Deep down Zero Dark Thirty is a heady movie-going experience. It’s gripping and thrilling and, in a few rare spots, funny. But I should say that I had no interest in seeing this movie, about the long and arduous hunt for Osama bin Laden, when the first trailer was released.
Movies face the same challenges as old flames who are looking for a second chance — we want to believe them, but they still have to prove it to us by acknowledging our doubts and helping us move past them.
Ray Liotta, 57, has had his share of playing bad guys — even likable ones, as in 1990's Goodfellas about the life of mobster Henry Hill — but it was a slightly different experience playing the victim, as he does in the upcoming Killing Them Softly, written and directed by Andrew Dominik (The Assassination of Jesse James by the Coward Robert Ford) and also starring Brad Pitt, James Gandolfini and Sam Shepard about a heist that goes down during a mob-protected poker game.
If you thought The Sopranos would mark the end of James Gandolfini (more famously known as Tony Soprano), think again. Gandolfini is set to make a comeback in the HBO drama Criminal Justice, originally a BBC Peter Moffat creation that follows a single case for one full season.
The first teaser poster for Killing Them Softly, which has been dubbed "the Brad Pitt hit man movie" by many Cannes watchers, has hit the web (see below) — a pretty quick turnout for a film that, according to director Andrew Dominik, was only finished days before it screened at the 65th Annual Cannes Film Festival and until recently went by the name Cogan's Trade.
Killing Them Softly is a reunion for star Brad Pitt and director Andrew Dominik, who last collaborated on 2007's The Assassination of Jesse James by the Coward Robert Ford. Based on "Cogan's Trade," a 1974 bestselling crime novel by George V.
Maurice Sendak, who delighted and frightened children for half a century with his vividly illustrated Where the Wild Things Are (1963), died on Tuesday in Danbury, Conn. at the age of 83, of complications from a stroke.
Welcome to the Rileys by writer Ken Hixon (Inventing the Abbots) and director Jake Scott (Ridley’s son) is a somber tale with little comic relief and even less originality. Almost every move this film makes is toward a cliché or cheap emotional ploy.
Will Ferrell, 44, has been experiencing New Orleans to the fullest while filming his upcoming movie with Zack Galifianakis, Dog Fight. Not only did he announce the players at a New Orleans Hornets vs. Chicago Bulls game earlier this month, but he jumped headfirst into Mardi Gras, too, riding on the parade's main float as King Bacchus, Roman God of Wine.
For more than a decade offbeat auteur Spike Jonze, director of surrealist headscratchers Being John Malkovich and Adaptation, dragged his labor of love vision for Maurice Sendak’s celebrated children’s fable about a bedroom busting Odyssey through a troubled boy’s imagination all around town looking for a studio to work with.
The remake machine continues to mercilessly trundle forward with Joseph Sergent’s gritty 1974 adaptation of the John Godey’s playful heist novel the latest casualty. As with any and all remakes there are two separate audiences walking into the theater; those who remember the original and maintain affection for it, and those who don’t.
Though little known outside cult circles as a name and even less recognizable as a face, curiously named, diminutive Glaswegian Armando Iannucci has a decorated track record as the driving force behind some of the finest British comedy of the last fifteen years.