The Toronto International Film Festival has aged gracefully into its 40th year anniversary. Black directors, actors and writers have enhanced the celebratory occasion with fine performances and artistic contributions in indie films, big budget movies and life-affirming documentaries.
'Hands-off-Helen' (Mirren), a Dame and a certified feminist with usually very clever and measured things to say, got all iffy and bristly last week when she expressed a strong distaste for snug embraces. 'When I see men with an arm slung around their girlfriends' shoulder, it's like ownership,' she said.
It's about time the graceful beauty was honored with a beauty campaign. She's worth it, all right. I've never been shy about the fact that I think the ageless Helen Mirren is red hot.
Dare to show even the tiniest spark of interest in royal babies or movie star divorces or Olympic decathlete gender identity and you're likely to be scorned for engaging in "celebrity worship." This is wrong. It isn't worship. Got that, you high-minded righteous pious scoffers?
John Boorman doesn't look like your stereotypical film director, but has the kindly eyes and reserve that you might expect to find on a favorite college professor or man of letters: a good conversationalist and an even better listener who makes the other half of the talk feel completely at ease.
Julie Taymor's latest triumph is the movie version of the play, A Midsummer Night's Dream, she debuted in 2013 at the Theater for a New Audience in Brooklyn.
Biopics are often the critics favorites as well, frequently proving themselves as Oscar and Golden Globe contenders. Plus, given the variety of biopic categories, there's something on the menu for everyone.
It was a evening of stars at the 69th Annual TONY Awards last night, with some surprise wins -- rather, vindication for dedicated fans who were excited to see favorites win across categories. The little musical that could, which began at the Public Theater in SoHo and has now swept the TONY Awards just a year later.
I interviewed Helen Mirren for Venice Magazine in 2005. Like most of the male population, she had given me palpitations of the heart and brain since childhood, my own introduction to her unique brand of elegant, brainy sexiness occurring with John Boorman's Excalibur, in 1981
In 1907, Austrian painter Gustav Klimt completed his masterpiece Portrait of Adele Bloch-Bauer I. The painting, which contains actual gold leaf, became known as Woman in Gold. It was considered to be the Austrian Mona Lisa.
The critics seem to have had an agenda because their reviews reek of disappointment. I went with curiosity, but I honestly did not expect to be moved, having seen dozens of movies and documentaries about the Holocaust and read hundreds of books about it.
There is nothing like the electricity present on a Broadway opening night. Those in attendance at film premieres often say the audience feels charged. In the theater, the actors have a chance to pick up on that. That energy impacts them on the stage.
As the film opens, we see the restless Adele Bloch-Bauer sitting for a portrait by Gustav Klimt. Who would have guessed that a family portrait would become the center of an Austrian identity crisis? Especially a portrait of a Jewish woman. In 1998, Maria Altmann's sister Louisa is laid to rest. A
Does it matter that Woman in Gold, Simon Curtis' moving drama about a woman seeking the return of art the Nazis stole from her family 50 years earlier, seems stenciled from a familiar template?
It's been exactly nine years since the glorious day when Michael Govan, the newly appointed Director of Los Angeles County Museum of Art, greeted a larger than usual crowd at a press opening in March of 2006.
The restitution of Klimt's "Woman in Gold" to its rightful heir is a story of justice won, and a up-yours to Holocaust deniers and those who continue to enact violence against Jews and other peoples who value human life.