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“God’s Own Country” has been compared quite a lot to
“Brokeback Mountain,” as they’re both meandering tales about finding forbidden love in the countryside. They both cross the entire spectrum of emotion from sweet to tragic and back again, but “God’s Own Country” deviates from the picturesque mountains of Wyoming, instead taking place in the gray, cloudy British countryside.
“Wonder Woman” was a smash hit at the box office, but is that enough to permanently change things for women in Hollywood?
The gang from Hawkins, Indiana is back; a year older and a little bit wiser as they take on a new, but familiar challenge, in the second season of Netflix’s ‘80s love letter, “Stranger Things.”
Marvel is an unstoppable machine in the movie business, with three films scheduled to come out every year until 2020. Each one is expected to be a surefire hit due to a devoted, widespread following, including the newest addition to Thor’s solo ventures. Marvel films have a generally positive track record but despite every film being a box office hit, there are flaws that exist.
Takashi Miike has directed a long list of films ranging from action dramas to comedy musicals. One of his newest films, “Blade of the Immortal,” adds to Miike’s list of violent action dramas as it depicts the gruesome and emotional tale of Manji (Takuya Kimura), an immortal swordsman, and Rin Asano (Hana Sugisaki), a girl who was forced to watch her father’s murder and mother’s rape. She seeks out Manji to help her take revenge on a group of murderous swordsmen. Takashi Miike has succeeded before and succeeds again at creating a blend between a pure fantasy samurai film and an intense, emotional and realistic story.
The Vatican II era of the Roman Catholic Church in the 1960s was a watershed moment for the faith. It marked the transition from the archaic -- but time-honored -- traditions of the church to more accepting, liberal policies under Pope John XIII. In “Novitiate,” writer and director Margaret Betts explores how these changes impact a group of young women who decide to devote their lives to God, as well as a veteran of the faith who feels as though the church is leaving her behind.
Directed by Todd Haynes and based on the book by Brian Selznick, “Wonderstruck” tells the stories of two deaf children as they go on separate adventures in different time periods to search for something missing in their familial lives. Unfortunately, both tales aren’t all that compelling to begin with and the film has a tendency to meander, unable to balance the full complexities of both characters.
After filmmaker Rory Kennedy screened her new documentary, “Take Every Wave” about the life of big wave surfer Laird Hamilton, in New York recently, a man approached her and said he’d finally go into the ocean, even though he was terrified of the water and had never been in it before. “So, for him, that’s his wave,” Kennedy said.
Imagine a major terrorist attack happening on the day of your final dress rehearsal, for the first production of the season at one of your theaters, the Bastille Opera. Do you go on with the show? How do you address the situation? How can you push aside your grief and tell a story? Stéphane Lissner, the director of L’Opera National de Paris, decided that the final dress for the ballet “La Báyadere” would go on despite the Charlie Hebdo terrorist attacks that occurred that morning, and addressed the audience with class at the curtain call, asking for a moment of silence.
Explosions. Blood. Pain. For many of those serving in the military, war leaves scars that aren’t visible to the naked eye. Director Jason Hall’s “Thank You for Your Service” documents these scars through the emotional story of three soldiers after their service in Iraq. Miles Teller portrays Adam Schumann, one of the soldiers who struggles to reconnect with his family alongside his fight with post-traumatic stress disorder. The film gives audiences a glimpse into the daily lives of military veterans, starting the conversation that the war doesn't end when they come come.
Jason Hall’s directorial debut, “Thank You for Your Service,” allows audience members to experience trauma alongside a strong cast that successfully portrays the impact of post-traumatic stress disorder. Nonetheless, a rushed resolution makes the story feel incomplete.
American cinema has a long tradition of taking the quiet suburban utopia and portraying it as a living hell for its inhabitants. It can be seen across all genres, from the drama “American Beauty,” where a father is tormented by his failing marriage and his lust for his teenage daughter's best friend, to the horror film “A Nightmare on Elm Street,” where the seemingly mundane lives of a group of friends are turned into a literal -- you guessed it -- nightmare.
Yorgos Lanthimos is one of the most adventurous directors working today, consistently making films that are willing to unsettle an audience -- most recently “The Lobster,” an expectedly twisted but unexpectedly romantic take on modern love.
Antonio Santini and Dan Sickles have created a sweet and interesting look into the relationship of Dina and Scott, a couple who are both afflicted with Asperger’s syndrome. The camera disappears behind the couple’s daily interactions with each other and the world around them as the documentary follows their relationship from the day that they move in together to their marriage and ends with them returning from their honeymoon. The camera is almost too good, constantly being one step ahead of the couple to the point that the filmmakers may have pushed the couple to act a certain way or move to a specific location. But, tears, laughter and the interesting story take hold of the audience as more of the story unfolds and a dark history is revealed to contrast the kindness and romance of the couple.
Tyler Perry first introduced Madea in 1999 during the Atlanta screening of “I Can Do Bad All by Myself.” It wasn’t his initial decision to play the character but after an actress fell through, he had to step in because the show must go on. Tyler Perry’s Boo 2! A Madea Halloween is the 14th studio movie where Perry worked as a director, producer, writer and actor. The original film, “Boo! A Madea Halloween,” recieved mixed reviews from critics and has a 21% on Rotten Tomatoes. The comedy-horror sequel is on track to be a major hit for Halloween season with over 100 minutes of comedic genius coming from three characters all played by Perry himself.
“Only the Brave” could not have been released at a more timely moment. As wildfires destroy communities across northern California every day, it is important to remember the burden that those who fight these fires carry, and the sacrifices they are willing to make. “Only the Brave” is a beautifully shot love letter to those who risk their lives to ensure the safety of their communities. Its characters are as riveting as its plot, only reinforcing the film’s dramatic conclusion and making its viewers feel the heat as these men fight these fires.
In the opening scenes of “Take Every Wave,” a new documentary film about big wave surfer Laird Hamilton, we see Hamilton checking out El Nino-influenced monster waves in Hawaii. He is preparing to surf some of the biggest waves he’s ever seen.
The anti-vaccination movement is one of the most discussed ─ and disputed ─ topics in popular medicine today. Over the course of five years, filmmaker Miranda Bailey takes her viewers into the home of the man who is credited for sparking the controversy ─ Dr. Andrew Wakefield.
John Carroll Lynch sat nestled at the conference room below the Rosewood Hotel in Georgetown. He just flew in from Boston to promote his new film “Lucky ,” mere days after the passing of the film’s star and legendary actor, Harry Dean Stanton.
Denis Villeneuve is no rookie when it comes to making movies. With a track record that includes “Enemy,” “Prisoners,” “Sicario” and “Arrival,” I wasn’t worried that he would drop the ball on the sequel to one of my all-time favorite films: “Blade Runner.” In fact, I was ecstatic that Villeneuve had been given creative control over the film instead of Ridley Scott, the director of the original “Blade Runner,” as Scott’s modern films have left audiences disappointed time and time again. Specifically, Scott’s discussion of Blade Runner in an interview where he incoherently expressed his love for "Beevis and Butthead” only served to reinforce my support for Villeneuve being in the director’s chair.