Ryan Reynolds became a first-time parent last December. And in the last year, he has passionately and repeatedly declared his love of fatherhood and devotion to his wife, Blake Lively.
"Mississippi Grind" gives us two more portraits in a distinctly American landscape. Less than heroic, they are trying to survive in a land that is more unfriendly than dangerously hostile.
Depending on which source you believe, there are between one and two dozen -- yes, you read that right, dozen -- films opening this Friday in New York. Here is a brief look at a half-dozen of them.
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.
The dog days of August may be here, but that doesn't mean the MovieFilm crew has missed a step as we celebrat...
This is a real "watch this, not that," segment this time. Self/less was the "serious" opening last weekend -- directed by overt stylist Tarsem Singh, starring Ryan Reynolds and Ben Kingsley -- and the worst sin that could be leveled at it was that it was kind of stoopid.
In the movie Self/less, a rich business man (Kingsley) is dying of cancer. However, he is able to prolong his "self" by transferring his consciousness from one body to another using a medical procedure called "shedding."
The idea of human consciousness going mobile is an intriguing one: What if you could actually trade minds with another person? That's the premise of Self/less, a disappointing mind-transfer tale notable for its performances if not its dramaturgy.
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.
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?
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.
Last night I went to a dinner party at the home of Jim and Paula Miller; he is the Kolikoff Caviar guy I have written about.
In his director's statement for the stunning new film Woman in Gold, which world premiered at this year's Berlinale as part of their Special Gala line-up, Simon Curtis writes "the film is about identity and asks the question, are you where you're from or where you are?"
I hit the ground running, arriving not-quite midway into the 2015 Sundance Film Festival in time to crank out a five-movie day on Sunday. That's less a testament to my stamina than to luck and logistics.