor and Martha the daughter of the College president, play host to another couple Nick: a new biology lecturer at the college, and Honey his young wife. The night spirals downhill as it becomes increasingly alcohol fuelled and the dysfunctions in George and Martha's relationship play out in their own inter-play performance to Nick and Honey, which is at best full of vicious, scathing words and at worst physically violent.
Reviewers of this new Broadway version have praised Letts hugely. The New York Times said he “brings a coiled ferocity to George that all but reorders our responses to a play that many of us probably thought had by now vouchsafed all its surprises” and the Chicago Tribune says Lett has “the performance that dominates this production”. Morton apparently makes you “deeply care for Martha, making you feel what you feel when you watch any friend trying to deal with a passive-aggressive spouse,” which is firstly no mean feat, and secondly, surely: the prime concern for an actor or actress- to make your audience feel.
This current production opened 50 years to the day that Albee’s “landmark drama” first opened on Broadway. The action of the play takes place in the living room of a history professor and his wife. With another couple visiting for the evening, and plenty of liquor to hand, a battle of wits ensues and marital tensions rise to the surface. When they play debuted 50 years ago, it marked Albee as one of the most important American playwrights of his time.
Saturday’s opening night performance, however, rubber-stamped Tracy Letts’ acting talent, five years after winning a Tony Award and a Pulitzer prize as a playwright. Under Pam McKinnon’s direction, the New York Times remarked that Letts brought “a coiled ferocity to George that all but reorders our responses to a play that many of us probably thought had by now vouchsafed all its surprises.”
Continue reading: Who’s Afraid Of Virginia Woolf: Tracy Letts’ Acting Prowess Confirmed
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