Whether it’s comedy, romance, action, or presenting a more serious character, actress Sandra Bullock has demonstrated her versatility across various genres. Despite delivering numerous standout performances, she has acknowledged not all her films have met the standard, particularly sequels like the 2005 comedy film Miss Congeniality 2: Armed and Fabulous.
Sandra Bullock in Crash
The actress has candidly expressed regret about her involvement in this sequel, which has since become one of the worst movies of her career. However, despite the negative reception surrounding the sequel, she had one positive aspect of working on the film, having the opportunity to work with the great Regina King.
Sandra Bullock Discovered Comfort Amidst Miss Congeniality Sequel Regret
Sandra Bullock took on the role of FBI agent Gracie Hart in the 2000 action comedy film Miss Congeniality, who goes undercover as a contestant in a beauty pageant to prevent a potential threat. The film...
Sandra Bullock in Crash
The actress has candidly expressed regret about her involvement in this sequel, which has since become one of the worst movies of her career. However, despite the negative reception surrounding the sequel, she had one positive aspect of working on the film, having the opportunity to work with the great Regina King.
Sandra Bullock Discovered Comfort Amidst Miss Congeniality Sequel Regret
Sandra Bullock took on the role of FBI agent Gracie Hart in the 2000 action comedy film Miss Congeniality, who goes undercover as a contestant in a beauty pageant to prevent a potential threat. The film...
- 3/23/2024
- by Laxmi Rajput
- FandomWire
Nearly 40 years after he made his big screen debut with a brief appearance in the James Bond picture “A View to a Kill,” Dolph Lundgren is still best known as an actor thanks to a series of iconic roles in ’80s and ’90s favorites like “Rocky IV,” “Masters of the Universe,” and “Universal Soldier.” (More recently he’s been a fixture in the “Expendables” and “Aquaman” franchises.) Yet for the past couple of decades, Lundgren has been quietly forging a side career as an accomplished writer and director of low-budget action films, movies that belie their limited resources in ambition and craftsmanship. Like the scrappy genre directors of Hollywood’s past — filmmakers like Budd Boetticher, Sam Fuller, and Don Siegel — Lundgren uses the creative freedom of lower budgets to smuggle his personal obsessions and stylistic preoccupations into accessible entertainments that are as intelligent as they are lively.
Lundgren’s latest release,...
Lundgren’s latest release,...
- 1/25/2024
- by Jim Hemphill
- Indiewire
Hollywood Mavericks was a 1990 documentary focusing on seventeen maverick directors who were not afraid to break the rules of filmmaking to advance their art from John Ford to Martin Scorsese. Directed by Florence Dauman and Dale Ann Stieber and written by Todd McCarthy and Michael Henry Wilson, with interviews directed by Lance Bird, Hal Lansberry and Don McGlynn. I became interested me to watch this comprehensive look at our great indie directors again particularly because of Sam Fuller!
Continue reading on SydneysBuzz The Blog »...
Continue reading on SydneysBuzz The Blog »...
- 4/13/2021
- by Sydney Levine
- Sydney's Buzz
CANNES -- If the cinema clock could be turned back to 1968 and the heyday of the French nouvelle vague, "The Frontier of Dawn", which screened here In Competition, might make sense as a modern film that dares to break a few rules.
But today this love story about a young photographer torn between two women feels irritatingly empty, little more than an excuse for William Lubtchansky's fetchingly retro, black-and-white photography. Director Philippe Garrel and actor-son Louis are back at work together after winning a Silver Lion at Venice for "Les amants reguliers" in 2005, but this effort is way too contrived to remain interesting after the first half-hour or so.
Boy meets girl through the camera lens when photographer Francois (Louis Garrel) arrives to do a shoot with alluring actress Carole (Laura Smet). Her new husband has left her for Hollywood and in her loneliness she takes comfort in drink and in Francois' arms. Their trysts confine the sets to Francois' garret, Carole's huge half-empty apartment and a hotel room bed. To remind us there is a big world out there, the politically radical Carole proclaims the need for a "bloodless revolution" (come again?) and the Jewish Francois meets a rabid anti-Semite in a cafe.
In this coyly timeless world, despite modern cars and a 2007 date on a cemetery gravestone, characters prefer writing one another letters to using cell phones or e-mail. Philippe Garrel's determination to quote '60s cinema is pleasant enough for a while, mirrored in the superb lensing, fade-outs and other quaint technical devices. It begins to get on the nerves when Carole winds up in a nightmare clinic right out of a Sam Fuller movie, straitjacketed and electro-shocked.
In the end, though, the story would have been better off ending here as the study of an unhappy, claustrophobic relationship. Instead it plows on through Francois' second love affair with Eve (Clementine Poidatz), a fragile gamine who quickly gets pregnant. Not only does this round lack the morbid chemistry of his story with Carole, but it is obvious that the scriptwriters will never let Francois get away with conventional "bourgeois" happiness, and here too the film feels out of step with the times. When he begins seeing apparitions in a mirror, the film crosses the line into the absurd.
Cast: Louis Garrel, Laura Smet, Clementine Poidatz, Olivier Massart; Director: Philippe Garrel; Screenwriters: Philippe Garrel, Marc Cholodenko, Arlette Langmann; Producers: Edouard Weil, Conchita Airoldi.
Sales: Films Distribution, Paris.
No MPAA rating, 108 minutes.
But today this love story about a young photographer torn between two women feels irritatingly empty, little more than an excuse for William Lubtchansky's fetchingly retro, black-and-white photography. Director Philippe Garrel and actor-son Louis are back at work together after winning a Silver Lion at Venice for "Les amants reguliers" in 2005, but this effort is way too contrived to remain interesting after the first half-hour or so.
Boy meets girl through the camera lens when photographer Francois (Louis Garrel) arrives to do a shoot with alluring actress Carole (Laura Smet). Her new husband has left her for Hollywood and in her loneliness she takes comfort in drink and in Francois' arms. Their trysts confine the sets to Francois' garret, Carole's huge half-empty apartment and a hotel room bed. To remind us there is a big world out there, the politically radical Carole proclaims the need for a "bloodless revolution" (come again?) and the Jewish Francois meets a rabid anti-Semite in a cafe.
In this coyly timeless world, despite modern cars and a 2007 date on a cemetery gravestone, characters prefer writing one another letters to using cell phones or e-mail. Philippe Garrel's determination to quote '60s cinema is pleasant enough for a while, mirrored in the superb lensing, fade-outs and other quaint technical devices. It begins to get on the nerves when Carole winds up in a nightmare clinic right out of a Sam Fuller movie, straitjacketed and electro-shocked.
In the end, though, the story would have been better off ending here as the study of an unhappy, claustrophobic relationship. Instead it plows on through Francois' second love affair with Eve (Clementine Poidatz), a fragile gamine who quickly gets pregnant. Not only does this round lack the morbid chemistry of his story with Carole, but it is obvious that the scriptwriters will never let Francois get away with conventional "bourgeois" happiness, and here too the film feels out of step with the times. When he begins seeing apparitions in a mirror, the film crosses the line into the absurd.
Cast: Louis Garrel, Laura Smet, Clementine Poidatz, Olivier Massart; Director: Philippe Garrel; Screenwriters: Philippe Garrel, Marc Cholodenko, Arlette Langmann; Producers: Edouard Weil, Conchita Airoldi.
Sales: Films Distribution, Paris.
No MPAA rating, 108 minutes.
- 5/30/2008
- The Hollywood Reporter - Movie News
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