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A Walk in the Woods (2015)
A broad comic tone...The few funny bits and sharp lines amount to fool’s gold scattered around a claim that never satisfactorily pays off.
Tailor-made for the great Lily Tomlin...Yeah, the circumstances are contrived, but easy enough to accept as long as they’re forcing interesting dynamics into seriocomic confrontation.
We Are Your Friends (2015)
Does not miss its chance to blow...Every bit a screenwriter’s idea of what it takes to make it...while accidentally cultivating the pervading sense that real DJs would laugh their asses off at this movie and its endless dopey brodowns.
American Ultra (2015)
At times pokes fun at the genre's cliché in amusingly productive ways...More often than not, though, this conspiracy isn't the real deal, but rather an elaborate distraction.
The Diary of a Teenage Girl (2015)
[Not] played for cynical misanthropic laughs or as miserable tragedy, but...[in] an honest treatment devoid of the usual rush to judgment.
The Blacklist: The Complete Second Season (2013)
A week-in, weak-out study in same-y procedural storytelling and mythology stalling that's powered by the usual salacious crime exploitation and the unusual lead performance of James Spader.
Mistress America (2015)
Like Brooke, the film flies a strange and arresting course: if not quite a screwball, then certainly a change-up pitch.
A film every single American and, indeed, every world citizen should see and contemplate.
A Midsummer Night's Sex Comedy (1982)
Pure mid-period Allen, a muscle-stretching ensemble comedy with dramatic undertones and playful philosophical musings...Allen's characters ponder the permeable divide between lust and love, and the meanings of sexual intercourse...
Justice League: Gods and Monsters (2015)
Another solid entry in the DCU line,
Justice League: Gods and Monsters
works best as an entrée into what should be a fascinating and highly entertaining series of its own.
The End of the Tour (2015)
Its prismatic philosophical and cultural observation...offers plenty of angles on the true value of the subjective fictions and supposedly objective non-fictions some create and others consume.
The Man from U.N.C.L.E. (2015)
Honors the original characters just fine, but the leads are lukewarm...the [action] mostly unmemorable ...and the split-the-difference jokey-serious tone errs...on the side of fashion-conscious and smug.
True Story (2015)
Does a lot of its work with its tongue-in-cheek title, a meta commentary on the not-so-broad spectrum of liar, actor, fiction writer, filmmaker and journalist.
Ricki and the Flash (2015)
That special brand of La Streep mugging—here applied to the character of a hot-mess bar-band deadbeat mom—will wear you into submission until nothing else seems to matter. Except that it should.
Best of Enemies (2015)
Like the debates it concerns,
Best of Enemies
entertains to a degree, enlightens to another, and asks us to ponder the relative merits of polar political ideologies and two complicated men who very publicly represented them.
Mission: Impossible—Rogue Nation (2015)
McQuarrie doesn't make it easy to invest in the characters here, but paradoxically he does know how to make us grip our armrests as they face danger, and thus the mission is accomplished once more.
The Stanford Prison Experiment (2015)
Zimbardo insists he’s 'trying to understand how an institution affects an individual’s behavior.' Alvarez’s own dark study, empowered by potent acting, allows the audience to contemplate the many variations on that psychological dynamic.
Resembles its own remarks about predictable patterns in the circuitry of arcade games: here is a series of crass caricatures, obvious setups and payoffs (not to mention a woman problem...), further suffocated by overweening commercialism...
Mr. Holmes (2015)
spins a tale about the falsely drawn lines between stories and our perceptions of real life, between celebrity image and genuine persona, and between upper and lower classes.
House of Cards: Volume Three (2013)
'Do what you have to do.'...Netflix's flagship series addresses this dictum to many characters grappling with tough choices, but the core subject of [Season Three]...is the marriage of Frank and Claire Underwood.
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Lily Tomlin & Paul Weitz—
[Tomlin:] I like to do it all...you want to get as much information, as much input as you can...I like to learn something that I can do in the scene...
Sir Ben Kingsley—
Learning to Drive
—8/25/2015 & 3/05/2005
I was taught to deeply respect the written word...the role is on the page, the character is in me, and I suppose I bring my intuition and my wisdom and my love of language to that page, and that's how it comes to life.
Jason Segel & James Ponsoldt—
The End of the Tour
[Segel:] I really did relate to this feeling of extreme caution that, uh, even something I say off-handedly could now be printed out-of-context, anywhere, for the rest of my life.
Kyle Patrick Alvarez & Dr. Philip Zimbardo—
The Stanford Prison Experiment
[Alvarez:] I wanted it to be a collaborative environment. I didn't want to pit the actors against themselves. The characters are pitted against each other. So the actors didn't have to be.
My Fair Lady
Theodore Bikel: In the Shoes of Sholem Aleichem
I'm a communicator. I reach an audience by whichever means are possible, and my voice is one of them. The other is the ability to clearly enunciate what it is that I want to say...And to treat everything as a story to be told.
—July 10, 2015
When I got to set, [Woody Allen] kind of showed me what the temperature of the movie was. I didn't know if I was in a comedy. I didn't know the tone. I thought a lot about jazz when I was working on this.
Tab Hunter Confidential
It's not an easy business...
Thomas Mann, Olivia Cooke, & RJ Cyler—
Me and Earl and the Dying Girl
[Mann:] It's about the importance of opening up, or letting people in, and making real connections. Even if you're facing rejection, it's ultimately more fulfilling, and you at least can learn something from it...
Me and Earl and the Dying Girl
The script already has such a beautiful rhythm...quite playful and fun...As he starts to come of age, the movie starts to be still and quiet, and so that's the kind of big picture that we set out to design the film together.
It's a prison movie when you think about it....you know, his being watched, infantilized. And yeah we're talking about this specific period of his life and his career where it's a dialectic between work and life, and enjoyment and freedom...
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