1-20 of 27 items from 2014 « Prev | Next »
Now what would the medical profession be like without the dependable skills of nursing in cinema? Sure, the doctors get their lion’s share of representation in the movies but what about the nurses that serve them? What is so interesting about the portrayal of nurses in film is that they can be characterized beyond the compassionate medical maidens that the public associates them with on a whim. Motion pictures allow for big screen nurses to show some complexity beyond loving bedside manners and juggling bedpans. Cinematic nurses can be caring, comical, crazed, confused or corrupt.
Whatever the complication or consideration of these celluloid servers of health care rest assure that they are a glorified bunch in their devotion to the medical field. Whether flawed or favorable we will take a look at some of the top-notch nurses in film as cited in The Healthy Helpers: The Top 10 Movie Nurses. »
- Frank Ochieng
Winter of Our Discontent: Amini’s Problem with Narrative Pabulum
Few crime writers can boast such a weighty lineage of cinematic adaptation as that of Patricia Highsmith, probably falling somewhere between Agatha Christie and Ruth Rendell, if one were to measure. Wim Wenders, Rene Clement, Anthony Minghella and Liliana Cavani have all reincarnated her most celebrated character, Tom Ripley, to the big screen, while Hitchcock, Michel Deville, Claude Chabrol (and later this year, Todd Haynes) have adapted some of her signature titles. And so, it is with great regard that screenwriter Hossein Amini arrives with his directorial debut, The Two Faces of January, a promise of scrappy ne’er-do-wells conning each other for money or guilty pleasures of the carnal sort, performed by a trio of renowned actors that rival Minghella’s starry line-up of The Talented Mr. Ripley. And yet, there’s something unnervingly stale about the whole endeavor, »
- Nicholas Bell
“I’ve just been at the Sydney Film Festival and came back through London, which is where I live, before I came here,” he said with a smile. “Now I’m drinking this caffeinated soda.”
Despite the changing time zones, Amini was in an exuberant mood, waxing on at length about his affection for novelist Patricia Highsmith and star Viggo Mortensen — and their ability to bring the dark side of human nature to the fore.
“I love the cruelty in her writing,” he told the audience. “Viggo really embraces the ugly side of characters… not a lot of stars do.”
- Dave McNary
Andrew counts down some of the best roles of Sean Bean's career, from the ones you'll know to the ones you probably won't...
Love him, fear him, smell him: the man breathes fire. And acting.
But what is Sean Bean? Well, adhering to a skeptical epistemology, we simply don't know, but for the purposes of this article he's the bloke who played Errol Partridge in Equilibrium, still to this day his defining role in Equilibrium.
While everyone at Den of Geek loves Equilibrium slightly more than they love each other, Sean Bean is only in it but for a moment. Unfortunately he mistakenly believes that holding up a book in front of his face will stop a bullet, when all he had to do to stop Christian Bale from shooting him was impersonate a puppy. Really, it's hard to argue that the film wouldn't be considerably »
Written and directed by Hossein Amini
USA and UK, 2014
Anyone acquainted with Roman theology or a pub quiz will know that January is a Anglicisation of the Roman god Janus, the two-faced figurine who stands at the cusp of the new year, simultaneously musing backward at recent lessons and experiences, and peering forward to the murky and elusive future ahead, a guardian at the crossroads of the past and present. These twin impulses swirl in the miasma of Patricia Highsmith’s novel The Two Faces of January, first published in 1964. It’s a lesser-known work of her serrated literature, which is obsessed with psychological and sexual criminal deviancy, most famously brought to the screen by Hitchcock in the minor classic Strangers On A Train and by Anthony Minghella in 1999’s acclaimed The Talented Mr. Ripley. After decades of intense wrangling, accomplished screenwriter Hossein Amini (Jude, »
The Two Faces of January, 2014.
Directed by Hossein Amini.
A thriller centered on a con artist, his wife, and a stranger who try to flee a foreign country after one of them is caught up in the murder of a police officer.
Halfway through The Two Faces of January I couldn’t help but be reminded of the great Anthony Minghella film The Talented Mr Ripley for the similarities are many; Americans abroad in the 1960s, a man who is not what he seems on face value, temptations, hidden pasts, lies, murder, and an attractive cast to boot. As the credits rolled I saw it was indeed based on a novel by the same author, Patricia Highsmith, and aside from giving myself a mental ‘pat on the back’ it helped in my realisation of why this film is so very good. »
- Gary Collinson
There are many attractive parts to this thriller handsome leads, a meaty Patricia Highsmith plot, Mediterranean sunlight on cream linen suits but it's no greater than the sum of them. It pitches its characters into hot water with consummate efficiency: Isaac is an American tour guide in 1960s Athens with for a wealthy mark or a pretty woman. He finds both in Mortensen and Dunst's holidaying couple, but their casual acquaintance gets serious after a sudden murder. The sunny landscape becomes shaded with suspicion, deception and sexual jealousy as the trio take flight. Mythological themes are neatly worked in, from Theseus to Oedipus, but Amini primarily draws on another classical tradition here: Anthony Minghella, and his own Highsmith adaptation, The Talented Mr Ripley. That's classy company mature middle-classy, to be specific though »
- Steve Rose
The Cannes Film Festival has named the jury for its 67th edition, comprising eight world cinema names from China, Korea, Denmark, Iran, the Us, France and Mexico.
Cannes 2014: films
Those selected include Nicolas Winding Refn, the Danish director, screenwriter and producer who won Best Direction at Cannes in 2011 with Drive. His most recent film, Only God Forgives, played in Competition at Cannes last year.
Also chosen is Sofia Coppola, the Us director and screenwriter whose debut The Virgin Suicides was selected for the Directors’ Fortnight at Cannes in 1999. Coppola, who won a screenwriting Oscar for Lost in Translation, made it into »
- email@example.com (Michael Rosser)
For years, Jim Henson’s Creature Shop has given life to the iconic puppets and creatures in your favorite children’s shows (Sesame Street), sci-fi/fantasy movies (Labyrinth), and other endlessly-rewound projects (basically, anything with the Muppets).
As Chairman of the Henson Company, Brian Henson (son of Jim and Jane Henson) has worked on his share of famous creatures — and as the head judge on Syfy’s new reality series Jim Henson’s Creature Shop Challenge (Tuesdays at 10 pm), Henson is hoping that fans will relish a weekly peek behind the curtain of one of Hollywood’s most fascinating processes. »
- Marc Snetiker
Oscar-winning actor who died in February remembered by film industry at Academy Awards ceremony
• Xan Brooks liveblogs the ceremony
• Full list of winners as they're announced
The Oscars paid tribute to Philip Seymour Hoffman, the Oscar-winning actor who died last year – devoting part of its traditional In Memoriam section to the actor whose death at the age of 46 shocked the film world.
Hoffman won the best actor award for his performance as Truman Capote in the 2005 biopic of the celebrated writer, and had three best supporting actor nominations for Charlie Wilson's War, Doubt and The Master. He was one of the most widely praised actors of his generation, creating startling performances for some of America's most acclaimed directors, including Todd Solondz (Happiness), Paul Thomas Anderson (Boogie Nights, Magnolia, The Master) and the Coen brothers (The Big Lebowski). He also shone in Anthony Minghella's The Talented Mr Ripley and George Clooney »
- Andrew Pulver
Patricia Highsmith's novels have provided fodder for more than two dozen film adaptations, a pantheon that now includes "The Two Faces of January." This 1964 suspense thriller has been memorably realized by writer-director Hossein Amini with an eye for film noir tropes. While it won't knock Anthony Minghella's "The Talented Mr. Ripley" from its pedestal, Amini's directorial debut is a quiet and graceful achievement that suffers from a number of shortcomings but still works on its own terms. Set in Athens, the story revolves around Rydal (Oscar Isaac), a handsome American expat living in Greece who's acting as a tour guide for a group of young, affluent college girls. While he's talking about the "cruel tricks gods play on men," a rich American couple walking around the ruins catch his eye: Chester and Colette MacFarland (Viggo Mortensen and Kirsten Dunst). When they meet and have dinner together, Rydal can't take his eyes off Colette, »
- Tara Karajica
Patricia Highsmith provides the plot and writer-director Hossein Amini supplies the culture in “The Two Faces of January,” a gripping old-school suspenser starring Viggo Mortensen, Kirsten Dunst and Oscar Isaac that plays like “The Talented Mr. Ripley” minus the sultry sexual chemistry among its three leads. While the love-triangle dynamic lacks spark, this tony adaptation should have no trouble seducing Hitchcock fans and smarthouse types with its golden-hued tour of southeast Europe. What better way to see Turkey and Greece than in the company of such beautiful law-breakers as they try to stay two steps ahead of the local authorities?
Originally developed through “Ripley” director Anthony Minghella’s Mirage shingle, this lesser-known Highsmith novel has been smoldering on Amini’s to-do list for nearly 15 years. Best known as the screenwriter of such subtext-rich adaptations as “The Wings of the Dove” and “Drive,” Amini excels at conveying the subtle, unspoken tensions between characters, »
- Peter Debruge
Top 10 Simon Brew 14 Feb 2014 - 06:13
Because we are human beings who like things that are good, it goes without saying that we love Alan Rickman. One of the finest British screen actors of his generation - and a few others too - he's had a varied career, taking in memorable Hollywood villains to smaller independent fare. But what amongst his film roles (and we've focused on films that got a cinema release) are our favourites? Glad you asked...
Kevin Smith's fourth film in some ways remains his most ambitious. In casting terms certainly, and the involvement of Alan Rickman led to the writer-director warning long time collaborator Jason Mewes that he "didn't want to piss off that Rickman dude".
Wearing 100-pound wings and »
The Berlin International Film Festival has added special screenings to commemorate the deaths of actors Philip Seymour Hoffman and Maximilian Schell. The festival will present a special screening of "Capote" at the CinemaxX 6 on Tuesday, February 11, 2014 at 9.00 pm. "Capote" had screened in competition at the festival in 2006. Hoffman also made his way to the festival for Richard Kwietniowski’s "Owning Mahowny," Spike Lee’s "25th Hour," Anthony Minghella’s "The Talented Mr. Ripley" and Paul Thomas Anderson’s "Magnolia," which won the Golden Bear. In honor of Maximilian Schell, the festival will present his film "Meine Schwester Maria" (My Sister Maria). This screening will be showing at the Urania Filmbühne Berlin on February 9, 2014 at 3.00 pm. In the film, Schell reflects on his relationship with his sister. Schell's documentary "Marlene," about Marlene Dietrich, was screened in the Competition in 1984. He returned to the Competition as an actor in Jeroen Krabbé’s. »
- Peter Knegt
The biopic, for which Hoffman won the Golden Globe and Oscar for Best Actor, will be screened at the CinemaxX 6 on Feb 11 at 9pm.
Hoffman also appeared in other films that screened at the Berlinale, such as Richard Kwietniowski’s Owning Mahowny (Panorama 2003); Spike Lee’s 25th Hour (Competition 2003); Anthony Minghella’s The Talented Mr. Ripley; and Paul Thomas Anderson’s Magnolia, winner of the Golden Bear in 2000.
In memory of actor and director Maximilian Schell, who died on Feb 1, producers Margit Chuchra (mm-production), Dieter Pochlatko (Epo) and Werner Schweizer (Dschoint Ventschr) are presenting his film Meine Schwester Maria (My Sister Maria) in collaboration with the »
- firstname.lastname@example.org (Michael Rosser)
To celebrate the life of Hoffman, the festival will screen Bennett Miller’s “Capote” at the CinemaxX 6 on Feb. 11 at 9.00 P.M. local time. Hoffman received a Golden Globe and an Oscar for his perf in the film, which played in the Berlinale Competition in 2006.
Hoffman also appeared in other films at the Berlinale, such as Richard Kwietniowski’s “Owning Mahowny” (Panorama, 2003), Spike Lee’s “25th Hour” (Competition, 2003), Anthony Minghella’s “The Talented Mr. Ripley,” and Paul Thomas Anderson’s “Magnolia,” which won the Golden Bear.
In memory of actor and director Schell, producers Margit Chuchra (mm-production), Dieter Pochlatko (Epo) and Werner Schweizer (Dschoint Ventschr) are presenting his film “Meine Schwester Maria” (My Sister Maria), in collaboration with the festival and the German Film Academy. »
- Leo Barraclough
Actor and director who could imbue the many wretches, prigs and braggarts he played with a wrenching humanity
Philip Seymour Hoffman, who has died aged 46 of a suspected drugs overdose, had three names and 3,000 ways of expressing anxiety. He was a prolific and old-fashioned character actor, which is not a euphemism for "odd" – it means he could nail a part in one punch, summoning the richness of an entire life in the smallest gesture. And, yes, he could also look splendidly odd, with his windbeaten thatch of sandy hair, porcine eyes and a freckled face that would glow puce and glossy with rage. His acting style was immune to the temptations of caricature. His rise in the 1990s coincided with the emergence of a new wave of American film-makers, and his versatile, volatile talent became integral to some of the most original Us cinema of the past 20 years.
He was »
- Ryan Gilbey
“You’re aberrated. You’ve wandered from the proper path, haven’t you? These problems you have … you seem so familiar to me.”
These words were spoken by Philip Seymour Hoffman in what would turn out to be one of his last screen performances, as the charismatic and conflicted cult leader Lancaster Dodd in Paul Thomas Anderson’s “The Master.” They are the words of a self-styled leader and father figure, trying to reassure a man in whom he sees a lost, youthful trace of his own self, and that sympathy-for-the-devil quality is partly what makes the character so layered and seductive. It’s a magnificent performance, perhaps the actor’s greatest — one in which Hoffman, with his stout frame and arch, declamatory speech patterns, suddenly seemed possessed in body and spirit by Orson Welles.
Rather than giving us a one-note L. Ron Hubbard caricature, Hoffman invested Dodd with authority, »
- Justin Chang
Philip Seymour Hoffman, the Oscar-winning star with a stage and screen career stretching back more than 20 years, has died at the age of 46.
Hoffman worked with some of Hollywood's finest filmmakers across an eclectic mixture of films - dramas, comedies and summer extravaganzas. A notable favourite of Paul Thomas Anderson, he also brought class to high-end blockbusters such as Mission: Impossible III and the recent Hunger Games: Catching Fire.
Digital Spy takes a look at Hoffman's most memorable film performances (although in truth there are many, many more) below...
Boogie Nights (1997)
Hoffman made a fleeting appearance in Paul Thomas Anderson's directorial debut Hard Eight in 1996, but the pair really cemented their working relationship in the following year's porn epic. A sound man with his eye on Mark Wahlberg's porn star Dirk Diggler, he shone in a supporting cast that included the likes of William H Macy, John C Reilly and Julianne Moore. »
Philip Seymour Hoffman has died aged 46 and a unique talent lost. We have scores of indelible performances, but there would have been such riches to come
To anyone who has heard the terrible news of Philip Seymour Hoffman's death in New York from a suspected overdose at the age of 46, I think one image recurs above all the others. It is his magnificent performance in Paul Thomas Anderson's The Master, playing the charismatic cult chief loosely derived from L Ron Hubbard — lordly and charismatic, convivial and yet sinister, insidious, insouciant.
And the most extraordinary moment was when he did his capering little dance, like a Shakespearian fool, in a wealthy drawing room, to "We'll Go No More A-Roving" and the scene took a hallucinatory turn, with all the onlookers appearing to be naked, submitting in that moment to his occult leadership. It was a scene only Hoffman could have carried off. »
- Peter Bradshaw
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