Veni, vidi....DUD. Hurricane Joaquin came, it saw and it fled back to sea. All in all, an unpredictable failure -- just like the Joaquin Phoenix rising in Hollywood then eventually winding up on The David Letterman Show leaving everyone confused, dazed and wondering what the heck just happened.
Enter now the era of intelligent machines. Siri may not convince anyone yet to be really intelligent; but "she" and other AIs are evolving fast, and become better at using and understanding natural language.
What I appreciate about Irrational Man, Woody Allen's latest effort, are the unexplored moments, or better put, the places I explored after suitable reflection.
Woody Allen revealed, at a pre-premiere press panel for his new movie, Irrational Man, that he has fantasies of strategizing the perfect murder -- in art, of course, as in Dreiser's An American Tragedy or Dostoyevsky's Crime and Punishment.
Allen was responding to a question about his research process, specifically about the murders he's portrayed in his films. In his newest, Joaquin Phoenix stars as a college professor in an existential crisis; he comes to believe that killing another person may snap him out of it.
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.
He's the toast of the talk show scene: Guests from Clooney to Joaquin; From Regis to Drew And Jack Hanna's zoo; Dave's better than shots of caffeine!
There's something in the Los Angeles air right now attracting New Yorkers. All over the city you can find New York galleries, designers, fashion labels, creatives and with a little luck, one of New York's finest photographers, Jason Frank Rothenberg.
Inherent Vice squanders a strong start in an orgy of wheel-spinning. Perhaps Anderson is indulging himself with one of those lengthy jokes in which the punchline is that there's no punchline.
Making a film is the art of retroactive hypnotism. And there is no greater cinema hypnotist than Paul Thomas Anderson. It's rare to see a movie simultaneously this interesting and this good; this incoherent and this profound; this frustrating and this enjoyable.
The smiles are the same, and so are the values, the ambitions, the dedication to our families and to our friendships, as are our idiosyncrasies that we still love each other for.
I haven't seen a Joaquin Phoenix film since I'm Still Here back in 2010. I was reminded of what a brilliant actor he is. Not only did he bring an innocence to a role that could have been played much darker, but he brought a physical humor to it.
There are films that make you want to run to the bookstore or, in reality, Amazon.com. Any Jane Austen or Dickens adaptation. Atonement. Requiem for a Dream perhaps. Then there is Paul Thomas Anderson's adaptation of Thomas Pynchon's Inherent Vice.
Sometimes, instead of reviewing the movie you're watching, you end up reviewing the movie you thought you'd be watching. This happens especially with a director known for a particular style or genre who then switches it up.
The Immigrant stands as a reminder that, while we have come so far in this nation of immigrants, we have still farther to go to live up to the promise of Emma Lazarus' poem inscribed beneath the broken chains on the pedestal where Lady Liberty stands in New York Harbor.
While not perfect, it is more than just a feel-good sports movie about overcoming obstacles (though it is, in fact, that). Million Dollar Arm is less a movie about sports (in this case, baseball) than a film about one man's transformation from sports agent to human being.