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Washington Post
a day ago
- Business
- Washington Post
In ‘The Phoenician Scheme,' it's the transactional vs. the transcendent
When the history of the decline of American moviegoing is written, one savior will deserve mention: Wes Anderson. During a period of churning audiences and a lemminglike rush toward streaming, the eight-time Oscar nominee has made movies that have reliably coaxed spectators back into brick-and-mortar theaters. Like Christopher Nolan and James Cameron, Anderson has become a reliable brand.
Associated Press
2 days ago
- Entertainment
- Associated Press
Movie Review: Tom Hiddleston leads the cosmic puzzle that is 'Life of Chuck'
'Life of Chuck' is a peculiar movie with grandiose ambitions. It teases out a cosmic mystery about life and some guy named Charles Krantz ( Tom Hiddleston ) in a story told in reverse chronological order that gets smaller and smaller with each act. This is a story that begins with the apocalypse and ends with a middle school dance. Well, kind of. I'm not out to spoil (much) here. It's based on a novella by Stephen King (part of his 'If It Bleeds' collection of stories) and adapted by filmmaker Mike Flanagan, who was also behind 'Gerald's Game' and 'Doctor Sleep.' This, however, is not a horror movie, though there are spooky elements laden with ominous ambiguity. There are also big, joyful dance numbers, a fair share of cynical jokes, whimsical narration from Nick Offerman, earnest conversations about the end of the world and plenty of references to Walt Whitman's 'Song of Myself' — in particularly 'I am large, I contain multitudes.' That is most movingly conveyed in a sweet scene with a teacher (Kate Siegel) and a middle school aged Chuck ( Benjamin Pajak ) on the last day of school. 'Life of Chuck' wants to make you think, feel, laugh and cry about the most mundane of characters: Krantz, a white, American, middle-aged accountant, whose life is modest and whose childhood was full of tragedy and loss. And while I certainly enjoyed elements of this odyssey in reverse, I was ultimately left feeling very little — especially about Chuck and the questionable end-of-film explanation that ties it all together. Hiddleston, it should be said, is not in 'Life of Chuck' as much as one might expect for being the titular character. His presence looms large certainly — it's why we're here. But, in reality, Hiddleston as a performer is more of an ensemble player among a sea of recognizable faces. In the third act, which opens the film, he's everywhere — on billboards and television ads, cheerily smiling in a nondescript grey suit, coffee cup in one hand, pencil in another. 'Charles Krantz. 39 great years! Thanks Chuck!' the signs read. It's the background until it's all that's left as the world appears to be ending. The internet has gone out. Parts of California have drifted into the Pacific. Environmental disasters rage. Suicides are skyrocketing. Hail Mary life decisions are being made. And poor Marty (Chiwetel Ejiofor) is just trying to do his job as a school teacher. His parent-teacher conferences have become parent therapy sessions. Everyone — a maintenance guy (Matthew Lillard), a funeral director (Carl Lumbly) — seems to want to philosophize about what's going on, and who the heck Chuck is. He has big conversations about the history of the universe with his ex-wife (Karen Gillan). And together they wait for the end. In act two, a grown Chuck (Hiddleston) dances in the street in a joyful six-minute sequence. Compelled to move when he hears the beat of a street drummer (Taylor Gordon), he even pulls in a stranger to join him (Annalise Basso). In act one, he's a kid ( Pajak ) who has lost both his parents and unborn sister in a car accident and is living with his grandparents (Mark Hamill and Mia Sara, who it's nice to have back on screen). It's during this segment, which comprises nearly half the movie, that he learns to dance. First, it's through his grandmother freestyling to Wang Chung and curating a movie musical marathon (including 'Singin' in the Rain,' 'Cabaret, 'Cover Girl' and 'All That Jazz'). Then it's at school, where little Chuck learns the perks of being a straight man who can dance. There's also a possibly haunted cupola on the top floor of their house that's causing grandpa lots of anxiety. This is a film with a big heart that has already made a significant impact on some moviegoers. Last fall it won the audience award at the Toronto International Film Festival, an honor which has produced many best picture nominees and winners. And it's one where a second viewing might be rewarding, so you can more appreciate the thoughtful throughlines and the piece as a whole since you know what it's building toward. But I also suspect this particular flavor of sentimentality might not be for everyone. This critic felt a bit like the film was trying to trick you into caring about Chuck, while revealing very little about the man he became and explaining too much about the mystery. And yet it's a nice message, with nice performances and might be that kind of affirming hug of a film that someone is craving. 'Do I contradict myself? Very well then I contradict myself.' Film reviews can also contain multitudes. 'Life of Chuck,' a Neon release in theaters Friday, is rated R by the Motion Picture Association of America for language. Running time: 110 minutes. Two and a half stars out of four.
Geek Vibes Nation
29-05-2025
- Automotive
- Geek Vibes Nation
Top 3 Famous Cars Used In Films
Many popular films have used luxury cars to catch viewers' attention. A few examples of famous luxury cars featured in major films include the Aston Martin DB5 in James Bond's 1974 movie 'The Man With the Golden Gun' and the 1964 Dodge Monaco used in the 'Blues Brothers'. American movie producers often hire luxury cars to shoot great scenes that inspire culture and lifestyle to enhance consumer interest. If you are wondering about more top cars that spark incredible narratives in famous films, make sure you read on to discover more details. Top 3 Famous Cars Used in Films That You Should Know Vintage cars and luxury car brands, such as Lamborghini, Rolls Royce, and Ferrari, are commonly used in movies to showcase wealth and sophistication. General Motors concept cars were largely displayed in the science fiction movie 'Demolition Man' starring Sylvester Stallone. Here are the top three famous cars used in films that you should know. 1. 1977 Pontiac Trans Am, Smokey and the Bandit The 1977 Pontiac Trans Am starred in the famous movie 'Smokey and the Bandit' alongside Burt Reynolds and Sally Field. This film made a substantial impact on the American film industry thanks to the great work of director Hal Needham. Prior to the release of this movie, the Pontiac Trans Am more or less stayed the same for almost half a decade. The most famous Pontiacs of all time used in films turned heads anytime they slid around corners. Following the Smokey and Bandit movie premier, Pontiac Trans Am sales reached about 30,000 sales between 1977 and 1978. The combination of the T-top roof and improved handling played an essential role in making this film car trend at the time. 2. 1973 Corvette Stingray – Corvette Summer (1978) The 1973 Corvette Stingray featured in an adventure comedy, where a high school student played by Mark Hamill went on an epic trip around Las Vegas to recover his stolen customised Corvette. He went on to find love and explore new places along the way. Whether you are shooting a movie, doing a photoshoot, or attending an important business meeting, you can rent your dream Corvette Stingray from trusted luxury car rental companies such as Milani Exotic Car Rental in Atlanta to make a lasting impression. Leading Atlanta car rental companies offer a diverse range of premium rides, including luxury SUVs and full-size sedans. Renting a luxury car for movies doesn't have to hurt your wallet, as you can find several models that suit your budget and travel style. 3. Aston Martin DB5 – Goldfinger (1964) Another popular car used in movies is the Aston Martin DB5. The film Goldfinger released in 1964 was named after gold smuggler Auric Goldfinger, who tried everything he could to boost the value of his bullion by detonating a nuclear device near Fort Knox. The film features Sean Connery, with Desmond Llewyelyn presenting the DB5 to Bond. Desmond Llewelyn, also known as Q, brags about how the car was equipped with special features such as machine guns, a GPS screen, smoke screen, and tire slashers. The leading actors in popular films often become global superstars. Science fiction, romance, and comedy lovers will understand that premium vehicles make a substantial impact on many movies. Exotic cars for movies come with superior features and performance metrics that make any film feel extra incredible. Film directors looking to revolutionize their movie production with world class vehicles can order them from Milani Exotic Car Rental.
The Guardian
20-05-2025
- Entertainment
- The Guardian
James Foley obituary
The film director James Foley, who has died from brain cancer aged 71, was a self-effacing and shrewd stylist whose camerawork always served the actors and the psychology of the characters. This thespian focus was best showcased in his 1992 adaptation of David Mamet's stage play Glengarry Glen Ross; its heavyweight cast, which included Al Pacino, Jack Lemmon, Alec Baldwin, Ed Harris and Kevin Spacey, might have overwhelmed a less purposeful supervisor. But in his hands this dissection of American capitalism, set in a beleaguered real-estate office, became an actors' masterclass; the cast would turn up on their days off to watch each other work. Foley had been convinced to direct it by a new version of Mamet's script that broke down what on stage had been cerebral monologues into pithy, visceral repartee. Accordingly, the director insisted on casting 'great actors, people with movie charisma, to give it watchability, especially since the locations were so restricted'. Recruiting Pacino as Ricky Roma, the star salesman, Foley had the luxury of a three-week rehearsal period. He used it to avoid a pitfall endemic to Mamet: 'There was a real danger that actors could get seduced by the superficial level of gratification that comes with saying great dialogue. I was much more interested in getting actors that had an interior, emotional life,' he told the WHYY radio station in Philadelphia. With many of the stars reducing their salaries to come on board, egos were on hold – a prerequisite for Foley. 'My litmus test is I have to be able to make fun of actors, and of who they are, and their fame,' he said. It paid dividends: the finished Glengarry Glen Ross had a commanding intensity and bite. The 'always be closing' pep talk – an added scene with Baldwin in the role of head office's ball-breaking envoy – later became a staple of acting classes. The film's prising open of male belligerence and insecurity was a recurrent feature in Foley's films, which were often noir-inflected, character-focused crime dramas. Its milieu of tawdry salesmanship, and the eternal imperative of the hustle, must surely have resonated with his struggle to rise up Hollywood's pecking order. Born in Bay Bridge, Brooklyn, New York, James was the son of Frances and James Sr, a lawyer, and grew up in Staten Island. After graduating in psychology from the State University of New York at Buffalo in 1974, he abruptly switched tack to cinema after taking a six-week course at New York University. He then studied for a master's degree at the University of Southern California's School of Cinematic Arts in 1979. Foley was offered the chance to direct by Hal Ashby, an errant New Hollywood auteur; Ashby was impressed by one of the young man's films being projected on to a wall at a student party. They never made anything together, but what Foley described as Hollywood's 'weird calculus' meant Ashby's patronage was enough to earn him the directorial chair on his first feature: a derivative but energetic high-school romance, Reckless (1984). He followed it up with the crime drama At Close Range (1986), starring his friend Sean Penn as a Pennsylvanian latchkey teenager drawn into the orbit of his psychopathic father, played by Christopher Walken. Not only exhibiting Foley's way with actors, especially in Walken's flamboyant but subtly shaded performance, the director also imbued the film with an insistent romanticism. He later summed up his low-key approach to style as: 'I like getting the movie inside of the drama as if there was no director involved.' Foley's connection to Penn led to him directing the screwball comedy Who's That Girl (1987), starring the actor's then wife, Madonna (he was best man at the couple's wedding, and directed the music videos for Madonna's Live to Tell, Papa Don't Preach and True Blue, under the name Peter Percher). Who's That Girl was a critical and commercial bomb; Foley had to regroup in the wake of this atypical foray into lighter material: 'It was a major life experience. That first failure is so shocking,' he told Film Freak Central. He returned with the fraught and intense desert noir After Dark, My Sweet (1990), adapted from the 1955 Jim Thompson novel, which was Foley's only feature-writing credit. Although, like many of his films, it was a commercial failure despite critical admiration, it earned him Pacino's attention for Glengarry Glen Ross. Foley continued working throughout the 90s and early 2000s, with his two films with Mark Wahlberg – the teen sociopath thriller Fear (1996) and the actioner The Corruptor (1999) – finding moderate commercial success. But the critical lashing and commercial failure of the costly $60m cyberstalking neo-noir Perfect Stranger (2007), starring Halle Berry and Bruce Willis, led to him being consigned to 'director jail' for a time. For much of the 2010s, he worked exclusively in TV, a medium about which he expressed reservations; among other jobs, David Fincher – whose psychological slant he shared – hired him to direct 12 episodes of the Netflix series House of Cards. For his final features he accepted a franchise gig: directing the two sequels to Fifty Shades of Grey, in 2017 and 2018. Easily the most commercially successful films of his career, he viewed them with a certain pragmatism. 'The movie is not going to win Oscars,' he said of Fifty Shades Darker. 'But I don't think it's going to win Razzies [Golden Raspberry awards]. That's my goal – to not win a Razzie.' Having weathered several cycles of fortune within Hollywood, this journeyman took the long view: 'I'm interested in studying the history of directors, and why they make a few good films and then fall off the map. You look to the credits of episodic TV and there they are – and I think that it has so much to do with how you respond to failure.' He is survived by a brother, Kevin, and two sisters, Eileen and Jo Ann. James Foley, film director, born 28 December 1953; died 6 May 2025
Yahoo
09-05-2025
- Entertainment
- Yahoo
Fifty Shades sequels director James Foley dies aged 71
Fifty Shades Of Grey sequels director James Foley has died aged 71 after being diagnosed with brain cancer a year ago. The American filmmaker, known for Glengarry Glen Ross, Fear, and The Corruptor, died peacefully in his sleep earlier this week, a statement from a rep confirmed. His work spanned across music videos, television and film, making his directorial debut in 1984 with Reckless, starring American actor Aidan Quinn and Blade Runner's Daryl Hannah. In 1986 he directed music videos for pop star Madonna, including for the hit songs Papa Don't Preach, Live To Tell and True Blue. He more recently directed the two sequels to the Fifty Shades romantic thriller trilogy – Fifty Shades Darker (2017) and Fifty Shades Freed (2018) – which starred Dakota Johnson and Jamie Dornan, and also directed for television, including 12 episodes of the hit Netflix thriller series House Of Cards. The filmmaker worked with Edward Burns, Dustin Hoffman and Rachel Weisz on the 2003 film Confidence, which follows Jake Vig, played by Burns, a grifter whose con plan to avenge his friend's murder goes awry, leaving him indebted to a mob boss and his enforcer. He also directed the psychological thriller Perfect Stranger, starring Halle Berry as a journalist who goes undercover to investigate businessman Harrison Hill, played by Bruce Willis, who she suspects killed her childhood friend. He is survived by his brother, Kevin Foley, sisters Eileen and Jo Ann Foley, and his nephew Quinn Foley and is also predeceased by his brother, Gerard Foley.
