Jean Paul Getty (Kevin Spacey) may have been the richest man of his time, but in 1973 he proved how he was also one of the most frugal. So much so, in fact, that while most parents and grandparents would give anything in the world to see the safe return of their child or grandchild after a kidnapping, he point blank refused to pay the $17 million that was demanded of him by an organised crime ring who abducted and tortured his 16-year-old grandson, John Paul Getty III (Charlie Plummer). No matter how much the teen's mother Gail Harris (Michelle Williams) begged the billionaire to pay the ransom, he wouldn't budge, citing that his willingness to pay up would encourage the kidnapping of his other grandchildren.
Things started to get serious when John Paul's ear arrived in the post with the threat that the boy would be posted to them piece by piece if the ransom was not paid. Gail decided to join forces with one of Jean Paul's closest associates, former CIA operative Fletcher Chase (Mark Wahlberg), who agreed to help her bring her son back home and get his client to change his mind about paying up.
'All the Money in the World' is the true story of an oil tycoon and his unusual reaction to seeing his grandson kidnapped. Kevin Spacey is unrecognisable with his Jean Paul Getty prosthesis. The film has been directed by the Academy Award nominated Ridley Scott ('Alien', 'The Martian', 'Blade Runner') and written by David Scarpa ('The Day the Earth Stood Still', 'The Last Castle') who adapted the screenplay from the book 'Painfully Rich: The Outrageous Fortunes and Misfortunes of the Heirs of J. Paul Getty' by John Pearson.
Continue: All The Money In The World Trailer
Timothy Hutton - 67th Annual Primetime Emmy Awards held at the Microsoft theater - Arrivals at Microsoft Theatre, Primetime Emmy Awards, Emmy Awards - Los Angeles, California, United States - Sunday 20th September 2015
TNT has announced that it will be scrapping the popular show Leverage from the air when the current series comes to an end, on Christmas Day (Dec 25).
Leverage, which revolves around a crew of skilled swindlers who use their skills to fight corporate and governmental injustices inflicted on ordinary citizens, was cancelled on Friday (Dec 21) by the network amidst failing ratings, although the news that the show would be ending was announced some time before.
Dean Devlin, executive producer of the show, explained the situation to fans in an open letter released on December 6th on the fan website www.leveragefans.com. In the letter he writes: "As of the writing of this letter, we still do not know if there will be a season six of our show. Because of this uncertainty, [series creator] John Rogers and I decided to end this season with the episode we had planned to make to end the series, way back when we shot the pilot. So the episode that will air on Christmas is, in fact, the series finale we had always envisioned."
Continue reading: TNT To Axe 'Leverage' After Christmas Special
TNT announced today that it is planning to axe the show 'Leverage' from the air after five seasons, with the show ending with a Yuletide finale on Christmas Day.
The network confirmed the news that the drama, which follows a crack squad of highly skilled operatives who fight injustice by staging elaborate scams, will end on Christmas day with the episode, The Long Goodbye Job (10 p.m. ET/PT). What a fitting end.
In a statement made public earlier today (Dec 22), TNT told the press: "Leverage has thrilled audiences with its delightfully intricate plots, its 'stand up for the little guy' attitude and its terrific performances from stars Timothy Hutton, Gina Bellman, Christian Kane, Beth Riesgraf and Aldis Hodge. But after five wonderful years, it's time to say goodbye."
Continue reading: TNT To Cancel 'Leverage' After Five Seasons On Air
Scott (Rory Culkin) is a teen in 1980 Long Island, where his parents (Baldwin and Hennessy) are planning to build a new house while his meathead big brother (Keiran Culkin) is just back from basic training. He has a crush on his neighbour Adriana (Roberts), whose mother (Nixon) is failing to cope with the fact that her husband (Hutton) has Lyme disease. Both families are struggling with social mobility, marital stress and the tensions of the time they live in.
Not to mention some very bad decisions they make.
Continue reading: Lymelife Review
When a successful British ghost-writer (McGregor) is hired to clean up the memoirs of former Prime Minister Adam Lang (Brosnan), he can't quite believe the large paycheque heading his way. He soon relocates to an isolated island home in America to work with Lang, his wife (Williams) and assistant (Cattrall), but it quickly becomes clear that something fishy's going on here.
And maybe the scandalous news reports, about Lang's approval of torture in the War on Terror, are missing the real story.
Continue reading: The Ghost [aka The Ghost Writer] Review
Lyme disease in the Long Island burb is the horror malady of the moment, as constructing new homes smack dab in the middle of the woods may be beautiful but it is also nightmarish. Radio announcers point out that Lyme disease causes psychiatric disturbances and severe mental disorders. Mothers weep at the thought of their kids contracting it and duct-tape the kiddies' clothing together to keep out the ticks. But if Lyme disease is the rampant contagion that all fear, it must have seeped into the residents' skulls and infected their brains. Because the only sensible parental character in Lymelife is Charlie, and he is obviously nuts.
Continue reading: Lymelife Review
Stephanie (Amber Tamblyn) was a good ol' religious girl before the whole rigmarole, spending Sunday morning at church looking after little kids while her parents (Jim Gaffigan and Melissa Leo) make small talk with the priest and other parishners. Being a sweet girl, her heart can't help but go out to the soldier-to-be who she meets at a friend's party. Sure enough, their quickie tryst ends with a bun in the oven and the boy nowhere to be found. Ultimately, Stephanie ends up giving birth on a school ski trip in a public toilet. The premature baby dies, leaving the world stunned and with nothing but questions galore.
Continue reading: Stephanie Daley Review
So begins Robert Shaye's pleasant adventure The Last Mimzy, inspired by Lewis Padgett's short story Mimsy Were the Borogoves, which should do for sci-fi exploration what Robert Rodriguez's Spy Kids franchise did for family espionage. The adults in Noah's life -- from his parents (Joely Richardson, Timothy Hutton) to his science teacher (Rainn Wilson) -- are too caught up in their daily routine to notice that the boy is changing. It isn't until Mimzy causes a citywide blackout that the military -- personified by Michael Clarke Duncan -- comes snooping around. The movie, at this point, begins to mimic E.T. without actually becoming its emotional equivalent.
Continue reading: The Last Mimzy Review
Writer-director Bill Condon has a talent for hitting just the right tone in his work. Whether he's paying stylistic homage to "Bride of Frankenstein" creator James Whale in "Gods and Monsters" or writing a screenplay for "Chicago" that re-envisioned the Broadway musical as a wannabe showgirl's uniquely cinematic daydream, Condon always finds a way to seamlessly marry the crux of his story to the strengths of his medium.
In "Kinsey," he legitimizes and revitalizes a rather tiresome narrative gimmick -- on-camera interviews with the characters. For a biopic about legendary sex researcher Alfred Kinsey, there could be no more apropos structure for the story. Kinsey himself interviewed thousands of Americans about their bedroom predilections in the 1940s and '50s to compile his groundbreaking, rather comprehensive and certainly controversial studies on the subject. So Condon opens the film in kind -- with a simple, head-on, black-and-white image of the bluntly matter-of-fact and obliviously awkward Professor Kinsey (Liam Neeson) being quizzed about his own background and sexual experience.
Composing the film around Kinsey's answers, Condon cues flashbacks of an upbringing under the fire-and-brimstone hand of a preacher father (John Lithgow), introduces the equally clinical-yet-passionate student who becomes his wife (Laura Linney), touches on the man's own pseudo-scientific dalliances and their promiscuous effect on his marriage, and sets the stage for the studies that helped launch the sexual revolution.
Continue reading: Kinsey Review
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