Asif Kapadia’s Amy Winehouse documentary “Amy” is a slow, tragic zoom out. It begins with the intimacy of home movies and ends in far-away paparazzi footage. Our VIP access has been revoked.
First seen as a bright-eyed 14-year-old girl singing a knockout “Happy Birthday,” Winehouse gradually recedes from our view as her renown grows, obscured by a blizzard of flashes and a deadening haze of celebrity. Fame arrives like fate: a destiny foreshadowed by Winehouse’s self-evident talent and her own ominous misgivings. “I would go mad,” she says of fame before its tidal-wave arrival.
The 68th Cannes Film Festival was brought to a surprising close with Jacques Audiard’s Sri Lankan refugee drama taking the festival’s coveted top honor, the Palme d’Or.
The choice of “Dheepan,” as selected by a jury led by Joel and Ethan Coen, left some critics scratching their heads. While the dapper French filmmaker has drawn widespread acclaim for films such as “A Prophet” and “Rust and Bone,” some critics were disappointed by the thriller climax of Audiard’s film. “Dheepan” is about a trio of Sri Lankans who pretend to be a family in order to flee their war-torn country and are settled in a violent housing project outside Paris.
There’s an early scene in “Magic Mike XXL” that hints at what this much ballyhooed sequel woulda, coulda, shoulda been.
Mike Lane, played by the well nigh irresistible Channing Tatum, is alone in his furniture workshop. As he saws, measures and sands, the beat of the music he’s listening to starts to transport him. He can’t stop himself: he begins to dance, all around the shop, over and under the tools, a guy who just can’t keep those limbs from moving.
Google his name and two search items appear: “workout” and “before and after." It’s an arguable breakdown of Chris Pratt’s career.
The San Andreas Fault awakens, unleashing back-to-back jolts that leave a trail of misery from Los Angeles to San Francisco. Skyscrapers crumble. Fires erupt. The letters of the Hollywood sign topple. Tsunami waves swamp the Golden Gate Bridge.
Hollywood’s favorite geologic bad guy is back in “San Andreas” — a fantastical look at one of the world’s real seismic threats.
Along the scaly spine of the Tyrannosaurus Rex runs the evolution of Hollywood blockbustering.
Twenty-two years ago, Steven Spielberg's "Jurassic Park" set the standard for the kind of movie the industry has, ever since, bred like test-tube dinos. Their genes are genetically modified for the requisite computer-generated effects, merchandising tie-ins and theme park-style attractions.
Netflix has announced its streaming line-up to celebrate Pride month 2015. The extensive list includes cable series, independent releases, festival favorites, foreign films and mainstream feature hits.
Mad Max is back. Three decades after the last installment in the post-apocalyptic film saga Max Max: Thunderdome hit the theatres, legendary director George Miller is resurrecting the cult franchise that turned Mel Gibson into a star and set the standard for all future visions of a dystopian earth: "A world without hope. Without law. Without mercy," intones a voice from the trailer to the film.