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.
Director and writer Denis Villeneuve (the French-Canadian whose Incendies
was a Best Foreign Language Film Oscar nominee in 2011) arrived at this
year’s Toronto International Film Festival with a double feature (Enemy and Prisoners)
infused with its own moody concoction pairing doubles within doubles...
The Grand Budapest Hotel is the
latest release from Wes Anderson, the precious stylist who seems intent
on claiming the distinction of being the current iteration of early
Woody Allen — meaning he’s adept at aggressively being himself.
Five young adult friends from disparate
backgrounds living in Germany in 1941 meet — in secret, since one of
them is Jewish and therefore subject to a curfew — drink, dance and dare
to dream of a shared future and success for all.
Richard Trank, the co-writer (with rabbi Marvin Hier) and director of The Prime Ministers: The Pioneers,
presents the history contained in former Israeli prime ministerial
aide/speechwriter and ambassador Yehuda Avner’s bestselling book, The Prime Ministers.
Take, if you will, a picture — or how
about several motion pictures stretching back all the way to 1990,
almost 25 years of pictures — from Frenchman Luc Besson. Take a close
look at those pictures and a theme emerges, a variation on a theme.
One day soon, the narrative throughout
the media will coalesce around our first impressions of Elizabeth Olsen.
We will attempt to write about her, as if in hushed whispers, full of
awe. “Do you remember seeing her in Martha Marcy May Marlene?” we
will ask our readers, prodding them to recall that this was the moment
when we started the buzz about her.
When the Mayerson JCC Jewish &
Israeli Film Festival kicks off Saturday at the Hebrew Union
College-Jewish Institute of Religion with a screening of The Yellow Ticket,
the event will signal an immersive merging of old and new...
Whip-smart dark comedy has been a
signature thus far in the career of writer-director Jason Reitman, who
kicked things off by skewering the marketing/promotional efforts of the
tobacco industry (and American society as a whole) in Thank You for Smoking.