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by Seán McGovern
Annie Hall turns 40 this year and Diane Keaton will be the recipient of the AFI Life Achievement Award next month (June 8th to be exact). Keaton, a perennial A-lister, reminds us every few years about the extent of her talents. She's been enjoying recent success in The Young Pope and her upcoming projects Hampstead and Book Club sound promising at least. Since Annie Hall turns 40 this year so too will Keaton's other '77 triumph, Looking For Mr. Goodbar.
Though Goodbar is remembered for Keaton in a dramatic role (which this author will pay attention to here at a later date), the film is definitely what we'd call in contemporary parlance "problematic". I recently watched Goodbar for my own podcast, but amongst the reprehensible moments I finally understood why so many women of a certain age (i.e. my mother) swooned over Richard Gere - who we get »
- Seán McGovern
Andy Cohen has taken his hit late night live talk show to the west coast for the week. And in an exclusive clip from Wednesday’s Watch What Happens Live with Andy Cohen, the 48-year-old recreates a scene from one of Hollywood’s most famous rom-coms — with the help of a Real Housewife, of course.
Shopping off Rodeo Drive in Beverly Hills for some new duds, Cohen — dressed in flip-flops, short shorts, and a sleeveless Erika Jayne Xxpen$Ive T-shirt — steps into a high-end fashion boutique where he’s greeted by a surly sales clerk who isn’t too excited to wait on him. »
- Dave Quinn
Poland is on the brink of its biggest push to become an international film and TV production hotspot thanks to upcoming 25% cash rebates touted as the single missing element holding back an industry bursting at the seams with energy.
Consider these indicators: 2016 set a Polish box office record with more than 50 million admissions and five local movies among the top 10; in February, Agnieszka Holland’s murder mystery “Spoor” scooped the Berlin Silver Bear; in March, “The Art of Loving,” a biopic of Poland’s pioneering communist-era sex therapist Michalina Wislocka, soared to become this year’s top grosser to date, with more than 1.7 million admissions as of the end of March; and Pawel Pawlikowski, whose “Ida” scooped Poland’s first foreign-language Oscar in 2015, is back behind the camera in his native country on new film “Cold War.”
“The production incentive is crucial,” says Polish Film Institute general director Magdalena Sroka, »
- Nick Vivarelli
After a successful career in Hollywood with starring roles in touchstone ’80s films such as An Officer and a Gentleman, Terms of Endearment and Urban Cowboy, Debra Winger shocked everyone when she decided to leave Hollywood at the age of 40.
“I don’t know what Hollywood is. I’m living under the freaking sign now, and I just stare at it and laugh,” Winger, now 62, tells People in the magazine’s new issue. “Los Angeles is a place, »
- Mia McNiece
There are countless films about the legend of King Arthur, from a Disney animation (The Sword in the Stone) to a hilarious satire (Monty Python and the Holy Grail) to a romance with Richard Gere (First Knight) to the epic that pretty much covers all the important happenings of the tale (Excalibur). King Arthur: Legend of the Sword, the newest version, is focused on the struggle of Arthur (Charlie Hunnam) to accept his destiny once he manages to pull out the sword from the stone and becomes the biggest threat to England's illegitimate king, the evil Vortigern (Jude Law). Unlike other film adaptations, King Arthur: Legend of the Sword gives a mayor weight to the protagonist's process to control the power of the sword that,...
[Read the whole post on screenanarchy.com...] »
Wamg is giving away to one lucky reader a poster from the new film Norman: The Moderate Rise and Tragic Fall of a New York Fixer signed by Richard Gere & director Joseph Cedar.
Norman Oppenheimer (Richard Gere) lives a lonely life in the margins of New York City power and money, a would-be operator dreaming up financial schemes that never come to fruition. As he has nothing real to offer, Norman strives to be everyone’s friend, but his incessant networking leads him nowhere.
Always on the lookout for someone willing to pay attention to him, Norman sets his sights on Micha Eshel (Lior Ashkenazi), a charismatic Israeli politician alone in New York at a low point in his career. Sensing Eshel’s vulnerability, Norman reaches out with a gift of a very expensive pair of shoes, a gesture that deeply touches Eshel. When Eshel becomes Prime Minister three years later, »
- Movie Geeks
Cannes– Nordic distributor NonStop Entertainment has acquired 10 movies ahead of Cannes Film Festival, including Jean-Stephane Sauvaire’s “A Prayer Before Dawn” which will play at Cannes’s Midnight section.
NonStop’s slate of new pickups also includes “Beach Rats,””Brimstone,””The Dinner,” “Final Portrait,””God’s Own Country,””God’s Own Country,” “Spoor,” “Manifesto” and jiddish drama “Menashe” and “Walking Out.”
Eliza Hittman’s “Beach Rats,” sold by Mongrel, is a Summer-set coming of age about aimless teenager struggling to escape his bleak home life and navigate questions of self-identity. Eliza Hittman. Neon will release the film in the U. »
- Elsa Keslassy
As specialized distributors head to Cannes, Eleanor Coppola’s French valentine “Paris Can Wait” (Sony Pictures Classics) scored with arthouse moviegoers. It’s only the fourth 2017 limited release to break the increasingly rare $20,000 per-theater-average mark.
These days, movies with older audience appeal are sustaining the market — and will likely form the core demo for similar available new films at Cannes. Eleanor Coppola (“Apocalypse Now” documentary “Heart of Darkness”) makes her narrative film debut at 81 with her semi-autobiographical first screenplay, starring Diane Lane as the wife of a self-involved film producer (Alec Baldwin).
New York also saw a handful of other small but still promising initial results, led by Cate Blanchett stunt-theater piece “Manifesto” (Film Rise), Israeli marriage story “The Wedding Plan” (Roadside Attractions) and “Stefan Zweig: Farewell to Europe” (First Run).
- Tom Brueggemann
Star of Joseph Cedar's Footnote and Norman: The Moderate Rise And Tragic Fall Of A New York Fixer, Lior Ashkenazi, spoke with me on growing up seeing Kirk Douglas, Steve McQueen, and Paul Newman movies with his father, Burt Lancaster in Robert Siodmak's The Crimson Pirate being his first, shooting Eytan Fox's Walk On Water at Berlin's Tempelhof airport, meeting Son Of Saul director László Nemes at the Cannes Film Festival, and performing a silent scene with Richard Gere.
Lior's upcoming films include Julie Delpy's My Zoe (with Gemma Arterton, Richard Armitage, Daniel Brühl); Dragos Buliga's The Wanderers (Armand Assante); Eran Riklis's Refuge (Golshifteh Farahani, Neta Riskin), Samuel Maoz's Foxtrot (Sarah Adler), and José Padilha's Entebbe (Rosamund Pike, Brühl), where he portrays Israeli Prime Minister Yitzhak Rabin. »
- Anne-Katrin Titze
Writer/director Oren Moverman (“The Messenger,” “Rampart,” “Time Out Of Mind“) doesn’t do formulaic cinema. His latest movie, “The Dinner,” is no exception. The challenging film, with difficult characters, uncomfortable dialogue, and an intricate narrative structure, makes for an ambitious monster of a movie.
- Jordan Ruimy
On Monday's Watch What Happens Live With Andy Cohen, the 52-year-old actress recalled going out for the role of prostitute Vivian Ward, which ultimately went to Julia Roberts. Lane said "everybody in town went for that role," but at the time, it was a very different film.
In the beloved 1990 romantic comedy, businessman (Richard Gere) needs an escort for some social events, and hires a beautiful prostitute (Roberts) he meets on Hollywood Boulevard. After a whirlwind weekend, the two fall in love.
"It turned out to be a feel-good movie," she explained. "Originally, this crazy b**ch was kicked out of a rolling limo at the end because she was delusional that she thought this guy was really in love with her. She was only hired for the weekend, and we had »
Professional groove reclaimant Diane Lane is at it again. After decamping for Tuscany and falling out and in love with Richard Gere, Lane rejoins her exploration of life’s many paths toward revitalization in Paris Can Wait, which imagines the process as something very much like tourism. Anne (Lane) is in Cannes with her husband, Michael (Alec Baldwin), a film producer, and when they’re about to fly to Budapest via private jet, Anne is grounded because of a bad earache, a condition that the semi-neglectful Michael has failed to register (and one that, somewhat awkwardly, a member of the flight crew notices and diagnoses within 30 seconds of meeting her). Michael’s associate Jacques (Arnaud Viard) volunteers to drive Anne to Paris, where she and Michael will meet in a few days.
Starting with his name, Jacques could hardly be more of a French archetype: He smokes, he flirts ...
- Jesse Hassenger
The Dinner The Orchard Reviewed by: Harvey Karten, Shockya Grade: A- Director: Oren Moverman Written by: Oren Moverman, based on the novel by the Dutch author Herman Koch Cast: Richard Gere, Laura Linney, Steve Coogan, Rebecca Hall, Chloë Sevigny Screened at: Review 1, NYC, 4/6/17 Opens: May 5, 2017 Fans of Edward Albee’s shattering play […]
The post The Dinner Review: Brings out all the complexities of the novel appeared first on Shockya.com. »
- Harvey Karten
Chicago – There is a peculiar and particular morality in the maneuverings of “The Dinner,” a multi-course meditation on how a tragic incident can split both opinion and family. Everything in the present situation has a below-the-surface past that festers like an unhealed wound, constantly causing pain.
The Dinner of the title is actually a meeting, about a secret that is being held together by the two couples and their children. Throughout the evening, the truth and sources of the secret breaks down, and is stripped away to an essence that is common to all families. The inhumanity contained in the situation is contrasted with the snooty restaurant, where the food is presented and narrated like it’s the last supper before the end of the world. But in a way, this hype is necessary to detach from the stark considerations the two couples face, and this pretentious dining absurdity »
- firstname.lastname@example.org (Adam Fendelman)
Guardians of the Galaxy Vol. 2 (reviewed) opened huge as expected, and is now #2 in the Marvel Cinematic Universe in terms of this highly specific metric: Most box office improvement over the opening of the first film. Number 1 in this regard is still Captain America Winter Soldier. With the mainstream box office being totally dominated by two franchises featuring action heroes of scant relation deploying the word "family" as frequently as rounds of ammo, let's turn our attention to the films in limited release. Richard Gere is the unexpected leader with not one but two films (The Dinner and Norman) in the top five.
- NATHANIEL R
A weak arthouse market was brightened by “The Lovers,” a high-concept A24 release targeted at the usual older specialty demo. Azazel Jacobs, an indie veteran without a breakout film to his credit, returned to the feature world from HBO (“Doll and Em”) with “The Lovers” (A24). Its initial results put it atop the results for the weekend which saw several disappointments.
Read More: A24 After ‘Moonlight’: Why They’re Finally Ready To Conquer the Older Arthouse Crowd
Several top specialized distributors optimistically counter-programmed against Marvel’s May juggernaut “Guardians of the Galaxy Vol. 2,” hoping to fill the vacuum with no other wide releases to grab attention. That strategy can can launch a film like “Belle,” “Ida,” and “Far from the Madding Crowd” toward a big push in the early summer period including Memorial Day weekend.
Even if “The Lovers” never approaches that level, it is positioned to get »
- Tom Brueggemann
A24's comedy The Lovers starring Debra Winger and Tracy Letts as well as Janus Films' restored 1979 Soviet-era sci-fi drama Stalker by Andrei Tarkovsky had top per theater averages in the first weekend of May, while The Orchard's The Dinner with Richard Gere, Laura Linney and Steve Coogan was by far the widest open among the Specialties. The Lovers grossed $70,410 in four locations, while Stalker technically landed with the highest PTA at $19,785 from its exclusive run at… »
Chicago – The 16th Tribeca Film Festival wrapped last Sunday (April 30, 2017) and the award-winning films of the festival have been named. Patrick McDonald of HollywoodChicago.com was there for the first week of Tribeca and files his personal best of the films he experienced.
This is Patrick switching to first person, and I was able to see 13 media and film works, and took a turn in the “Immersive” or Virtual Reality arcade (there will a separate article on that experience). I sampled TV, short films, documentaries and narrative films, and rank them from first preferred on down, but honestly I didn’t see anything that I didn’t like, which is a testament to the programmers of this iconic film festival.
The following are the prime 13, and an indication of when they are scheduled to release…
Photo credit: Tribeca Film Festival
What seems like a “Juno” rip-off, »
- email@example.com (Adam Fendelman)
Accounting for over 79% of the cumulative top ten gross, Guardians of the Galaxy Vol. 2 topped the domestic box office, showing a 54% increase compared to the 2014 original and giving Disney the top two openers of 2017 so far. Additionally, the film expanded its reach overseas, including openings in South Korea and China, the latter of which delivered the fourth largest opening in China to date for a film in the Marvel Cinematic Universe, as the film's global cume has now topped $425 million in 13 days. With an estimated $145 million opening weekend, Guardians of the Galaxy Vol. 2 topped the weekend box office and improved on the original 2014 release by 53.78%. Considering the $94.3 million opening for the original Guardians of the Galaxy was something of a surprise it's a spectacularly impressive result considering it's the largest jump for a second film in the Marvel Cinematic Universe, among all sequels in the McU only the »
- Brad Brevet <firstname.lastname@example.org>
Principles of Privilege: Moverman Dresses Morality Drama in American Clothes
Susan Sontag once famously wrote, “The white race is the cancer of human history,” an epithet which dangles like a deadly albatross throughout the fourth film by Oren Moverman, The Dinner, a drama about morality based on the novel by Dutch writer Herman Koch. Once meant as a property for the directorial debut of Cate Blanchett, Moverman swoops in for a heady, Pinteresque examination of WASPish mentality one would expect from A.R. Gurney if he were searching for an infinitely fouler disposition of his favored subject. However, Moverman elevates and refines this material for his own particular purposes of skewering white affluent folks intent on wielding their inherent privilege to protect the virtuous futures of their troubled broods in what stands as the third cinematic treatment of the novel (following a 2013 Dutch version and a 2014 Italian adaptation).
The Lohmans are a tense bunch as of late. Ex-high school teacher Paul (Steve Coogan) and wife Claire (Laura Linney) have opposing feelings about meeting Paul’s brother Stan (Richard Gere) and his second wife Katelyn (Rebecca Hall) for dinner. With Stan in the middle of a troubled run for governor, the importance of the dinner seems odd during such a touchy period. Until we learn both sets of parents have come together to decide what to do about their kids, who recently committed a monstrous act, something which could go unpunished…as long as no one says anything.
Moverman expands upon the stagey theatricality of the narrative scope, beginning with its troubling, lavish opening credits, highlighting frivolousness amidst colorful splashes of gourmet cuisine, as the credits of a high profile cast and crew (including Moverman’s reunion with Dp Bobby Bukowski) march over them. This time around, we become manipulated to sympathize with several of these characters’ perspectives only to be flayed by dismay when it sinks in—the quartet of well-bred, wealthy, emotionally stagnant white people we have been watching, are without a doubt, highly flawed, incredibly unlikeable beings. But how Moverman manages to trick us into making them seem compelling is where the absolute power of his version of The Dinner lies.
Initially, we gravitate towards Steve Coogan’s withering, Civil war enthusiast, who sets a tone of trenchant sides, one against the other. Breaking the fourth wall in narration, he’s the snide, withering voice of reason, or so we assume, leading up to the eponymous, cryptic meal he will be sharing with his brother, a suave smooth talker (or as he’s described, a “deal maker”). Until we get a clearer composite of his psychological background, and Moverman’s film takes pains (and delights) in stomping on our initial understandings of each of these surely good people. Gere is as exceptionally believable as Coogan is superbly dour, and there’s a definite switch at a certain point, where we’re led to abandon the side of one and root for the other.
Their wives are defined in more troubling, murky terms, particularly Laura Linney (who steals a handful of sequences with resplendent facial expression). Rebecca Hall, looking fantastic, has the less dynamic role as a trophy wife who desires to be rewarded for her saintly efforts by becoming the wife of a governor. But what exactly happened to Barbara, the socially conscious first wife of Stan, who fled the marriage and her children for an ashram in India? Chloe Sevigny delights in her two flashback sequences as the opinionated, arguably ideal character. The audience becomes complicit in this game of shifting alliances, where family becomes collapsed as another ideation of the political arena.
And Moverman perhaps spends a bit too much time in these flashbacks, revolving between past periods of the adults’ lives, while reenacting the terrible act committed by two insensitive young white boys against a homeless, racial other. Although these continual snippets of the heinous act are there for a purpose, meant to slowly inform us of what kind of people we’re spending an unusually expensive dining experience with, they are also greatly at odds with the formal hustling and bustling of the dinner, to the degree where these Bunelian interruptions from the topic at hand take on a tone of artificial comedy. At one point, a teary Hall gets an aside where she clutches at Linney and Coogan, informing them they’re all blessed (she doesn’t have to spell out she means white and wealthy by such a statement), but these devoted moments eventually seem like a belabored way to cement the callousness of all.
Although not about race, per se, the trio of racial others on the periphery of this narrative irrevocably inform and trouble the proceedings. The black son Beau (Miles J. Harvey), whom Barbara adopted with Stan (before she abandons him) is particularly interesting, because it is both Paul and his son Michael’s relationship with the boy which explain their hardwired disdain for the current state of affairs. Coogan gets a particularly telling tirade when he accuses the eight-year old Beau of playing the ‘race card’ when he’s terrorized by his son, claiming his views are not racist because he’s a teacher who sometimes educates black students.
When the boys are teenagers and on the eve of their defining moment, Moverman pads an exchange pertaining to Michael’s internalized racism a bit too directly just prior to what they do to their unfortunate victim. And then, there’s a curious role for Adepero Oduye (Pariah, 2011) as Gere’s valiantly tireless assistant, a character who likely informs is own approach to the scenario, but only to a point. Moverman’s dinner is certainly barbed, and often venomous, but in spending two solid hours with such unlikeable company is an ordeal in itself, even one as handsomely crafted and executed as this.
Reviewed on February 10 at the 2017 Berlin International Film Festival – Competition. 120 Mins.
The post The Dinner | Review appeared first on Ioncinema.com. »
- Nicholas Bell
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