HollywoodandFine.com It seems startling to me that so few people recognize the name of actor Michael Shannon when they hear it. Perhaps “The Iceman” will make the difference. Shannon, after all, has an Oscar nomination under his belt (for “Revolutionary Road”). He has been the star of a handful of …
HollywoodandFine.com Adapted and extrapolated from Henry James’ novel of the same name, “What Maisie Knew” is a film that puts the audience right in the title character’s world – and forces it to experience it the way she does. In this case, Maisie is a 7-year-old girl (played by the …
HollywoodandFine.com Though a bit literal for a film that traffics in magical realism, Deepa Mehta’s “Midnight’s Children” is both dreamy and dramatic, a fascinating view of Indian history seen through the prism of a personal – and occasionally twinned – story. Adapted by director Deepa Mehta and screenwriter Salman Rushdie …
HollywoodandFine.com Over the years, I’ve developed what I refer to as the 20-minute rule. It basically says that a movie that hasn’t hooked me in the first 20 minutes probably isn’t going to. I tend to apply it most forcefully when I’m watching films at festivals or when I’m sorting …
HollywoodandFine.com “Mud” is a coming-of-age tale that feels a bit like a modern “Huckleberry Finn,” mixed with a young-adult romance novel. Yet there is something both engaging and unique about Jeff Nichols’ plain-spoken tale of youngsters learning hard lessons about the nature of love and the darker side of the …
HollywoodandFine.com Francois Ozon’s “In the House,” opening Friday (4/19/13) in limited release, gets in your head, slowly at first, then with greater and greater speed. Initially seeming like a comedy about the vicarious voyeurism of a literature teacher at a Paris high school, it casually transforms itself into something else: …
HollywoodandFine.com Jacob Hatley’s documentary about the late Levon Helm (who died in 2012) is a flinty valedictory to a rough-hewn but cagey and soulful musician. “Ain’t In It For My Health” is a title that comes with two meanings. One is the issue of Helm’s mortality, on painful display in …
HollywoodandFine.com Brian Helgeland’s “42” is an old-fashioned film in the most modern sense of the term. Even as it embraces big-screen storytelling that takes us back to a golden era of history, it gives uplift without ignoring the pain and sacrifice that went into the achievements being depicted. This story …
HollywoodandFine.com If Terrence Malick’s “The Tree of Life” was too much the dialogue-driven, story-heavy film for your liking, you’ll probably be more in the mood for his latest, “To the Wonder,” which features Ben Affleck, Rachel McAdams and Olga Kurylenko in its cast. I hesitate to say that it stars …
HollywoodandFine.com “Disconnect” is in the “Crash”/ “Nashville”/ “Short Cuts” school of story-telling, bringing together three disparate storylines that ultimately provide echoes and resonance between themselves, while involving people of tangential connection. But in Henry-Alex Rubin’s film, from Andrew Stern’s script, the connections – or the way they’re made – is …
HollywoodandFine.com Danny Boyle is one of those filmmakers – like Quentin Tarantino and Martin Scorsese – who obviously enjoys every minute of making his movies, including editing the last, most minute detail. His films pop and jump with energy and excitement – even when they’re not actually showing something exciting. …
HollywoodandFine.com At the point when it actually starts to rain blood near the end of the remake of “Evil Dead,” you would think that things couldn’t get any gorier. And of course you’d be wrong. You’ve got to say this for filmmaker Fede Alvarez: He knows how to bring the …
HollywoodandFine.com There aren’t many filmmakers creating the kind of chewy, talkative dramas about real issues that used to be a staple of movie-going because, well, the audience willing to sit still for them is aging out and dying off. So bless Robert Redford: While “The Company You Keep” can’t sustain …
HollywoodandFine.com I will admit that, when it screened at the New York Film Festival a few years ago, I walked out of Antonio Campos’ “Afterschool” after about 30 minutes. And it colored my willingness to see his newest film, “Simon Killer,” opening Friday in limited release. But “Simon Killer” surprised …