Despite wandering into Explosions in the Sky’s territory, the epic (post-rock) fail that is Sagarmatha won’t land the A-Cast a spot on the Friday Night Lights soundtrack anytime soon.
Looks like bank failure isn't the only thing to worry about in the financial world. In The International, one of the world's most successful banks gets its dough from the small arms trade, prompting Interpol agent Clive Owen, doing his normal shtick as the rugged, intense hero, and Manhattan ADA Naomi Watts, foregoing her natural Aussie accent, to go after the bad guys (do the filmmakers really expect us to think that forces from completely different jurisdictions would work so well together?).
Thankfully, for the first time in recent movie history, our two leads do not hook up, but they do kick some serious ass.
The critical darling of last year’s Cannes Film Festival, The Class snuck in under the radar and screened on the last night of the competition, surprising many and deservedly taking home the illustrious Palme d’Or.
Director Stanley Donen is remembered, when he’s remembered, for films like Singing in the Rain and Arabesque, big-budget musicals designed to be instantaneous crowd pleasers.
It’s tough to think of people other than your love du jour over Valentine's Day. But if you prefer the Peace Corp to petunias, check out this week’s selections from the Human Rights Watch Film Festival.
Four years after “Catch My Disease” ran rampant through hospital dramas everywhere, Ben Lee is back with The Rebirth of Venus. “I’m a woman too,” Lee claims on track 11, as though anything could validate this failed attempt at a girl power concept album.
Street: You guys are often compared to artists of the ‘70s, Neil Young and Bob Dylan. Were these the bands you grew up with?
Eric Earley: Those are the bands we grew up on and our parents listened to.
My parents are, in the simplest of terms, ex-hippies. There are more pictures of my father wearing bandanas than there are of us together and my mother still dances like a girl on Haight Street.
Two Tongues starts off somber, with a quiet, almost innocent, guitar solo. Then there’s a lurching stop, a screaming “Wait!” and a massive power chord followed by the crash of cymbals.
If Judy Garland had landed in Oz in 1960 instead of 1939, followed the yellow brick road straight to the local karaoke bar and requested something bluesy to ease her not-in-Kansas-anymore induced homesickness, the resulting sound would be that of Heartless Bastards’ The Mountain. Owing to a distinct, mature vocal tone (think Melissa Ethridge comes to Zooey Deschanel’s window) and a constantly changing line-up, Erika Wennerstrom truly is Heartless Bastards.
We've all heard the adage “if you don't have anything nice to say, don’t say anything at all.” So instead of bashing The Pink Panther 2, a film whose very existence should make one question the sanity of movie execs (no one liked the first one, guys), I'm going to try to extol its few-and-far-between merits.
The film adaptation of Greg Behrendt and Liz Tuccillo’s bestselling book attempts to be a treasure trove of relationship wisdom, but the title, He’s Just Not That Into You, is really the only advice it provides.
Shakespeare + the two Step Up boys + some sick soccer skills = pure joy. Starring Amanda Bynes as a cross-dressing, soccer-loving teenager, it also features Channing Tatum and Robert Hoffman, both of Step Up fame.
January movies are generally amusing films that tend to lack-in content. Push, a January movie released in February, is entertaining but not worth 10 economically devalued U.S.
Going to a movie is much like going on JDate. We scope out the leading men, assess their talents and qualifications and ultimately decide whether they’d function as good first husbands.
Street: Tell me about how Ciao came into being.
Yen Tan: The idea came about because [actor] Alessandro [Calza] wrote me an email in 2003 to tell me how much he loved my first film, Happy Birthday, and then we just started corresponding.