In the movie business, the label "art film" isn't always a deal-breaker. Nowhere is this more apparent than at Cannes.
Adam Leon, the fast-talking first-time director of no-budget crowdpleaser "Gimme the Loot," wants to take audiences on a ride, he says. "People think that means 'The Fast and the Furious,' which I…
Adam Leon, the fast-talking first-time director of no-budget crowdpleaser "Gimme the Loot," wants to take audiences on a ride, he says.
There are faint scars on the face of Ric Roman Waugh that testify to the injuries he suffered during his years as a stuntman on films such as “Days of Thunder,” “True Romance,” “Hook” and “Lethal…
While many indies try to lure stars, others serve to launch new talent
At first glance, David Lowery's "Ain't Them Bodies Saints" doesn't seem to have much in common with Shane Carruth's "Upstream Color." Lowery's fable-like "Saints" follows a Texas outlaw trying to…
In addition to the task of live singing and having a camera close enough at times to examine his facial pores, Jackman brings theatrical life to the fabled Jean Valjean.
As with his Oscar-winning supporting turn in "Inglorious Basterds," Waltz manages a near impossible mix of congenial menace; it's both fun to watch and is masterfully nuanced.
If Day-Lewis could win an Oscar for his portrayal of a corrupt oil man in "There Will Be Blood," consider how much stronger his chances are this time.
Phoenix's physical transformation into the animalistic alcoholic Freddie Quell is like no other performance this year, as bold and convincing as the work of former Method actor master Marlon Brando.
When he dives into character study ("Malcolm X," "The Hurricane," "Training Day"), Washington's performance moves beyond the screen and into our conscience.