British actress Naomie Harris has been nominated for an Oscar for her role as a crack-addicted mother in the 2016 indie drama Moonlight. "No Small Parts" takes a look at some other roles she's played in her career.
Ted, a stuffy white guy from Illinois working in sales for the Barcelona office of a US corporation, is paid an unexpected visit by his somewhat less stuffy cousin Fred, who is an officer ... See full summary »
Violet and her two cohorts attempt to help their "less-fortunate" students at Seven Oaks College - primarily by running a Suicide Prevention Centre and offering their off-beat advice whenever they get a chance. Violet's newest rescue is transfer student, Lily, and Violet wants to teach her how to talk and dress properly, and how to select appropriate men to be interested in. Along their way in helping everybody at the college, the damsels teach the fraternity doofi to hit the books, they get their hearts broken, but then attempt to start an international dance craze. Written by
Early in the movie a there's a sign hanging in the Suicide Prevention Center that reads "Come on, it's not that bad". Later in the movie there is a doughnut shaped sign reading "the Donuts are reserved for the suicidal and clinically depressed" See more »
Frank insists his eyes can't be blue since not everything he sees is blue, not knowing that light enters through a hole in each blue iris. See more »
He used to gaze at me with such love in his eyes. Know what I mean?
No. No, I've never actually seen that.
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Prerolls have credits of leads as "the damsels" for females and "their distresses" for males. See more »
It's clear that some reviewers "got" this film and some didn't. As always, Stillman delivers with marvelous, laugh-out-loud funny dialogue. This is so rare that that that virtue alone sets it apart from the majority of the drivel that passes for conversation in movie scripts these days. You can't tell me that there aren't some one-liners in there that you hear and just *wish* you could have uttered yourself if only you'd had the wit (Whit?).
The characters are all flawed, some lovably so, some not--just like life. You're not meant to like all of them, and it's part of the subtle, social observation of which Stillman is capable that the unlikable characters are not always immediately unlikable. Some characters learn from their mistakes and misperceptions, some do not. Again, like life.
The thing that is so winsome about Stillman's movies is that virtue always triumphs. There is a sweetness to his choice that the good always eclipses the bad. It's almost heart-achingly sweet, because we know that that is not how things usually work out, and yet you find yourself rooting for these flawed, quirky, sometimes idiotic characters to get out of their own way and allow their better natures to win the day. I've wondered for a long time about the central role of dancing in his movies, and maybe it's that when you're dancing, it's hard to do much else, and you become one with music, rhythm, and your dance partner(s). Perhaps that's what he wants for his characters--to use dance as a vehicle to get out of their own way and lead a happier, less complicated, less tortured existence.
My favorite of his movies will always be "Metropolitan," but this is an excellent new addition to his oeuvre. We've been waiting for "the new one" for a while, and now that it's here I find it a sheer delight.
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