Lifelong best friends Milly (Toni Collette) and Jess (Drew Barrymore)
have been co-stars in a long-running saga — The Milly Affair — which has
been a Sex and the City-inspired account of Milly’s life as seen
via Jess as the glorified hanger-on dragged into every frame.
Born in Paris, France, filmmaker Laurent Bécue-Renard, a Fulbright
Visiting Fellow at Columbia University and a graduate of the Institut
d’Etudes Politiques in Paris, has long chronicled wartime narratives —
in particular the war in Bosnia.
The timing couldn’t be more perfect for this re-introduction to Charles
M. Schultz’s loveable collection of underdogs — regular Everykids from a
by-gone era — that have been able to capture and maintain a death-lock
on our culture for decades.
After much debate about whether or not either of them was
interested in making a return to the Bond franchise after scoring the
largest hit of the long-running series with Skyfall, director Sam Mendes and star Daniel Craig signed
up for Spectre.
In the United States, most social/political
movements tend to adopt non-violent means to further their causes,
preferring to appeal to the goodwill of both adversaries and the
undecided masses watching from the sidelines.
A not-so-subtle shift has occurred in the
film marketplace, calling into question the fundamental assumptions of
the tacit arrangement between the studios and audiences. Call it a
Misty Copeland, celebrated African-American ballerina
(the first principal dancer with the American Ballet Theatre), occupies
cultural space alongside Serena Williams as a subject of debate when it
comes to race and body image in our society.
Thanks to reality television, we have an appreciation
for the celebrity chef as a troubled genius diva, which is exactly what
director John Wells (August: Osage County) and screenwriter Steven
Knight (The Hundred-Foot Journey) working from a story by Michael
Kalesniko, give us in Burnt.