There's a moment late in Yaron Zilberman's drama "A Late Quartet" that's as beautiful an illustration of listening as you're likely to see in any movie this year.
Ari Graynor, in the comedy "For a Good Time, Call ...," has the brassy energy of the young Bette Midler; she sashays through the film as if it just might turn into a musical at any moment.
Both a gossipy peek at lives-of-the-rich-and-famous and a trenchant examination of the American dream, Lauren Greenfield's "The Queen of Versailles" is about one family and two houses. The family is the Siegels, of Florida: David, a billionaire time-share magnate; Jackie, his decades-younger…
Following a tradition established long ago, here is a list of
year-end awards you won't see anywhere else: the Dubious
Achievements - in movies, that is - of 2011.
A well-made drama about a pair of young attorneys and a
potentially explosive case, "Puncture" has the unusual problem of
being almost too intriguing: Its based-on-true-events story seems
to cry out for documentary treatment.
A poetic tale of loss and starting over, Julie Bertuccelli's
"The Tree" centers on its title character: an enormous, sprawling
fig tree that stands by the home of the O'Neil family, in the
Kristin Scott Thomas slips easily between English and French in
"Sarah's Key," but what's most affecting about her performance are
the silences. She's long been the kind of actress who can speak
volumes without a word - you see her intelligence clicking along,
as she thinks in character - an…
Ever had the feeling that you fell asleep and woke up in the
"Do you think Michael Moore gave up after the first try?" asks a
would-be documentarian in "Trollhunter," a witty "Blair
Witch"-style mockumentary about, you guessed it, troll hunting.
Two young people, a man and a woman, pause at a dark storefront
on a quiet street, late at night. They're giggling and silly, awash
in the early days of attraction that just might be love. She, goofy
and embarrassed, demonstrates a talent for him - tap dancing, with
feet shuffling and arms f…
"This is the story of a film that was never completed," begins
the sober narration of the Holocaust documentary "A Film
Unfinished," a film that is, in itself, an act of completion.
Bruce Beresford's "Mao's Last Dancer" tells the kind of
inspirational true-life story that seems made for the movies.
The most terrifying gesture you may well see in theaters this
year comes in David Michod's fine Australian crime noir "Animal
Kingdom," from a sweet-voiced grandmother (Jacki Weaver).
Juliette (Patricia Clarkson) is alone in Cairo, waiting for her
diplomat husband, Mark, to join her, lost in that night-lit
disorientation that jet lag brings.
"There was no out, there was only in," says a historian in the
moving "Stonewall Uprising," screening at 7:30 p.m. Wednesday at
the Loft Cinema, 3233 E. Speedway.
"If you're going to leave your paintings somewhere," warns an
art expert in "The Art of the Steal," Don Argott's passionate
documentary, "don't let there be a politician within 500
In "A Prophet," Jacques Audiard's haunting prison drama, we
watch a young man transformed by life behind bars.
The Toronto International Film Festival ended last week, after
10 days of frantic activity that included hundreds of movies,
filmmakers, actors, publicists and cellphone-clutching fans.
"This is not a love story," intones a voice-over at the
beginning of Marc Webb's smart, funny "(500) Days of Summer," and
we learn in the course of the film that this nameless voice is both
right and wrong.
Who would have thought that a stirring movie could be made from
footage of Al Gore presenting a slide show, interspersed — for
excitement's sake — with footage of Gore tapping away on his laptop
or walking through airports?