Voicing wake-up calls for new generations to save cinema, oceans and journalism, film director Martin Scorsese, marine biologist Sylvia A. Earle and reporter Alma Guillermoprieto were awarded Friday Spain's prestigious Princess of Asturias prizes.
There is a fine line between a movie being creatively quirky and one that's agonizingly annoying. "An Evening with Beverly Luff Linn," the latest offering from British director Jim Hosking ("The Greasy Strangler"), falls extremely on the side of being a pain to watch.
Though she may be best known for her more broadly comedic turns in the movies "Bad Moms" and "Step Brothers" or TV's "Parks and Recreation," actress Kathryn Hahn has a true knack for conveying the messy drama of real life, the whirlwind emotions that teeter on the edge of the absurd and the heartbreaking. The new film "Private Life," for which she has been earning enviably outstanding reviews, just may be her best showcase yet.
There is something of a charade going on in the title of "Can You Ever Forgive Me?" It's not that the protagonist of this smart, bleakly comedic film hasn't done things that need forgiving, it's that indications are she's serenely indifferent as to whether you forgive her. This is who I am, she insists to the world, and if you can't stand the heat get the hell out of the kitchen.
Directed, written by and starring Rupert Everett, "The Happy Prince" is a genuine passion project, a creative act existing completely in its own space and on its own terms. Both in his disciplined filmmaking, with each scene choreographed as carefully as a dance, and his portrayal of playwright and author Oscar Wilde in decay far past his prime, Everett delivers an almost unbearably bittersweet feast for the senses.
It's one of the tribal rites of American family life: the holiday tradition of turning Thanksgiving week into a blood feud of fighting over politics. The dinner conversation unleashes everyone's closet bully and triggers the kind of ideological thuggery broadcast on AM talk radio: no rules, no controls, no filters.
It's the season for tricks and treats and masks and blood and gore and bizarre, probably psychotic fixations, and few film franchises inspire twisted obsessions quite like the "Halloween" collection. John Carpenter's trendsetting 1978 horror-thriller spawned an entire tradition of slasher shockers. Few of them have exerted an influence as powerful as his original. Forty years after its debut, countless fans still feel a cold carving knife in their back at the sound of Carpenter's minimal, ominous piano riff in 5/4 time. What began as a nasty piece of work has become some kind of reprehensible classic.
In "Beautiful Boy," the national epidemic of substance abuse is told in intimate personal terms. An unembellished portrait of present-day addict life, it explores the chilling real-life struggles of journalist David Sheff and his teaenage junkie son Nic. Adapted from their joint memoirs, it offers a stomach-churning primer of addiction's traumatic effects on individual and family lives. It is not a movie for the faint of heart, but one that will stick long in your mind.
In the first key nominations announcement of the film awards season, the Independent Filmmaker Project's 28th Gotham Awards have given a boost to Yorgos Lanthimos' yet-to-open festival sensation "The Favourite" and Paul Schrader's acclaimed summer release "First Reformed."
Stars Chris Pratt and Bryce Dallas Howard return alongside executive producers Steven Spielberg and Colin Trevorrow for Universal Pictures and Amblin Entertainment’s Jurassic World: Fallen Kingdom. Pratt and Howard are joined by co-stars James Cro