Ever since his breakout performance in 2007's Across the Universe, actor-musician Jim Sturgess has leveraged his reputation as one of Hollywood's risi...
As allegories go, Juan Diego Solanas' Upside Down is about as deep as that famous Frank Gorshin Star Trek episode -- we're talking classic Star Trek, mind you.
One of the most significant challenges of the film is to make us feel as if we're seeing this lifestyle with a fresh eye. The film does a terrific job of putting us in the era and making us feel like we're actually there.
Leslye Headland's debut film, Bachelorette, starring Kirsten Dunst, Isla Fisher and Lizzy Caplan has audiences so virulently divided that it makes Moses look like he merely parted a kiddie pool.
When the well-reviewed HBO series "Girls" was suffering post-premiere backlash, one of the main complaints that critics lobbed at the show -- besides ...
Bachelorette is a solid and engaging character study wrapped up in vulgarity. The raunch feels organic and the film never reaches for a 'water-cooler moment' at the expense of its characters and its story.
Comedies in which women talk dirty and act stupid and horny -- is this such a hard to genre to get right?
After all of the cocaine has been snorted and dance parties have subsided, at the end of Bachelorette, I wasn't sure whether I really loved every character, or really, really hated every character. I believe, in some cases (and especially here), that's a good thing.
Credited for setting off the drainpipe jeans trend among London's music and fashion folk, duo Amy Molyneaux and Percy Parker of PPQ (Pretty Personal Question) are always one step ahead.
I am pleased that the reports from Cannes about the On the Road, Walter Salles' film are mainly favorable, although I have taken note that some say there is no inner world for the characters, that the film has no discernable plot, that it is overlong.
In anticipation of 12/21/12, this past year saw a return of the doomsday film. Melancholia was an okay end-of-the-world movie, but for this fan, it was not a very good Lars Von Trier film. Perhaps a third viewing is in order.
Since taking Zoloft (can I say that?), my perceptions of existence have altered somewhat from seeing things in black and white to shades of gray: "Hey, this guy might be onto something."
Melancholia offers one of the most luminous and ultimately heart-warming portrayals of mental illness that I have seen in a film.
"I think we're going to leave. My friend fainted." That was the very first comment The Observer overheard as we headed into the entertainment portion of our program at the Los Angeles Museum of Contemporary Art's annual gala on Saturday night.
The film is visually splendid, the cinematography by Manuel Alberto Claro absolute genius and the set designs, by Jette Lehmann, and costumes, by Manon Rasmussen, lavishly outstanding.
Melancholia consists of a few moments of startling imagination, between which are sandwiched almost two hours of dreary, opaque storytelling.