The retelling of France's iconic but ill-fated queen, Marie Antoinette. From her betrothal and marriage to Louis XVI at 15 to her reign as queen at 19 and to the end of her reign as queen and ultimately the fall of Versailles.
Charlie Rankin, recently released from prison, seeks vengeance for his jail-house mentor William "The Buddha" Pettigrew. Along the way, he meets the ethereal, yet streetwise, Florence Jane. They embark on a unlikely road trip, careening towards an unlikely redemption and uncertain resolution.
A look at the lives of two teenage girls - inseparable friends Ginger and Rosa -- growing up in 1960s London as the Cuban Missile Crisis looms, and the pivotal event that comes to redefine their relationship.
After years of struggling to conceive with her husband, Lizzie has given up hope of having a baby on her own. But when her best friend Andie finds herself pregnant after a one-night stand, ... See full summary »
Dominique is desperate to to play the title role in her husband Jean Claude's bio-pic "No Sunrise for Selena," but why won't Jean Claude cast his voluptuous British bombshell wife as the ... See full summary »
Hollywood actor Johnny Marco, nested in his luxury hotel of choice, is a stimulated man. Drinking, parties and women keep a creeping boredom under wraps in between jobs. He is the occasional father of a bright girl, Cleo, who may be spoiled but doesn't act it. When Cleo's mother drops her off and leaves town, Johnny brings her along for the ride, but can he fit an 11-year-old girl into his privileged lifestyle? Written by
Peter Brandt Nielsen
A number of the dialogs were improvised by the actors, notably the things said by Sammy (Chris Pontius) to Cleo (Elle Fanning). This was done in order to provoke genuine surprise from Fanning. Pontius, in fact, was specifically chosen for his improvisation skills, as well as his good rapport with children. See more »
Cleo toggles between having and not having braces from scene to scene. This is most noticeable in scenes in the living room with Sammy and scenes in Johnny's car. See more »
This is a more intelligent film than you might think.
I nearly didn't go to see Somewhere. People who'd seen it suggested I'd find its long winded nature, irrelevant. I'm so glad I decided to see it.
This intelligent film took us on the same ride that our key character was embarking on. From the first scene as we stand stationary watching a car circle a circuit aimlessly we begin to experience the monotony of Johnny Marco's life.
We sat through whole episodes of amateur pole dancing, done reasonably well, so that Coppola could drag us through the point she was trying to make. Hey, you don't recommend a film like this to many people because most people like film to entertain, to have a beginning a middle and an end.
Somewhere had a turning point, the arrival of his daughter, and a conclusion, the electronic beep of Johnny's car ignition. That is when it was headed elsewhere.
And just maybe his life was headed in a more entertaining direction but Coppola would see that as another film; but not necessarily one to be made by her.
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