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Snowden and director Stiles White—is so derivative and predictable. A group of. It's not scary, unless you enjoy cheap bait-and-switch jump scares (Oh, it's. In addition to being overly formulaic, the plot doesn't even make much sense as events often happening out of narrative convenience (Debbi's penguin keychain just happens to be a USB drive). Tomatoes. The consensus cheekily says, 'Slowly, steadily, although no one seems. Universal's targeted marketing campaign that focused heavily on social media. PG-13 (Some Intense Perilous Action and Brief Strong Language). Faced with an ever-dwindling food supply, humanity has turned away from. John Brand (Michael Caine) and his daughter Amelia (Anne Hathaway). They. Steven Spielberg was previously attached to direct when the project was. Jonathon was hired to write the screenplay a year later but Spielberg eventually. Given the many budget cuts that NASA has faced in recent years, the scenario in. Nolan's film isn't too far removed from reality despite its apocalyptic. A series of admittedly hokey events (we'll get back. McConaughey. Relegated to the world of cliched rom-coms for almost a decade, McConaughey.

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That is to say, it’s easy to play armchair historian and pass judgment on our American forebears, circa early 1950’s, for their rampant hysteria over rumored Communist spies in high governmental positions (Jr. The names, faces and headlines have changed over the decades, but have we truly evolved past our petty prejudices, bigotry and racial profiling (in the wake of 9-11, for instance)? 2. The mode of speech employed by all of the characters, and CBS news reporter Edward R. Murrow (David Strathairn) in particular, is at a far superior level to anything you’d hear in the media today, much less in casual, everyday conversation. Much more than just a list of SAT words, the movie’s dialogue is permeated with abstract concepts, euphemistic jabs, figurative descriptions, satirical quips and quizzical notions. Continually catering to the lowest common denominator has clearly taken a toll on our education system and the citizens of our nation by extension. Lending the movie a sense of time and place is the preponderance of cigarette smokers; roiling wisps of smoke can be seen throughout the movie and at times the cloud of carcinogens was so dense on-screen that I had to hold my breath for fear of inhaling second-hand smoke. Another historical tidbit presented in the movie (which may be a curiosity to younger viewers) is the much stricter policies regarding fraternization in the 50’s workplace, as is poignantly demonstrated by married couple Joe and Shirley Wershba (Robert Downey, Jr. Social commentary aside (if that’s possible with a movie of this ilk), Good Night and Good Luck is a masterwork that seamlessly blends actual footage of McCarthy with Strathairn’s ardent recitation of Murrow’s actual monologues. Recitation is a heinous disparagement of Strathairn’s scintillating performance—the actor so perfectly captures Murrow’s mien and nuances that he could teach Shirley MacLaine a thing or two about channeling. Anchored by Strathairn and Clooney (who plays intransigent producer, Fred Friendly), the cast is a virtual directory of A-list actors: Jeff Daniels as the reticent office manager, Sig Mickelson, Frank Langella as the beleaguered studio executive, William Paley, Ray Wise as the troubled newsman, Don Hollenbeck, along with the aforementioned Clarkson and Downey Jr. are all pitch perfect under Clooney’s prescient direction. Although I don’t believe there’s such a thing as a flawless film, Good Night and Good Luck comes exceptionally close to that lofty mark. Another brilliant touch is Clooney’s use of mock recording sessions from neighboring Columbia Records as musical segues between dramatic sequences; adding some much needed variety, they prevent the movie from collapsing under its own weight. Serving as bookends for the movie is Murrow’s speech at a banquet thrown in his honor in 1958: in it he warned against complacency—which was already brewing in our country—and that television, as a terribly powerful medium, must not be used for frivolous entertainments. You already know the ending when you see the trailer (movie, not horse), but there’s still something reassuring, comforting and inspiring about a story where someone dreams big and wins, especially if it’s based on a true story. Especially if it features Hollywood’s youngest starlet, Dakota Fanning (who, according to a recent EW article, has outperformed every other adult female actor—including Julia Roberts—at the box-office this year).


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We'll probably go swimming a bunch this summer, that should be fun. Check out Ghost in the Water's CD Release Party at the Kitty Cat Klub on March 21st with Beatrix Jar and Unicorn Dream Attack. Dig through piles of potential finds, update your image, all while not spending a dime. This week welcomes Lorraine Gauthier and Alejandro Quinto of Work Worth Doing. To send a promo or press release for consideration through U. . mail. It’s a smart move, since much of “Paranormal” is as exciting as the outtakes from a particularly dull episode of “Big Brother. Careful handling is a must for the picture to capitalize on its strength — an incremental sense of dread that leads to some genuine jolts in the final half-hour. Those shocks should generate an avid cult following, but writer-director Oren Peli’s housebound horror tale is unlikely to cast a massive box office spell like the “Blair Witch” phenomenon. The studio expects to double the screen count next weekend. Young middle-class San Diego couple Micah (Micah Sloat) and Katie (Katie Featherston) are being spooked by strange noises in their new home. Eager for answers, Micah decides to set up night-vision camera equipment in their bedroom, in addition to his own roving camcorder. (As in “Blair Witch,” all the action is purportedly found footage from this amateur shoot. We soon learn that Katie has a history of otherworldly encounters, dating to a tragic incident from her childhood. The couple calls in an ineffectual psychic, and Micah tempts the spirit world with a ouija board, but their after-dark visitations just get louder and more terrifying, culminating in one particularly momentous night. The most effective sequences stem from the time-coded bedroom surveillance footage (always speeded up to the moments when doors open by themselves and shadows climb the walls). The banality of the couple’s day-to-day existence when they’re not hearing unwelcome guests enhances the sense of realism, but it can be awfully trying for viewers who just want to get to the good stuff already.