John Patrick Shanley, Annika Boras, Timothée Chalamet, Robert Sean Leonard, Chris McGarry , David Potters - Opening night party for the MTC production Prodigal Son held at Brasserie 8.5 restaurant - Arrivals. at Brasserie 8.5 restaurant, - New York, New York, United States - Tuesday 9th February 2016
Robert Sean Leonard Sunday 24th April 2011 Robert Sean Leonard and Nina Arianda Opening night after party for the Broadway production of 'Born Yesterday' held at the Edison Ballroom. New York City, USA
Tape is based on a play by Stephen Belber, and the playwright contributes the clunky script, full of obvious dialogue and silly posturing. With one strike already against them, the experienced, name cast (Hawke, Leonard, and Thurman) then take the problem a step further, apparently not realizing that performances need to be taken down a notch on video, as the medium tends to overexpose every movement and moment. (While Thurman's performance is good, the trio need to watch Brad Anderson's Session 9 for a good example of subtle acting on video.)
Continue reading: Tape Review
Ethan Hawke (Training Day) courageously attempts to capture the essence of what makes this landmark so addictive in his directorial debut, Chelsea Walls. A collage of character plotlines that only barely intersect, Chelsea is a unique and respectable experiment in its focus on an inanimate object as its central character. Backed by a score that appropriately feels as if it were written while observing the production, Hawke creates an environment easily accessible to both New Yorkers and the non-initiated.
Continue reading: Chelsea Walls Review
Susan Sarandon and Sam Shepard are the quirky and dysfunctional parents of eight brothers (played by Robert Sean Leonard, Sean Astin, etc). Sarandon is always packing and repacking and threatening to move out of the house with humorous melodrama while Shepard has constant headaches and moments of psychosomatic blindness that are caused by stress. One of the brothers is in the military and the film takes place during the time of the Gulf War. All of the family converges from various parts of the globe in order to be together, in wait for news of their brother/son, who is missing.
Continue reading: Safe Passage Review
Another quickie guerrilla movie spawn of the digital video age, "Tape" is a real-time, three-character drama shot on the cheap in a hotel room by director Richard Linklater, who made such an awesome impact last month with the experimental animated philosophy daze of "Waking Life".
It's a movie that can work only if its characters hold you rapt for its entire run time -- and it might have done just that if said characters weren't so uniformly abrasive.
Ethan Hawke and Robert Sean Leonard play former high school buddies both in Lansing, Michigan, for a weekend. Leonard is there because he's an upstart filmmaker, convinced he's struggling for his art, whose first movie is playing the Lansing Film Festival. Hawke, a violent, drunk stoner with a chip on his shoulder, is ostensibly there as moral support, but in reality he has an entirely different agenda. He's never gotten over the fact that 10 years ago his high school girlfriend slept with Leonard. Now he has an ax to grind and a captive audience.
Continue reading: Tape Review
The spirits of moderately better racing movies like "Grand Prix" and "Days of Thunder" are buried somewhere inside "Driven" -- buried under heaps of clichés, stock characters, video game gimmickry, overly elaborate Ginsu editing, moronically contrived filler sequences, inadequate special effects and about four minutes of plot.
Set in the wound-up world of open-wheel racing, those four minutes go something like this: An irascible, crippled car owner (Burt Reynolds) hires a washed-up driver who once had a promising career (Sylvester Stallone) to help season an unfocused rookie boy-racer (Kip Pardue) so he can beat his rival (Til Schweiger), the reigning circuit champion.
Throw in a subplot in which Kip and Til (what's with these names?) vie for the affections of hottie-of-the-month (and former Sports Illustrated swimsuit model) Estella Warren and a few more sidelines about Sly's catty ex-wife (Gina Gershon) who married another racer (Cristian De La Fuente) and the pretty reporter (Stacy Edwards) he's dating now, and that pretty much takes care of everything except the racing.
Continue reading: Driven Review
For an actor directing his first movie, Ethan Hawke has remarkable patience and an intrinsic knack for creating personal, intimate, candid, lingering moments between well-drawn characters in "Chelsea Walls."
This film is composed of handful of interwoven vignettes about denizens, new and old, of New York's Chelsea Hotel -- a legendary (and now somewhat unkempt) residential haunt of artists, poets and other Bohemians for more than a century. It is a film in which body language and unspoken human intercourse play a much more important role than dialogue, which often reveals its meaning only through the context of a scene.
Adapted by Nicole Burdette from her own off-Broadway play of the same name, "Chelsea Walls" opens with a pair of cops arriving at the hotel to investigate a suicide, then the camera wanders into another room to discover a pair of lovers whose passionate but ill-starred relationship has run its course. A leathery, hard-living writer (Kris Kristofferson) is trying to gently dismiss an uptown woman (Natasha Richardson) who wishes she had the will power to stop visiting, of her own accord, the musty Chelsea apartment he keeps darkened with forever drawn shades to better cope with his chronic hangovers.
Continue reading: Chelsea Walls Review
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