Grant, as his best characterizations showed, was always his own man.
We’re sharing two recent web postings that have stoked our interest.
The Hurt Locker is generally very natural, with only a couple of scenes where you hear the clicking of the writer’s computer keyboard.
![[Review Subtitle You Will Laugh At]: Cold Souls, Take 2](https://cdn.shortpixel.ai/spai/q_glossy+ret_img+to_auto/www.slantmagazine.com/wp-content/uploads/2009/08/film_coldsouls.jpg)
This is the grand culmination of having Paul Giamatti, the actor, and the money to produce your film.
In the end, it’s the profound existential questions that elevate Barthes’s film to pure artistry.
I know. I can hardly believe the headline either.
We are over halfway through shooting God’s Land now—and seeing light at the end of the tunnel for some of our principal actors.
Departures is a lovely, moving, funny, and hugely satisfying film.
Michael Mann’s films tell the kinds of stories that writing gurus love because they can be summed up in a single sentence.
To David Hudson: Great to have you back, sir, and best of luck!
The film is as powerfully effective as any in the Dardennes’ whole oeuvre.
The heart of the film is in the domestic scenes between the husband and wife.
Repulsion refers to a lot of other movies, but its queasy black humor is entirely Polanski.
In the end, the nightmare power of their imagery is the same.
Madeline Kahn was as close as you come to a universally loved performer.
Actor and avid sailor Sterling Hayden once said that no film has ever really captured the true essence of sea travel.
The kid is standing there punching my hand over and over again, monitoring his breath.
Wait a minute, isn’t success supposed to have a thousand fathers?
While watching Sacha Baron Cohen’s latest parody of American narcissism and bigotry, another cinematic prankster came to mind: Lars von Trier.