In Still Mine, writer-director
Michael McGowan presents us with Craig Morrison (James Cromwell), an
80-something farmer, a tireless and practical man with a large family
and an even larger kingdom, which he manages with common sense and
The Spectacular Now’s Sutter (Miles Teller) leads a good life, a
damned good life for an onscreen high school senior. He may
seem all too familiar to those of us weaned on the John Hughes teen
comedies of the 1980s, because if you squint and tilt your head to the
left a little, Sutter is the modern-day incarnation of Ferris Bueller.
Allen turns his attention to the
financial crisis of 2008 and a Bernie Madoff-type named Hal (Alec
Baldwin), one of those Wall Street titans building cloud-based castles
in the sky that blot out both the sun and common sense. He’s gruff and
arrogant, all façade with no substantive core inside his bulked-up
Maybe I’m as juvenile as my wife thinks, but the bit in trailer for Rawson Marshall Thurber’s We’re the Millers
where Jason Sudeikis, as a scheming drug mule who hires a fake family
to smuggle drugs across the border, launches into a Bane voice (spoofing
Tom Hardy’s villain from The Dark Knight Rises) just sends me
into a fit of hysterical laughter.
Schrader has had a long and often tumultuous career in movies. The 67-year-old
Michigan native began his obsession with cinema as a critic in the early 1970s,
one of the most creatively fertile periods in American movie history.
A few times each year, certain films
challenge me on a deeper, primal level. They rattle the critical cage,
issuing a call that necessitates a response from more than the safe
sanctity of the intellect. They demand a blood offering from the heart.
With certain directors, every new release
takes us back to the first time we experienced their work. We remember
the visceral thrills, the powerful sensuality or the intellectual
austerity that captivated us and we want relive those sensations, which
means we set the bar at a level so high that only a talented few can
The Way, Way Back starts right off
with that signature scene from the trailers. Duncan (Liam James), a
slightly awkward 14-year-old, sits in the back of an old station wagon
that belongs to Trent (Steve Carell), the new boyfriend of his mother
Pam (Toni Collette).
Director Lee Daniels (Precious)
finds himself in a most curious position less than two months from the
release of his new film, a historic drama detailing the life of Eugene
Allen (here known as Cecil Gaines and played by Academy Award winner
Forest Whitaker), a quiet Everyman who served eight presidents during
his time as a butler in the White House
There is much drama at the heart of
biblical relationships, but most modern translations resort to soap
melodrama, the absurd and tasteless that has now become commonplace in
our reality-based culture.
Pumpkin Productions, the moniker chosen by CityBeat
contributing arts editor Steven Rosen, has teamed up with co-sponsor
Cincinnati Film Society to present a three-day Mindbenders series, which
will screen at the Art Academy of Cincinnati.
If the apocalypse is nigh, then it would
seem that there’s no better place to be than James Franco’s house, where
everybody parties like it’s 1999 (and I wish they had actually dropped
that track into the mix). By everybody, I mean Seth Rogen, Jay Baruchel,
Jonah Hill, Danny McBride, Craig Robinson and, of course, Franco
playing alternate versions of themselves.
Something didn’t feel right. After taking in a recent screening of Baz Luhrmann’s The Great Gatsby, I walked out of the theater feeling … off. I was simultaneously anxious, depressed, energized and a little jittery.
The Contemporary Arts Center, through its 2013 Summer Performance Series in “The Living Room” of The Living Room exhibition, kicks off the season with a fascinating performance, Screenage Wasteland,
from Jim Swill, an artist known for his spoken word riffs, short films
and collage work.