I love Donna Stern (Jenny Slate), the protagonist of Obvious Child,
the new indie dramedy from co-writer and director Gillian Robespierre
(working from her 2009 short of the same name), because Donna is
wickedly smart and engaging, a cute Jewish woman we rarely get to see in
mainstream romantic comedies.
Based on his work as a filmmaker, David
Michôd, Australian partner of the brothers Edgerton (Joel and Nash),
channels into the darkest corners of his heart to investigate the
primal, animalistic urges that take mankind far away from the civilized
façade we’ve constructed for ourselves.
Back in the early aughts, Clive Owen starred in a series of promotional online shorts created by BMW called The Hire,
where he played a mysterious driver with no name enlisted by powerful
people to tackle jobs that required a certain skill set, particularly
behind the wheel, that only he had.
At one time, the title for Doug Liman’s new release was All You Need is Kill
and it featured a raw 18-year-old military recruit sucked into a
time-fractured narrative that had him reliving the same day on what
seemed like an endless loop — a D-Day style attack on an alien outpost
on the Normandy beachhead that concluded with great losses to the human
Last year’s Toronto International Film Festival offered big ticket selections like Gravity and 12 Years a Slave that would go on to claim the lion’s share of the attention during the awards season; advance previews of titles like Don Jon, Prisoners and Rush seeking to grab some last minute buzz before their opening weekends...
How often do we forget the real
connection between journalism and art? The thread stitching the two
together is honesty, and that is what documentary director Charlie Paul
aims to capture in his first feature effort: the seams between
world-changing reportage and the creative spirit unleashed.
Steven Knight, Oscar-nominated screenwriter (and director) of Dirty Pretty Things, updates the means of communication in his new feature, Locke,
but also strips the premise down to the core — to truly shocking
At first glance, it would seem that we
identify with Peter Parker (Andrew Garfield) because he is an Everyman, a
kid really, who stumbles upon great power and accepts the weighty
responsibility that comes with it. But dig a little deeper and, in fact,
there’s nothing at all about Peter Parker that’s relatable.
When we first encounter Dom Hemingway
(Jude Law), he is addressing us while being “serviced,” if you will. It
takes a moment for us to realize the nature of the “servicing” and the
location, but it becomes quite clear that Dom is full of himself and
enjoying the moment...
A certain sect living in the modern world
fantasizes about living off the grid, away from the pervasiveness of
technology, what we perceive to be an inorganic way of life and the
pettiness of human interactions.