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A chronicle of John Lennon's first years, focused mainly in his adolescence and his relationship with his stern aunt Mimi, who raised him, and his absentee mother Julia, who re-entered his life at a crucial moment in his young life.
Director:
Sam Taylor-Johnson
Stars:
Aaron Taylor-Johnson,
Kristin Scott Thomas,
David Threlfall
A glimpse at the life of French singer Serge Gainsbourg, from growing up in 1940s Nazi-occupied Paris through his successful song-writing years in the 1960s to his death in 1991 at the age of 62.
Director:
Joann Sfar
Stars:
Eric Elmosnino,
Lucy Gordon,
Laetitia Casta
In 2005, the only thing hurting Los Angeles Times columnist Steve Lopez more than his face from a recent bike accident was his pressing need for story ideas. That is when he discovers Nathaniel Ayers, a mentally ill, homeless street musician who possesses extraordinary talent, even through his half-broken instruments. Inspired by his story, Lopez writes an acclaimed series of articles about Ayers and attempts to do more to help both him and the rest of the underclass of LA have a better life. However, Lopez's good intentions run headlong in the hard realities of the strength of Ayers' personal demons and the larger social injustices facing the homeless. Regardless, Lopez and Ayers must find a way to conquer their deepest anxieties and frustrations to hope for a brighter future for both of them. Written by
Kenneth Chisholm (kchishol@rogers.com)
As of April 2009, Nathaniel Ayers "has a girlfriend and is doing reasonably well" according to Steve Lopez. He has also taught himself to play the flute. See more »
Goofs
When Lopez pulls over in the tunnel after spotting Ayers, his car blocks the right lane. In subsequent shots, cars are seen in the background cruising through that very same lane, one even merges into it, even though Lopez's car is blocking it just a few yards ahead. See more »
At the end of the credits, the music concludes with the sound of a cassette tape grinding to a stop, referencing Lopez's omnipresent recorder. See more »
This film was supposed to be a major competitor for the Oscars last year, but Paramount bumped it to a few months later. Despite the mixed reviews the film has received, I believe it would have been a major contender. I honestly think Paramount's decision not only ruined its chances for Oscars, it gave the impression that there was something wrong with the picture. There isn't, really. The subject matter does scream "Oscar Bait", with Robert Downey Jr. playing a newspaper columnist who writes about a schizophrenic genius musician (Jamie Foxx) who is homeless on the streets of L.A. We all remember Shine. Shine was pretty good (if entirely made up, as we later discovered). The Soloist is probably a little better. I think it's stronger because of its exploration of the relationship between the two central characters. Both Downey and Foxx are extremely good; both are award-worthy. This material could easily have been cheesy Oscar bait, but director Joe Wright (Pride and Prejudice and Atonement) is a virtuoso himself. The way he uses image and sound move the story along beautifully, not allowing the clichés to clog up the film.
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This film was supposed to be a major competitor for the Oscars last year, but Paramount bumped it to a few months later. Despite the mixed reviews the film has received, I believe it would have been a major contender. I honestly think Paramount's decision not only ruined its chances for Oscars, it gave the impression that there was something wrong with the picture. There isn't, really. The subject matter does scream "Oscar Bait", with Robert Downey Jr. playing a newspaper columnist who writes about a schizophrenic genius musician (Jamie Foxx) who is homeless on the streets of L.A. We all remember Shine. Shine was pretty good (if entirely made up, as we later discovered). The Soloist is probably a little better. I think it's stronger because of its exploration of the relationship between the two central characters. Both Downey and Foxx are extremely good; both are award-worthy. This material could easily have been cheesy Oscar bait, but director Joe Wright (Pride and Prejudice and Atonement) is a virtuoso himself. The way he uses image and sound move the story along beautifully, not allowing the clichés to clog up the film.