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Directed by Alejandro González Iñárritu
His use of natural lighting, the gorgeous compositions he creates often on the fly, those long takes. This is what we talk about when we talk about Emmanuel Lubezki, the Mexican cinematographer responsible for such arresting imagery in the films of Terrence Malick (The New World, The Tree of Life, To the Wonder), Alfonso Cuarón (Children of Men, Y tu mamá también, Gravity), the Brothers Coen (Burn After Reading), and Alejandro González Iñárritu (“Anna”, a short in the anthology To Each His Own Cinema). He is the only cinematographer in recent memory, possibly next to Roger Deakins, that pushes the form to its limits and has name recognition for such. The naturalistic beauty of The Tree of Life was nothing compared to the – wait for it – physics-defying work in Gravity. And here he is again, »
- Kyle Turner
In the 1980s, the CIA was complicit in the marketing of Nicaraguan cocaine to lower class Californians in order to fund the country’s Contra rebels. This was a thesis that San Jose Mercury News journalist Gary Webb put out into the world in the late 90s, and was eventually destroyed because of it. The new film Kill the Messenger is Webb’s own story, a “David vs. Goliath” tale in which David is crushed and ruined by forces that can spin the media in their own favor, while easily discrediting the blood-sweat-tears efforts of a reporter who had to keep many of his sources anonymous.
Director Michael Cuesta creates a vivid portrayal of Webb (played by Jeremy Renner) presenting him as a dedicated working man and also a conflicted father. Kill the Messenger becomes more than the story of a media victim, but a patriarch who tries to maintain »
- Nick Allen
There’s something about anti-Hollywood satire that brings out the worst/most facile in otherwise great filmmakers. The prime example is probably Robert Altman’s The Player, which pretends to be aghast that studio executives have never heard of The Bicycle Thief and concludes that’s why everything sucks. Oddly, Scream 3 may be the only satire in this vein with real teeth, since its murderous mayhem is instigated by a need to avenge a decades-old casting couch act of sexual aggression, something of more consequence than the usual “those philistines rewrote my script by committee” japery. David Cronenberg is decidedly not calling from […] »
- Vadim Rizov
Maps to the Stars, 2014.
Directed by David Cronenberg.
A tour into the heart of a Hollywood family chasing celebrity, one another and the relentless ghosts of their pasts.
Some plot details lie below…
Watching Maps To The Stars is like watching a waking nightmare, one you cannot wake up from and one you feel intimately part of – whether you like it or not. It is also a new kind of horror from film maker David Cronenberg, a film maker who made his name with superior bodyshock horror pictures, and may be the director at his most cynical since Videodrome over thirty years ago. All of this makes for a film experience which is as disturbing as it is humorous, yet never anything less than brilliant.
- Gary Collinson
Director: David Cronenberg; Screenwriter: Bruce Wagner; Starring: Julianne Moore, Mia Wasikowska, Evan Bird, Robert Pattinson, John Cusack, Olivia Williams, Carrie Fisher; Running time: 111 mins; Certificate: 18
David Cronenberg movies rarely fail to provoke strong and conflicting feelings from the viewer, whether it be the compelling alienation of Cosmopolis or the involving revulsion of Eastern Promises. His latest offering Maps To The Stars is no exception, offering a scintillating study of the repercussions of suppressing traumatic episodes and boasting engrossing portrayals from Julianne Moore and Mia Wasikowska.
Famed for his venereal 'body horror' movies, Cronenberg positions Hollywood as a diseased, festering and parasitic entity. Alongside the celebrity culture it promotes, it bears a sickly yet addictive quality to the fascinating array of characters we encounter, especially those seemingly inspired by real-life famous figures.
There's hysterical Lohan-esque actress Havana (Moore), desperate to portray her famous deceased mother in a movie, and Benjie (Evan Bird »
The films of Robert Altman breathed a certain kind of freedom. Not the American type of “Freedom,” though his movies were always very American. It was an artistic freedom, on one hand – to say, do and tell what he wished – and, on the other, an ability to extend that liberty to the actors on screen. There’s a loose, unwieldy quality to most if not all of Altman’s pictures (they were mostly improvised) that made them stranger-than-fiction – above a mere “representation” of the real world into a sphere of uninterrupted reality. They were tapestries of human behaviour.
You don’t see that in today’s cinema, and when you do it’s not done with the same level of authenticity, maturity and precision (oh, what Boyhood should have gleaned from Short Cuts or even Brewster McCloud!). Too many movies – whether independently made or straight from the maws of Hollywood – usually obsess over technical slickness, »
- Parker Mott
Without a doubt, Robert Altman is one of the most influential directors in American film history. Always creative, innovative, subversive and prolific, he took chances and tried almost every single genre and narrative approach without sacrificing his distinct style until his passing in 2006. His commercial and/or critical hits are each bona fide classics in American cinema. "Nashville," "Mash," "The Long Goodbye," "McCabe and Mrs. Miller," "The Player," "Short Cuts," "Gosford Park"… the list goes on and on. Even his misses (does anyone remember "O.C. and Stiggs," Altman’s bizarre attempt at an '80s sex comedy?) are fascinating. Now you can get your Altman fix by revisiting an excellent documentary that has been kicking around online. Originally produced and broadcast in 1996 by England’s Channel 4 (let’s face it, the European audience appreciated Altman a lot more than Americans ever did) as part of »
- Oktay Ege Kozak
“How do I know if I’m dreaming?” asks actress Robin Wright, played, somewhat surprisingly, by actress Robin Wright, in a moment towards the denouement of this part live action, part animated film examining the meaning of existence and the potentiality of a digital future.
Sadly, by this point, you may not care if the House Of Cards star is dreaming or not as any semblance of reality and cohesive story-telling have been abandoned in this brave, challenging but ultimately problematic piece of work from the man behind the notable Waltz With Bashir (2008), Ari Folman.
The Congress begins with Wright facing the fact that the studios don’t want to work with her; her character here is notoriously difficult and forges her own way in the ‘biz, making her own choices. She is offered, »
Robert Altman was a legend behind the camera, but the Oscar-nominated icon behind such classics as “Nashville” and “McCabe & Mrs. Miller” dominates the screen in a new documentary devoted to his life and work.
Altman was a cinematic genius, but he also undoubtedly benefited from the collapse of the studio system in the 1960s, which gave birth to a generation of edgier auteurs such as Martin Scorsese, Hal Ashby and Francis Ford Coppola. Together they pushed the boundaries of mainstream film in a way that wasn’t seen before and hasn’t happened since. »
- Brent Lang
Robert Pattinson, Mia Wasikowska, Julianne Moore and John Cusack tower over Hollywood in the new poster for David Cronenberg’s showbiz satire. Narrowly losing out on the Palme d’Or at Cannes this year, Cronenberg’s nightmarish black comedy follows classics like The Player, Sullivan’s Travels and Sunset Blvd. – taking aim at the whole film industry and flipping his starry cast on their well-groomed heads. Ageing actresses, wannabe starlets, Hollywood dynasties, tweenage drug addictions and, er, Carrie Fisher all wallow in Cronenberg’s...
- Paul Bradshaw
Altmanesque. Ron Mann asked a dozen admirers to define that term in Altman, his new documentary about the director of *M*A*S*H, McCabe & Mrs. Miller, The Player, Gosford Park and 40 other features spanning an astonishing five decades. “Inspiration,” Paul Thomas Anderson answered unsurprisingly. “Creating a family,” Lily Tomlin offered. “Makin’ your own rules” was James Caan’s definition. Mann’s portrait of Robert Altman is exciting and eloquent but nearly too reverential, more a tribute than a biography. The capacity audience at Toronto’s Tiff Bell Lightbox Friday night didn’t need reminding of Altman’s greatness. The Canadian premiere of Altman kicked off a retrospective that […] »
- Allan Tong
The Venice Film Festival this year isn't just about debuting new films from acclaimed directors, but also appreciating the work of auteurs who have left us. And that's where "Altman" comes in. The documentary comes from filmmaker Ron Mann, and it will debut in the Venice Classics section of the fest. The movie will cover the life and career of Robert Altman with insight from folks like Paul Thomas Anderson, Bruce Willis, Julianne Moore, Robin Williams and more. Here's the synopsis: Ron Mann's new documentary "Altman" is an in-depth look at the life and times of filmmaker Robert Altman (M*A*S*H, McCabe and Mrs. Miller, Nashville, The Player, Gosford Park, and many more.) While refusing to bow down to Hollywood's conventions, or its executives, Altman's unique style of filmmaking won him friends and enemies, earned him world-wide praise and occasionally scathing criticism, and proved that it »
- Kevin Jagernauth
Even though the Cannes Film Festival described David Cronenberg’s “Maps To The Stars” as a satire of Hollywood a la Robert Altman’s “The Player,” the filmmaker has a less ironic view of the material. “This is not a satire, I’m really just observing,” Cronenberg told Total Film recently. “I feel like a scientist or a researcher. That's the most honest, neutral way of looking at things. I'm not angry at Hollywood. I don't have a statement to make about Hollywood." While there’s no official U.S. release date for the film yet (it’s a good bet that it’ll be at the Toronto International Film Festival and then get a North American debut after that), internationally things are a bit different. The film is already out in France, Italy, Switzerland and Germany, the Netherlands and more are getting the film in late September (it’s »
- Edward Davis
Given the who’s-who of collaborators and acolytes of the late Robert Altman assembled for this feature-length tribute, it would have been all too easy for director Ron Mann to let the film turn into a loose, digressive — indeed, Altmanesque — jamboree of war stories and portable wisdom. But to great, stirring effect, “Altman” charts a different course, drawing on a wealth of existing material to tell the filmmaker’s story largely in his own, brashly eloquent words, and through generous clips from his massive, admittedly uneven, always uncompromising filmography. The result captures Altman the artist and the man, the one inseparable from the other, about as well as any two-hour film could hope to do. The pic makes its broadcast debut on Epix Aug. 6, following its June 20 premiere as part of the UCLA Film and Television Archive’s ongoing Altman retrospective.
Working closely with Altman’s widow, Kathryn, and his frequent producer, »
- Scott Foundas
There’s certainly humor running through writer-director-star Clark Gregg’s “Trust Me,” the tale of an inept agent for child actors; it’s just that not all of it feels intentional. Mixing comedy, drama, satire and noir, the Marvel actor’s second outing behind the camera plays for the same kind of uncomfortable laughs that his 2008 dramedy “Choke” did, but this one gazes so deeply into Hollywood’s navel that, with the affable Gregg in practically every scene, it ultimately can’t escape the whiff of a vanity project. In limited release day-and-date with VOD on various platforms, the pic figures to play best among fans and friends of the actors. Bizzers will be amused.
The first of a pair of bookend scenes sets up the tonal mish-mash, as a badly injured Howard (Gregg), waxes philosophical about life. Fade out, and we meet the agent as he’s late to »
- Bill Edelstein
Written by Bruce Wagner
Directed by David Cronenberg
Los Angeles, the city that homes the superstars and studios responsible for mainstream cinema culture, has consistently received its due criticism from those who either reject it or work within it. Look no further than Thom Andersen’s nearly comprehensive Los Angeles Plays Itself to see the town utilized as an easy space for shooting, a battleground for the melodrama of the privileged, and home field for telling stories about the storytellers. The business-driven artistic culture that pervades the town has been satirized in Who Framed Roger Rabbit, The Player, and Barton Fink to the point that a simple update of finger-pointing to the 21st century may be seen as a rehashing. Bruce Wagner’s crazy script for David Cronenberg’s Maps to the Stars instead paints the town as a machine capable of rehashing through »
- Zach Lewis
As a celebration of the unprecedented number of Canadian films that competed for the Palme d'Or at the 2014 Cannes International Film Festival, Moviefone Canada is highlighting each of these works.
David Cronenberg returned to the festival with his bleak Hollywood tale "Maps to the Stars." The lead performers are John Cusack, Mia Wasikowska, Julianne Moore (Best Actress winner at Cannes!), Sarah Gadon and a young Evan Bird. The performer getting all the attention on the Red Carpet was Robert Pattinson, here making his second performance in a Cronenberg picture (after "Cosmopolis" from Cannes 2012 and the Freudian drama "A Dangerous Method" which debuted at Venice in 2011).
The script is by novelist and screenwriter Bruce Wagner, and it provides a skewed look at obnoxious and petulant child stars, the fatuous nature of self-help gurus, and the deeply neurotic and spiritually vacuous nature of life in Hollywood.
Much like "Cosmopolis," Cronenberg and his »
- Jason Gorber
The film that has generated the most Oscar buzz out of this year's Cannes Film Festival is Bennett Miller's "Foxcatcher," which took home the award for Best Director. No winner of this prize at Cannes has ever snagged the corresponding one from the Oscars, but five have been nominated: Robert Altman for "The Player" (1992), Joel Coen for "Fargo" (1996), David Lynch for "Mulholland Drive" (2001), Alejandro González Iñárritu for "Babel" (2006) and Julian Schnabel for "The Diving Bell and the Butterfly" (2007). Both "Fargo" and "Babel" gained Best Picture nominations along with several Oscar wins. Join the live chat about Cannes Film Festival winners going on right now in our notorious message boards But the big prize is the Palme D'Or and with the coveted honor going to the Turkish film "Winter Sleep," it's unlikely that this film will be ele »
‘Maps to the Stars’ trailer and clips: Julianne Moore goes ballistic after losing a role, Robert Pattinson learns that Mia Wasikowska’s parents are brother and sister (photo: Robert Pattinson in ‘Maps to the Stars’) The Hollywood satire Maps to the Stars, the second David Cronenberg-Robert Pattinson collaboration to be screened in competition for the Palme d’Or at the Cannes Film Festival — following Cosmopolis two years ago — is one of the most anticipated films at the festival for obvious reasons: although an international box office disappointment, the brainy, stream-of-consciousness Cosmopolis earned a number of enthusiastic reviews and was the runner-up (trailing only Leos Carax’s fellow white limo movie Holy Motors) on the list of Best Films of 2012 compiled by the prestigious Cahiers du Cinéma. Check out below the "international" (as in, with French subtitles) red band trailer for Maps to the Stars clip, and you’ll »
- Andre Soares
I love it when I'm watching a movie and all of a sudden, out of nowhere there's a surprise appearance by a big, well-known actor. Sometimes the roles are funny, sometimes actors parody themselves, and then there are times when we get an incredible dramatic performance. There are a ton of great movie cameos out there, but I thought I'd put together a list of 20 cameos and small movie roles that I have enjoyed over the years.
There are some famous cameos such as Stan Lee's Marvel movie cameos and the Anchorman cameos that I purposely left off the list because they seem to be obvious choices.
Look over my list and let me know what your favorite movie cameos are in the comment section!
This is by far my favorite movie cameo of all time. Murray is absolutely hilarious in every way. »
- Joey Paur
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