Miranda July's refreshingly slanted worldview is finally back on display via The Future, which will get its world premiere at the Sundance Film Festival in January. The long-awaited follow-up to her 2005 feature-length debut, Me and You and Everyone We Know, tells the story of a thirtysomething couple who adopt a terminally ill cat, a decision that has an unexpected impact on their lives — and likely the film's viewers.
Contemporary movie trailers suck. Not only are they — like most of the movies they pimp — typically lowest-common-denominator dumb but they also mislead viewers about a given movie’s true nature in an attempt to entice the broadest possible audience. (For example, check out the stupid, disjointed Inglourious Basterds’ trailer, which tried to sell Quentin Tarantino’s arty, longwinded, multilingual revenge epic as a straightforward Brad Pitt-centered World War II action flick.)
Will Ferrell takes a break from his usual comic shenanigans this week to star writer/director Dan Rush's feature debut, Everything Must Go, an adaptation of a Raymond Carver short story. Ferrell in a Carver story, a story in which Ferrell's character is a listless, downtrodden “functioning alcoholic” with straying loins? Apparently. And, according to tt stern-enzi's positive review, apparently he does it well.
Who better to explore the life of Mike Tyson than James Toback? The two are mirror images in many ways.
The 64-year-old director of such highly personal, often indulgent films as Fingers (1978), The Pick-up Artist (1987), Two Girls and a Guy (1997) and Black and White (1999) is a noted lothario (despite resembling a balding bear) and a gleefully narcissistic provocateur whose elemental instincts often overwhelm his obviously elevated intellect.
Few actors today go as deep as old-school De Niro in embodying their characters as Ryan Gosling (who just happens to be CityBeat's cover boy this week!).
I came across this picture of Joaquin Phoenix today, which triggered a memory of my lone interaction with him. I ran into Phoenix at a film festival party a few years ago. I remember thinking at the time that no one could possibly be less suited for the intense Hollywood glare than this guy.
In an effort to be as informative as possible to Tristate cinema geeks of every genre, political persuasion and religious affiliation, I thought I'd alert you to the coming presence of a movie that some have called “excellent,” “very worthwhile” and “absolutely dynamic.”
We didn’t need the Academy Awards to tell us that Kathryn Bigelow is a really good director — she’s been that for more than 30 years.