This week's slate gathers together so many big name stars in one place you'd think it was Oscar night already.
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"Across The Hall"
A stripped-down neo-noir with a twist, this feature debut for filmmaker Alex Merkin began as a 2005 short (starring Adrian Grenier, which can be found online here). Grenier didn't return, but Mike Vogel takes his place as Julian, a young man who races to a seedy hotel where his best friend's wayward fiancée (Brittany Murphy) and another man have aroused the suspicions of his pal, who's holed up "across the hall" with a bottle of whiskey and a gun.
Opens in New York and Los Angeles.
"Armored"
Having garnered a great deal of attention with his grungy murder mystery debut "Kontroll," American-born Hungarian helmer Nimród Antal first made his mark in Hollywood...
Download this in audio form (MP3: 15:48 minutes, 14.5 Mb)
Subscribe to the In Theaters podcast: [Xml] [iTunes]
"Across The Hall"
A stripped-down neo-noir with a twist, this feature debut for filmmaker Alex Merkin began as a 2005 short (starring Adrian Grenier, which can be found online here). Grenier didn't return, but Mike Vogel takes his place as Julian, a young man who races to a seedy hotel where his best friend's wayward fiancée (Brittany Murphy) and another man have aroused the suspicions of his pal, who's holed up "across the hall" with a bottle of whiskey and a gun.
Opens in New York and Los Angeles.
"Armored"
Having garnered a great deal of attention with his grungy murder mystery debut "Kontroll," American-born Hungarian helmer Nimród Antal first made his mark in Hollywood...
- 11/30/2009
- by Neil Pedley
- ifc.com
Tina Mabry's "Mississippi Damned," an independent American production, won the Gold Hugo as the best film in the 2009 Chicago International Film Festival, and added Gold Plaques for best supporting actress (Jossie Thacker) and best screenplay (Mabry). It tells the harrowing story of three black children growing up in rural Mississippi in circumstances of violence and addiction. The film's trailer and an interview with Mabry are linked at the bottom.
Kylee Russell in "Mississippi Damned"
The win came over a crowed field of competitors from all over the world, many of them with much larger budgets. The other big winner at the Pump Room of the Ambassador East awards ceremony Saturday evening was by veteran master Marco Bellocchio of Italy, who won the Silver Hugo as best director for "Vincere," the story of Mussolini's younger brother. Giovanna Mezzogiorno and Filippo Timi won Silver Hugos as best actress and actor,...
Kylee Russell in "Mississippi Damned"
The win came over a crowed field of competitors from all over the world, many of them with much larger budgets. The other big winner at the Pump Room of the Ambassador East awards ceremony Saturday evening was by veteran master Marco Bellocchio of Italy, who won the Silver Hugo as best director for "Vincere," the story of Mussolini's younger brother. Giovanna Mezzogiorno and Filippo Timi won Silver Hugos as best actress and actor,...
- 10/23/2009
- by Roger Ebert
- blogs.suntimes.com/ebert
“An open mind is advised,” claim the (typically, very funny) trailers for this year’s Vancouver International Film Festival, but I will admit that I brought my preconceptions – and a nasty case of jet-lag – to the screening of Adrien Biniez’s Argentine-Uruguayan co-production Gigante. This Silver Bear winner, which centers on an overweight, heavy-metal enthusiast working the night shift as a mall security guard in Montevideo, is already quite well-traveled, and while its popularity with festival audiences is understandable, I couldn’t get past the essential contradiction at its core.
This is an outsider narrative that itself longs only to be loved.It’s not that hulking star Horacio Camandule is unappealing as the Montevidean Paul Blart, or that Biniez’ multimedia conceit, wherein our hero monitors his wage-slave beloved via security cameras, is un-clever (the running surveillance motif suggests a rom-com by Michael Haneke). Gigante feels tweaked for maximum viewer safety,...
This is an outsider narrative that itself longs only to be loved.It’s not that hulking star Horacio Camandule is unappealing as the Montevidean Paul Blart, or that Biniez’ multimedia conceit, wherein our hero monitors his wage-slave beloved via security cameras, is un-clever (the running surveillance motif suggests a rom-com by Michael Haneke). Gigante feels tweaked for maximum viewer safety,...
- 10/13/2009
- MUBI
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