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Fraud, redemption, suicide, fear of failure, the ineluctable dance with death, alcoholism, and the addictive joy of creating art -- these are a few of the recurring themes in some of the highlights from this year's Tribeca Film Festival.
In Celeste and Jesse Forever, co-writers Rashida Jones and Will McCormack inject new life into the often tired romantic-comedy genre.
Both are about intense relationships between young adults that end -- and yet go on. Both are stories of love that has grown one-sided. And both ache with the unavoidable self-pity that goes along with that kind of situation -- while finding the laughs in that same circumstance.
Ever since the 1951 book The Catcher In the Rye, stories about angsty, alienated, financially secure (mostly male) teenagers in existential crisis over "what it all means" have become a staple of movies, TV and literature.
This slight coming-of-age tale works better than it has any right to, thanks to the performances by the young actors and several of the supporting cast.
It is rare that a film spends such a large chunk of its running time basically admonishing its own existence. Yet Wes Craven's return to the world of Scream is not only a relatively unnecessary franchise revival, it wears its uselessness on its sleeve.
Is the Scream series still relevant for today's generation? Who better to ask than Emma Roberts, part of the fresh faced cast Wes Craven brought in to keep Ghostface busy once again.
Three filmmakers, two films, two comic views on how we humans strive, through all adversity, to find new ways to frak ourselves up. I know I promised ...
This is a low-key movie about coping with depression and anxiety, and it's disappointingly insubstantial. Worse, the title amounts to false advertising: It's not really that funny.
The Winning Season follows the three-act, sports-movie formula, but it works much better than you'd expect because of the real desperation Sam Rockwell brings to his character.
Though veteran director Joel Schumacher's film Twelve didn't exactly charm the critics or audiences when it came out, one bright spot in the film was the face time from actor Billy Magnussen.
Valentine's Day wants to do for that Hallmark holiday what Love Actually did for Christmas: exploit it to make a romantic comedy. Just one problem: it's not funny.
The end of Fashion Week is always bittersweet. It's like when you go out to the country for the weekend with friends, and you have fun with them, but by the second day you want to kill them and when you finally say goodbye to them on the third day, you sort of miss them.
We're only halfway through Fashion Week, and it's always right about this time that we begin to wonder how much more we can take.
