You’d think a 20-year-old indie film from Germany would have lost its mojo by now. But experiencing the quirky Run Lola Run all these years later remains satisfying if not truly thrilling. A mix of sci-fi, slapstick, and romance, the movie was director Tom Tykwer’s third and a breakout hit in 1998.
If you’re not from Miami, you probably know Terence Nance as the showrunner of the experimental HBO series Random Acts of Flyness. Perhaps you saw the lengthy profile of him in the New York Times this summer, or if you’re into indie film, you know his works An Oversimplification of Her Beauty and Swimming in Your Skin Again, which earned raves at festivals such as Sundance.
… After a somewhat compelling hour suggesting all the reasons that Borden might be willing to kill, Macneill and screenwriter Bryce Kass tantalize with the possibility of their subject’s innocence
Roth’s film is a funhouse throwback, a scare-the-kids goof with a top-shelf cast, an antique shop’s worth of creepy windup dolls and more heart than you might expect — and, like those jack-o’-lanterns, it’s got more teeth, too
It is to Hawke’s credit that he has invested what clout he has gathered in his industry into this study of an artist who never gathered much clout at all — and that the resulting film has the warm, weary rhythms of Foley’s own songs
“Miami sneaks up on you. Or do we change and find ourselves sneaking up, washing up, ending up in Miami? It’s the kind of place you say, ‘That could never be me.’ And then it is.” That was how Anthony Bourdain saw Miami.
Miami Dade College’s Miami Film Festival Gems 2018 has announced its full lineup, and the movies include several Oscar hopefuls from across the globe. Both opening- and closing-night films have been submitted for the Foreign Language category by their respective countries.
Radner narrates, in a way, through her own audio diaries, plus some snippets of interviews and judicious excerpts from the audiobook of her perfectly titled — and just-barely posthumous — memoir, It’s Always Something
There’s a sense that Fogelman … has been inspired in part by the broken narratives of Charlie Kaufman, as the first 10 minutes of this film feature a story-within-a-story meta fake-out with Jackson as himself, narrating the action of a screenplay written by forlorn drunk Will (Isaac)
Despite the efforts of Dinklage and Fanning, both always pleasant enough to watch, and Morano’s keen eye — witness how she rarely puts both Del and Grace together in one frame — neither character really comes to life
The pups, named Primrose and Poppet and Phil and Potomac and Patriot, get dispatched from the organization Guide Dogs for the Blind to the homes of families dedicated to raising them for the first half of their training.
Despite the killing-spree craziness of its final reels, much of the film is a how-the-kids-live-now potboiler, replete with guileless dirty talk and immense bedroom windows that seem to have been installed with peeping in mind
But 11/9 plays not like a much-needed blast of truth but like an all-purpose Michael Moore sequel, a self-congratulatory follow-up to several of his films, with Parkland material in the Bowling for Columbine vein, references to Sicko and even excerpts from 1989’s Roger & Me
Its centerpiece is a breathless break-in at the National Anthropology Museum in Mexico City, as two 30ish suburbanites, played by Gael Garcia Bernal and Leonardo Ortizgris, attempt to loot artifacts from what is known as the Mayan room
Cosmatos delivers (as fans say) on the blood and guts, on cathartic slaughter, on the disreputable pleasure of watching a bereaved hero regard a new weapon and envision nasty uses for it
This latest entry, directed and co-written by onetime wise-ass action screenplay wunderkind Shane Black (Iron Man 3, The Nice Guys), wears its self-aware humor as a talisman against the predictability of its plot and the gratuitousness of its carnage.
It’s not easy to describe the wonderfully transgressive experience that is The Wild Boys. Sex and violence linger everywhere, be it on a ship full of masculine power plays or a jungle of phalluses begging to be sucked. With his feature debut, Bertrand Mandico has created a work of art that’s as full of angst as it is horny, a queer fever dream that’s as much a nightmare as it is an erotic fantasy.
Shot with a crew of four on 16 mm, the film is a gritty, stripped-down character piece, featuring Loden herself as Wanda and Michael Higgins as the thief, Mr. Dennis, alongside a cast of expressive and peculiar non-actors
The film, I suspect, will have some minor historical value, but I fear that watching Stern well up on election night won’t offer much insight to people alive now
For the family at its heart, everything seems to be in constant, even terrifying disorder, and yet nothing really changes — not after one son discovers he’s different, not even after dad knocks out mom’s teeth
Walk through your favorite Downton sets, check out more than 50 costumes from the show, and enjoy exclusive footage in West Palm Beach this fall.
White Boy Rick has reams of story to tear through, but at heart it’s a family drama, one more concerned with the Wershes than with crack, the feds or Detroit itself
