The opening moments of “Birdboy: The Forgotten Children” unfold like an urgent warning to any parents who might think that this is just another kid-friendly animated film about cute animals who learn valuable lessons. “The future is past,” a voice insists from the darkness, speaking in Spanish and accompanied by exclamatory subtitles (an English-language version is also available). “The garbage is the present. Blood is the law!” From there, we’re hurled through the history of a once-vibrant storybook world, a colorful idyll where bunnies and mice and all sorts of creatures lived in harmony until a nuclear disaster scorched the island and turned its survivors against each other.
Adorable silhouettes bleed into red and black monsters, and the nice sounds of nature are replaced by a queasy synth score that sounds like it was borrowed from “The Neon Demon.” Within minutes, we’re introduced to a young mouse named...
Adorable silhouettes bleed into red and black monsters, and the nice sounds of nature are replaced by a queasy synth score that sounds like it was borrowed from “The Neon Demon.” Within minutes, we’re introduced to a young mouse named...
- 12/15/2017
- by David Ehrlich
- Indiewire
It’s easy to understand why Michael Fassbender hasn’t been floated as a potential Best Actor nominee for his work in “Alien: Covenant.” For one thing, the Oscars seldom acknowledge the fact that great acting can sometimes be found in massive summer tentpoles, even ones that underwhelm at the box office. For another, it would prove difficult to honor Fassbender’s work without splitting the vote or committing some kind of category fraud, as the guy plays two different roles in the film, improbably delivering both of the most brilliant performances in any blockbuster since “The Dark Knight.”
Also, it’s worth remembering that — in the long and illustrious history of the Academy Awards — no one has ever won for playing two androids who make out with each other on a remote alien planet during the middle of a slow-motion genocide. You can google that to confirm.
But while...
Also, it’s worth remembering that — in the long and illustrious history of the Academy Awards — no one has ever won for playing two androids who make out with each other on a remote alien planet during the middle of a slow-motion genocide. You can google that to confirm.
But while...
- 12/13/2017
- by David Ehrlich
- Indiewire
Matt who? The ouster of longtime Today co-anchor Matt Lauer doesn’t seem to have hurt the morning show in the slightest. On the contrary, for the second week in a row, its first two hours have managed to beat its ratings rival Good Morning America in overall viewership, according to our sister site Variety.
RelatedMatt Lauer Breaks Silence In Wake of NBC Firing: ‘I Am Embarrassed and Ashamed,’ Calls Some Claims ‘Untrue’
For the week that ended on December 8, Today not only maintained its usual dominance in the prized 25-54 demo (drawing nearly 1.64 million to Gma‘s 1.38), it...
RelatedMatt Lauer Breaks Silence In Wake of NBC Firing: ‘I Am Embarrassed and Ashamed,’ Calls Some Claims ‘Untrue’
For the week that ended on December 8, Today not only maintained its usual dominance in the prized 25-54 demo (drawing nearly 1.64 million to Gma‘s 1.38), it...
- 12/12/2017
- TVLine.com
There’s topical, there’s timely, and then there’s “The Post,” which feels less like a historical thriller set in 1971 than it does an exhilarating caricature of the year 2017. While Steven Spielberg’s latest film rivetingly dramatizes the publication of the Pentagon Papers (and eloquently unpacks the consequences of their dissemination), “The Post” wears the Nixon era like a flimsy disguise that it wants you to see right through.
That’s not to take away from Ann Roth’s ratty and exquisite period costume design, or to detract from how immaculately set decorator Rena DeAngelo recreated the smokey thrum of the old Washington Post newsroom. It’s certainly not to diminish Meryl Streep’s fraught and powerfully grounded portrayal of the late publishing scion Katharine Graham — she hasn’t been this good since “Adaptation,” or maybe even “Death Becomes Her,” if ever.
On the contrary, it’s just to...
That’s not to take away from Ann Roth’s ratty and exquisite period costume design, or to detract from how immaculately set decorator Rena DeAngelo recreated the smokey thrum of the old Washington Post newsroom. It’s certainly not to diminish Meryl Streep’s fraught and powerfully grounded portrayal of the late publishing scion Katharine Graham — she hasn’t been this good since “Adaptation,” or maybe even “Death Becomes Her,” if ever.
On the contrary, it’s just to...
- 12/6/2017
- by David Ehrlich
- Indiewire
Joe Wright, the British maximalist behind some of the most audacious screen adaptations in recent years, is as visually expressive a director as they come, and yet it’s hard to imagine watching his films with the sound off. Removing the music from any of his movies would be like ripping a bandage off an unhealed wound — impossible to remove without taking off some raw flesh. The scores that Wright commissions aren’t merely ornamental; they’re not just a garnish layered over a finished piece of work for added effect. On the contrary, the compositions are utterly inextricable from the films themselves, like a second script that weaves into the first one and knots them both together.
Needless to say, that approach could make things pretty difficult for a director who doesn’t write their own music. Fortunately for Wright, he doesn’t have to — he’s always has...
Needless to say, that approach could make things pretty difficult for a director who doesn’t write their own music. Fortunately for Wright, he doesn’t have to — he’s always has...
- 11/29/2017
- by David Ehrlich
- Indiewire
By Spencer Coile
In recent years, Richard Linklater has perfected the art of meandering. This is not an inherently bad quality to his filmmaking. On the contrary, recent efforts such as Before Midnight and Everybody Wants Some!! work so well because their conversations feel genuine, real conversations happening to real people. The exchangesfeel improvised, even though they are not. When the dialogue works, Linklater captures all of the nuances of a single conversation: big and small.
Last Flag Flying, the latest entry into Linklater's filmography, works similarly to many of his past projects. After the death of his son, Larry "Doc" Shepherd (Steve Carell) turns to his Vietnam veteran buddies from years past, Sal Nealon (Bryan Cranston) and Richard Mueller (Laurence Fishburne) to travel with him to bury his son...
In recent years, Richard Linklater has perfected the art of meandering. This is not an inherently bad quality to his filmmaking. On the contrary, recent efforts such as Before Midnight and Everybody Wants Some!! work so well because their conversations feel genuine, real conversations happening to real people. The exchangesfeel improvised, even though they are not. When the dialogue works, Linklater captures all of the nuances of a single conversation: big and small.
Last Flag Flying, the latest entry into Linklater's filmography, works similarly to many of his past projects. After the death of his son, Larry "Doc" Shepherd (Steve Carell) turns to his Vietnam veteran buddies from years past, Sal Nealon (Bryan Cranston) and Richard Mueller (Laurence Fishburne) to travel with him to bury his son...
- 11/28/2017
- by Spencer Coile
- FilmExperience
When Americans think of Cuba, we tend to think of a place, and not a people. The same was true of East Germany, it’s still true of North Korea, and it will always be true of countries that are defined by their inaccessibility. Borders are blinding, and islands are isolated by more than just water. Only 105 miles separate Havana from Key West, but you can’t see anything on the horizon when you stand at the bottom tip of the United States and stare into the ocean.
Filmmaker Jon Alpert has spent his entire adult life trying to bring those two worlds closer together, and his simple but enthralling new documentary culls from almost 50 years’ worth of footage from his trips to the land of Fidel. Alpert has two Oscars to his name (both for Best Documentary Short), but most of his work in Cuba has been for archival purposes,...
Filmmaker Jon Alpert has spent his entire adult life trying to bring those two worlds closer together, and his simple but enthralling new documentary culls from almost 50 years’ worth of footage from his trips to the land of Fidel. Alpert has two Oscars to his name (both for Best Documentary Short), but most of his work in Cuba has been for archival purposes,...
- 11/22/2017
- by David Ehrlich
- Indiewire
Very minor “Justice League” spoilers below.
Will Ben Affleck continue to play Batman or won’t he? The actor’s future as the Caped Crusader has been a topic of discussion ever since rumors broke in July that he would step down from the role following his appearance in “Justice League.” Affleck has played Bruce Wayne/Batman twice, with his first appearance taking place in the much maligned “Batman v Superman.”
Read More:‘Justice League’ Review: D.C.’s Epic Action Showdown is a Wannabe ‘Avengers’ Movie
The first reports in July said Warner Bros. was figuring out a way to write Affleck’s iteration of the character out. The actor was originally slated to direct the movie, currently titled “The Batman,” but was taken off and replaced by “War of the Planet of the Apes” director Matt Reeves so that Affleck could focus solely on the character. Affleck’s script was also dropped.
Will Ben Affleck continue to play Batman or won’t he? The actor’s future as the Caped Crusader has been a topic of discussion ever since rumors broke in July that he would step down from the role following his appearance in “Justice League.” Affleck has played Bruce Wayne/Batman twice, with his first appearance taking place in the much maligned “Batman v Superman.”
Read More:‘Justice League’ Review: D.C.’s Epic Action Showdown is a Wannabe ‘Avengers’ Movie
The first reports in July said Warner Bros. was figuring out a way to write Affleck’s iteration of the character out. The actor was originally slated to direct the movie, currently titled “The Batman,” but was taken off and replaced by “War of the Planet of the Apes” director Matt Reeves so that Affleck could focus solely on the character. Affleck’s script was also dropped.
- 11/16/2017
- by Zack Sharf
- Indiewire
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Since news of her split from Marc Anthony surfaced last December, Shannon De Lima has been mum on the topic…until yesterday. The Venezuelan model, 29, gave an exclusive interview to Univision’s morning show Despierta América, where she finally opened up about her famous ex and his former ex Jennifer Lopez.
After blowing a kiss to her ex during the interview, she denied rumors that the former couple have a confidentiality agreement that forbids her from talking about him or their relationship. “People make things up.
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Since news of her split from Marc Anthony surfaced last December, Shannon De Lima has been mum on the topic…until yesterday. The Venezuelan model, 29, gave an exclusive interview to Univision’s morning show Despierta América, where she finally opened up about her famous ex and his former ex Jennifer Lopez.
After blowing a kiss to her ex during the interview, she denied rumors that the former couple have a confidentiality agreement that forbids her from talking about him or their relationship. “People make things up.
- 11/10/2017
- by Lena Hansen
- PEOPLE.com
No one could blame Grey’s Anatomy viewers if they asked to be prescribed mild sedatives after last Thursday’s episode found both Owen and Amelia falling into out-of-left-field hookups — the former with Arizona’s latest love, Carina; the latter, with her mentor, Koracick. But what do the dalliances mean for the separated couple? “I think they’re just practicing not being married people,” Caterina Scorsone told TVLine at the ABC drama’s recent 300th-episode bash. “They’re trying to just break the seal.”
RelatedGrey’s Anatomy Ep Previews Powerful Jo Storyline: ‘We’re Facing the Issue of Domestic Violence Head-On’
For Owen,...
RelatedGrey’s Anatomy Ep Previews Powerful Jo Storyline: ‘We’re Facing the Issue of Domestic Violence Head-On’
For Owen,...
- 11/9/2017
- TVLine.com
Delia Harrington Nov 7, 2017
The women are centre-stage in this week's character-building Supergirl episode. Spoilers ahead in our review...
This review contains spoilers.
See related Doctor Who Christmas special scene to air during Children In Need Doctor Who: Moffat on budget issues, advice for Chibnall Doctor Who: Jodie Whittaker talks more about her casting
3.5 Damage
Damage is largely an expository episode of Supergirl, letting us get more familiar with our new characters as well as the new dynamics between old favourites. But don’t mistake that for meaning the episode is clunky or a bore. On the contrary, for the second week in a row Supergirl continues the winning formula of focusing on the women at its core, with the welcome addition of James.
Lena's storyline provides continued fodder for the Supergirl writers to comment on current events Irl, with references to the water crisis in Flint and the...
The women are centre-stage in this week's character-building Supergirl episode. Spoilers ahead in our review...
This review contains spoilers.
See related Doctor Who Christmas special scene to air during Children In Need Doctor Who: Moffat on budget issues, advice for Chibnall Doctor Who: Jodie Whittaker talks more about her casting
3.5 Damage
Damage is largely an expository episode of Supergirl, letting us get more familiar with our new characters as well as the new dynamics between old favourites. But don’t mistake that for meaning the episode is clunky or a bore. On the contrary, for the second week in a row Supergirl continues the winning formula of focusing on the women at its core, with the welcome addition of James.
Lena's storyline provides continued fodder for the Supergirl writers to comment on current events Irl, with references to the water crisis in Flint and the...
- 11/7/2017
- Den of Geek
By early November, the awards season has begun in earnest. There are still three months left until the big Oscar night, but make no mistake about it: People already kinda know which movie is going to walk away with the big prize at the end of this breathless march to March. Nobody wants to admit as much, as that would leave us with precious little to talk about for the next six months.
Of course, some years make it easier to read the tea leaves than others. In 2015, for example, a lot of pundits deemed “Spotlight” a prohibitive favorite as early as September (“Fury Road” was too good, and “The Revenant” was never going to be good enough). In 2016, on the other hand, it was still hard to say what movie was going to win the Oscar for Best Picture even after the Oscar for Best Picture had been given out.
Of course, some years make it easier to read the tea leaves than others. In 2015, for example, a lot of pundits deemed “Spotlight” a prohibitive favorite as early as September (“Fury Road” was too good, and “The Revenant” was never going to be good enough). In 2016, on the other hand, it was still hard to say what movie was going to win the Oscar for Best Picture even after the Oscar for Best Picture had been given out.
- 11/1/2017
- by David Ehrlich
- Indiewire
It’s a good thing that Netflix already has the “Gilmore Girls” for all of those sweet Thanksgiving vibes, because the streaming giant is coming down from that Halloween sugar high in a bad way and following last month’s blockbuster slate with a relatively unremarkable roster of new additions. Proving that there isn’t much rhyme or reason behind when they’re able to upload new movies (it’s hard to curate around contract rights), the platform’s latest batch of titles is heavy on horror movies and light on seasonal fare.
Still, it’s not all bad news for those of you who might be looking for something to stream while you’re home for the holidays. Comfort watches like “Casper” and “Field of Dreams” are perfect things to put on when you’re immobilized by a stomach full of turkey, and you can even go for an...
Still, it’s not all bad news for those of you who might be looking for something to stream while you’re home for the holidays. Comfort watches like “Casper” and “Field of Dreams” are perfect things to put on when you’re immobilized by a stomach full of turkey, and you can even go for an...
- 11/1/2017
- by David Ehrlich
- Indiewire
Lisa Lillien is the author of the popular Hungry Girl website and email newsletter, featuring smart, funny advice on guilt-free eating. She is also the author of twelve books, six of which debuted at number one on the New York Times Best Sellers list. Read her People.com blog every Monday for slimmed-down celebrity recipes and more.
Don’t worry, I haven’t lost my mind. You’re not about to see an apple on a stick covered in chips and molten cheese. On the contrary! I’ve got an incredibly sensible way for you to enjoy caramel apple goodness...
Don’t worry, I haven’t lost my mind. You’re not about to see an apple on a stick covered in chips and molten cheese. On the contrary! I’ve got an incredibly sensible way for you to enjoy caramel apple goodness...
- 10/30/2017
- by Lisa Lillien
- PEOPLE.com
This article originally appeared on peopleenespanol.com.
Following the success of multiple series on the life of Pablo Escobar, his son, Juan Pablo, has just released a documentary film at an audiovisual fair in Cannes with a decidedly less glamorous take on his father’s life.
The documentary, titled Escobar Exposed, has been described by the only son of the Colombian drug lord as the project in which he lost “the fear to speak” for the first time in his life. He also assured the public that his version of the facts is not an apology for the crimes of his father,...
Following the success of multiple series on the life of Pablo Escobar, his son, Juan Pablo, has just released a documentary film at an audiovisual fair in Cannes with a decidedly less glamorous take on his father’s life.
The documentary, titled Escobar Exposed, has been described by the only son of the Colombian drug lord as the project in which he lost “the fear to speak” for the first time in his life. He also assured the public that his version of the facts is not an apology for the crimes of his father,...
- 10/24/2017
- by Celeste Rodas de Juárez
- PEOPLE.com
When Richard Turner says he has a “two or three pack-a-day habit,” he’s not talking about cigarettes. A self-described “card mechanic” (because he can fix a card game), Turner is almost never without a deck in his hands — at one point in “Dealt,” Luke Korem’s sweet but listless documentary about the legendary sleight-of-hand trickster, Turner’s wife recounts how she once caught him absently running a card over his fingers while they were having sex. Needless to say, the 63-year-old has put in his 10,000 hours more than 10 times over.
Also: He’s completely blind. And he might not want you to know that. The fact might sound self-evident — he’s a close-up magician! — but Turner never gives anything away. From the moment he saunters on stage at Hollywood’s Magic Castle, everything is part of the act, including the eye contact he appears to make with the intimate crowd.
Also: He’s completely blind. And he might not want you to know that. The fact might sound self-evident — he’s a close-up magician! — but Turner never gives anything away. From the moment he saunters on stage at Hollywood’s Magic Castle, everything is part of the act, including the eye contact he appears to make with the intimate crowd.
- 10/20/2017
- by David Ehrlich
- Indiewire
If you were wondering where Doctor Strange 2 is, Kevin Feige almost has an answer for you. The powerhouse producer of the Marvel Cinematic Universe recently spoke to Collider about the way future plans are shaping up for the mega-franchise as its ten-year anniversary rapidly approaches, and it seems that – as far as the public is concerned – Doctor Strange 2 is a little way down Marvel’s list of priorities.
When asked when fans could expect to see it, Feige emphasized the need for patience, as the slate is currently brimming with projects.
“Certainly, we would love to tell more about the Strange story [in a sequel]. But it won’t be for a while. Our focus is on the next six movies. Finishing the first three phases, getting Untitled Avengers out into the world on May 19th before publicly focusing on anything else.”
The way in which the McU is dealing with the character...
When asked when fans could expect to see it, Feige emphasized the need for patience, as the slate is currently brimming with projects.
“Certainly, we would love to tell more about the Strange story [in a sequel]. But it won’t be for a while. Our focus is on the next six movies. Finishing the first three phases, getting Untitled Avengers out into the world on May 19th before publicly focusing on anything else.”
The way in which the McU is dealing with the character...
- 10/19/2017
- by Sarah Myles
- We Got This Covered
When Ai Weiwei was detained by China’s secret police, the dissident artist imprisoned for 81 days for his supposed crimes against the state, the men tasked with interrogating him must have faced a unique challenge: He speaks in a stage whisper, murmuring with the flatness of someone to whom the world is always revealing itself. “They said I watched too many Hollywood movies,” he remembered. His voice barely went up a tick, even when imitating his furious jailers: “’This person is out of his mind! He’s talking about human rights and freedom of speech… can’t he just grow up?’”
The reasons for Ai’s release were as arbitrary as those for his incarceration, but perhaps he was set free because the Chinese government realized that he was fundamentally inextricable from his ideals. Born into exile during the Cultural Revolution, Ai was displaced before he even had a home...
The reasons for Ai’s release were as arbitrary as those for his incarceration, but perhaps he was set free because the Chinese government realized that he was fundamentally inextricable from his ideals. Born into exile during the Cultural Revolution, Ai was displaced before he even had a home...
- 10/18/2017
- by David Ehrlich
- Indiewire
Streaming might represent the future of film, but that future doesn’t have to come at the expense of its past. Netflix, however, doesn’t seem to care. A platform so monolithic that it’s become synonymous with streaming itself, Netflix may offer a seemingly bottomless library of content, but their “classic movies” section contains a whopping 42 titles, and one of them is “The Parent Trap.” No disrespect to “The Parent Trap” — a movie so good that it was rendered obsolete by a remake starring Lindsay Lohan — but it’s not exactly “Citizen Kane.” Hell, it’s not even “Citizen Ruth.” It feels like these films were left here by accident, like someone came by to clear out space for a new season of “Fuller House” and this random selection of stuff is just what fell through the cracks.
Physical media and repertory screenings are still the best options for cinephiles,...
Physical media and repertory screenings are still the best options for cinephiles,...
- 10/11/2017
- by David Ehrlich
- Indiewire
The controversy between Kangana Ranaut and Hrithik Roshan doesn’t seem like it would die down soon. On the contrary, the controversy has now reached a new level. Last month, Kangana Ranaut said her side of the story about their alleged relationship on Rajat Sharma’s Aap Ki Adalat. Last week was eventful when Hrithik Roshan refutedRead More
The post “The onus of explanation should not be on me. It should be on the accuser” – Hrithik Roshan appeared first on Bollywood Hungama.
The post “The onus of explanation should not be on me. It should be on the accuser” – Hrithik Roshan appeared first on Bollywood Hungama.
- 10/9/2017
- by Bollywood Hungama News Network
- BollywoodHungama
From a certain perspective, monster movies might not seem to be as relevant during monstrous times. But in an age when our fears seem larger than life and the world constantly seems as though it’s on the brink of collapse, the best examples of the genre can almost assume a documentary-like authenticity, reflecting our reality as vividly as vérité ever could.
Read More:Bong Joon-ho’s ‘The Host’ Is The Defining Monster Movie Of The 21st Century
“The Babadook” might be about a demon that pops out of a children’s book, but no recent film does a better job of capturing the acute reality of living with grief. “Cloverfield” follows a gaggle of pre-Instagram model millennials as they’re chased around Manhattan by a bug-eyed colossus, but few of the somber post-9/11 dramas do a better job of distilling the heartsick chaos of watching your hometown try to...
Read More:Bong Joon-ho’s ‘The Host’ Is The Defining Monster Movie Of The 21st Century
“The Babadook” might be about a demon that pops out of a children’s book, but no recent film does a better job of capturing the acute reality of living with grief. “Cloverfield” follows a gaggle of pre-Instagram model millennials as they’re chased around Manhattan by a bug-eyed colossus, but few of the somber post-9/11 dramas do a better job of distilling the heartsick chaos of watching your hometown try to...
- 10/6/2017
- by David Ehrlich, Jamie Righetti, Kate Erbland, Michael Nordine, Jenna Marotta and Chris O'Falt
- Indiewire
Grey’s Anatomy viewers weren’t the only ones caught off guard by the polarizing pairing of Jackson and Maggie. The doctors in question never saw it coming, either, co-showrunner Krista Vernoff tells TVLine. “Here’s what I think happened — and I’ve lived this personally, where somebody says something that maybe hadn’t occurred to you… and then suddenly, you can’t stop thinking that way.
RelatedGrey’s Anatomy Season 14 Premiere: Ep Talks ‘Fresh’ Love Triangle, Minnick’s Exit, That Kiss and Jolex’s Future
“I’ve had someone say to me, ‘I think that guy’s into you,...
RelatedGrey’s Anatomy Season 14 Premiere: Ep Talks ‘Fresh’ Love Triangle, Minnick’s Exit, That Kiss and Jolex’s Future
“I’ve had someone say to me, ‘I think that guy’s into you,...
- 10/5/2017
- TVLine.com
If only its irony were the most painful thing about “Flatliners,” an artless and agonizingly boring remake of a semi-forgotten movie about the dangers of bringing things back from the dead. Lazily recycling the ’90s schlocky Joel Schumacher thriller of the same name (once a staple of video store shelves everywhere), this lifeless new version hits all the same beats as the original, but does so without a speck of the baroque style that made it such a fun thing to rent on a Friday night. At a time when making a movie — any movie — can feel like experimenting with life after death, there’s really no reason to belabor the point.
The story begins in the present day, nine years after Courtney (Ellen Page) accidentally killed her little sister in a car crash. Now an exhausted med student at a prestigious teaching hospital that seems to accept people based...
The story begins in the present day, nine years after Courtney (Ellen Page) accidentally killed her little sister in a car crash. Now an exhausted med student at a prestigious teaching hospital that seems to accept people based...
- 9/29/2017
- by David Ehrlich
- Indiewire
“Lucky” was never the first word that came to mind when you saw Harry Dean Stanton. On the contrary, it always seemed like he had survived something terrible. Even in the movies he shot during the ’60s and ’70s, it already looked like 90 years of life had swept through him like a windstorm, leaving just enough skin on his bones to keep the cigarette smoke from blowing out through his teeth. Stanton wasn’t cast as lucky men, but as men who appeared to have been sucked dry at some point along the way. He was typecast that way from birth, a living synonym for emptiness, and his hollowed out performance in “Paris, Texas” would eventually seal the deal.
Stanton didn’t have a problem with that. Although he died with more than 200 credits to his name, it often felt like he wasn’t playing his characters so much as his characters were playing him,...
Stanton didn’t have a problem with that. Although he died with more than 200 credits to his name, it often felt like he wasn’t playing his characters so much as his characters were playing him,...
- 9/28/2017
- by David Ehrlich
- Indiewire
Told with with the gentle touch of a partner taking your arm on an afternoon stroll, Ritesh Batra’s “Our Souls at Night” is a wise and wistful drama about life after death; regardless of how old you are, this is the kind of movie that your parents would like. It begins with the folksy twang of a guitar and shots of streetlights blinking awake as night falls on a small Colorado town. A widower named Louis Waters (Robert Redford) sits alone in the kitchen of a house that was clearly meant for two. This is the only sort of night that he has. At least, until it isn’t. There’s someone at the door — his neighbor, Addie Moore (Jane Fonda), also on her own — and she wants to know if Louis might be interested in sleeping with her. Literally sleeping with her. It’s not about sex, it...
- 9/26/2017
- by David Ehrlich
- Indiewire
It’s surprising to think how many efforts suddenly fall into the Marvel Television universe, from the solo heroes that then merged into The Defenders on Netflix, to Agents of S.H.I.E.L.D. and Agent Carter, Marvel on the small screen has ballooned into an impressive catalog in a few short years. Those shows have taken different approaches, with varying levels of success, and Marvel’s Inhumans seems to be after a different kind of show than we’ve seen from them so far.
When Marvel TV has worked best, whether the shows are dark, campy, or dark and campy, the efforts have stuck to a theory. When they’ve gone wrong it has been because they have started off very serious and then turned almost silly, or they have seemingly bounced back and forth between a lot of theories in the same show.
Where Marvel’s Inhumans steers us in a...
When Marvel TV has worked best, whether the shows are dark, campy, or dark and campy, the efforts have stuck to a theory. When they’ve gone wrong it has been because they have started off very serious and then turned almost silly, or they have seemingly bounced back and forth between a lot of theories in the same show.
Where Marvel’s Inhumans steers us in a...
- 9/26/2017
- by Marc Eastman
- AreYouScreening.com
The debut feature from fashion luminaries Kate and Laura Mulleavy (of Rodarte fame), “Woodshock” begins with an agonized weed dispensary worker rolling a joint, lacing it with poison, and lighting it up for her terminally ill mother. Pot is legal in California, but dying with dignity is not, and so this sort of thing has to be done on the sly. Theresa (Kirsten Dunst) is devastated that it has to be done at all — and disturbed by her role in facilitating it — but she can’t bear to leave her mom in such pain.
The corpse isn’t even cold before Theresa begins to break down. Grief always carries the trimmings of psychosis, but this is something else — she’s not just mourning, she’s practically living a Polanski film. And things don’t really get any better for her after she’s responsible for a mix-up at the office...
The corpse isn’t even cold before Theresa begins to break down. Grief always carries the trimmings of psychosis, but this is something else — she’s not just mourning, she’s practically living a Polanski film. And things don’t really get any better for her after she’s responsible for a mix-up at the office...
- 9/21/2017
- by David Ehrlich
- Indiewire
Newton
Starring Rajkummar Rao, Anjali Patil, Pankaj Tripathi
Directed by Amit R Masurkar
Rating: ****(4 stars)
In Hrishikesh Mukherjee’s Satyakam, a film that echoes in unexpected ways in the new Rajkummar Rao experience, when Dharmendra the obstinate idealist, is asked why he stood first class second in his exams he replies, “Because the student who stood first was better than me.”
Newton Kumar exactly that idealist from Hrishikesh Mukherjee’s film grappling with the political irony of a country where a majority is too poor and illiterate to vote. Rajkummar’s Newton is the guy who will shine if not outshine the competition by the strength of his convictions.
This is one more triumphant performance for Rao who has made a habit of conferring a brilliant narrative to every character he plays. Really, it’s become a force of habit for this actor.
On the surface not much seems to happen in Newton.
Starring Rajkummar Rao, Anjali Patil, Pankaj Tripathi
Directed by Amit R Masurkar
Rating: ****(4 stars)
In Hrishikesh Mukherjee’s Satyakam, a film that echoes in unexpected ways in the new Rajkummar Rao experience, when Dharmendra the obstinate idealist, is asked why he stood first class second in his exams he replies, “Because the student who stood first was better than me.”
Newton Kumar exactly that idealist from Hrishikesh Mukherjee’s film grappling with the political irony of a country where a majority is too poor and illiterate to vote. Rajkummar’s Newton is the guy who will shine if not outshine the competition by the strength of his convictions.
This is one more triumphant performance for Rao who has made a habit of conferring a brilliant narrative to every character he plays. Really, it’s become a force of habit for this actor.
On the surface not much seems to happen in Newton.
- 9/21/2017
- by Subhash K Jha
- Bollyspice
Sean Baker is amazed some people still think he’s a new filmmaker. That implies that he’s young. On the contrary. “I’m old,” Baker remarked during his talk at Ifp Week 2017. (Or at least he’s 46.) Back in 2015, Tangerine put him on the map. And it was shot on an iPhone 5S, which made him seem like some millennial who’d never even heard of a Bolex. As it happens, Tangerine was his fifth film. The others weren’t obscure; Four Letter Words, Take Out, Prince of Broadway and Starlet were all acclaimed. (He also spent years as the co-creator of […]...
- 9/19/2017
- by Matt Prigge
- Filmmaker Magazine - Blog
‘The Killing of a Sacred Deer’ Review: The Director of ‘The Lobster’ Drags You Into the Abyss [Tiff]
While watching The Killing of a Sacred Deer, a passage from Stephen King’s Pet Sematary came to mind: “It’s probably wrong to believe there can be any limit to the horror which the human mind can experience. On the contrary, it seems that some exponential effect begins to obtain as deeper and deeper darkness falls […]
The post ‘The Killing of a Sacred Deer’ Review: The Director of ‘The Lobster’ Drags You Into the Abyss [Tiff] appeared first on /Film.
The post ‘The Killing of a Sacred Deer’ Review: The Director of ‘The Lobster’ Drags You Into the Abyss [Tiff] appeared first on /Film.
- 9/13/2017
- by Chris Evangelista
- Slash Film
Stories of social class/cultural warfare have been told through many different lenses in Hollywood films for several decades now, and many seem to fall into the same cliches. Beatriz at Dinner certainly includes some stereotypes, but not enough to dismiss it as an offensive story. ‘Beatriz at Dinner’ DVD Review On the contrary, director Miguel Arteta‘s (Youth in Revolt, […]
Source: uInterview
The post ‘Beatriz At Dinner’ DVD Review: Salma Hayek Shines In Tension-Filled Dramedy appeared first on uInterview.
Source: uInterview
The post ‘Beatriz At Dinner’ DVD Review: Salma Hayek Shines In Tension-Filled Dramedy appeared first on uInterview.
- 9/13/2017
- by Pablo Mena
- Uinterview
Shia Labeouf is hardly a dead ringer for a young John McEnroe — he looks more like one of Royal Tenenbaum’s grandchildren than anything else — but it’s hard to imagine anyone more perfect for the part. As a rising superstar in the early ’80s, the hotheaded McEnroe was as famous for his mid-match tantrums as he was for his tennis. He was one of the most gifted natural talents the game had ever seen, but he would erupt at a moment’s notice, self-destructing on some of the world’s biggest stages.
The parallels between McEnroe and the volatile young actor who plays him in “Borg/McEnroe” are obvious enough to make themselves, but the saving grace of Janus Metz’s relentlessly self-serious sports drama is that the film doesn’t take its casting for granted — it refuses to rest on the meta-textual fun of watching one explosive celebrity play another.
The parallels between McEnroe and the volatile young actor who plays him in “Borg/McEnroe” are obvious enough to make themselves, but the saving grace of Janus Metz’s relentlessly self-serious sports drama is that the film doesn’t take its casting for granted — it refuses to rest on the meta-textual fun of watching one explosive celebrity play another.
- 9/7/2017
- by David Ehrlich
- Indiewire
Kim Kardashian might be a reality star, but when it comes to her hair, the she’s all about illusion. (She’s even fooled us a few times when wearing wigs that easily could have passed for her actual hair). So when the star stepped out last night at New York Fashion Week (her first red carpet appearance since the news broke that she’s expecting a third child via a surrogate) with long platinum blonde hair, we presumed the mogul, who was channeling none other than herself circa Yeezy Season 3 with yet another platinum wig. On the contrary. In a post on her website,...
- 9/7/2017
- by Kaitlyn Frey
- PEOPLE.com
The public can’t seem to resist stories about the private lives of movie stars. We’re fascinated by who these beautiful flickering gods might be off-screen, and that fascination is exacerbated a thousand times over by the fact that these beautiful flickering gods don’t want us to know. It’s a recipe for infatuation and disaster. It’s also a recipe for some very bad movies. The truth may be stranger than fiction, but it’s awful hard to bridge the gap between the two.
“Film Stars Don’t Die in Liverpool” is a tawdrier, more tragic, but similarly superficial “My Week with Marilyn,” devoted to the dying days of an actress who always lived in Monroe’s voluptuous shadow. By the time it ends, that darkness has grown so complete that it’s hard to tell whose story we’re even watching.
Gloria Grahame was born for black-and-white.
“Film Stars Don’t Die in Liverpool” is a tawdrier, more tragic, but similarly superficial “My Week with Marilyn,” devoted to the dying days of an actress who always lived in Monroe’s voluptuous shadow. By the time it ends, that darkness has grown so complete that it’s hard to tell whose story we’re even watching.
Gloria Grahame was born for black-and-white.
- 9/2/2017
- by David Ehrlich
- Indiewire
Awards aren’t everything, but no one ever complained about having their hard work recognized. Consider that the impetus behind this list, which looks beyond awards season to shine a spotlight on the performances that have most affected us — if not necessarily the Academy — over the last 17 years. Some were contenders that got snubbed, while others were too out-there to ever be considered; all are worth praising.
Many others were and are, too — so many, in fact, that 25 spots weren’t enough for them all. Consider Denis Lavant’s bravura turn in “Holy Motors” or Maggie Gyllenhaal’s brilliant work in “Secretary,” among so many others, and remember that the first nine months of every moviegoing year feature plenty of performances worth remembering.
25. Jeon Do-yeon, “Secret Sunshine”
Lee Chang-dong movies abound in stellar performances — see also Yoon Jeong-hee in “Poetry” and Sol Kyung-gu and Moon So-ri in “Oasis” — but none...
Many others were and are, too — so many, in fact, that 25 spots weren’t enough for them all. Consider Denis Lavant’s bravura turn in “Holy Motors” or Maggie Gyllenhaal’s brilliant work in “Secretary,” among so many others, and remember that the first nine months of every moviegoing year feature plenty of performances worth remembering.
25. Jeon Do-yeon, “Secret Sunshine”
Lee Chang-dong movies abound in stellar performances — see also Yoon Jeong-hee in “Poetry” and Sol Kyung-gu and Moon So-ri in “Oasis” — but none...
- 9/2/2017
- by Michael Nordine, Anne Thompson, Chris O'Falt, Kate Erbland, David Ehrlich, Zack Sharf and Jude Dry
- Indiewire
“Sorry I can’t give you more.” Ray (Travis Fimmel) doesn’t speak much — it’s hard to talk with a can of beer pressed to your lips — so everything he says in his unplaceable twang carries a kind of double weight. His words might be the only thing in his life that he’s ever chosen carefully. So when he sits on the porch of his rundown Portland house, holds out a wad of cash, and apologizes to his towheaded teenage son that he only has $20 to spare, it’s easy to understand that Ray’s not just talking about the money.
It’s not that he’s a bad guy, necessarily, he’s just weak. A screw-up. He loves Charley (Charlie Plummer), and he’s raised the kid by himself after his ex-wife skipped out on them both, but he can’t hold down on a job to save his life,...
It’s not that he’s a bad guy, necessarily, he’s just weak. A screw-up. He loves Charley (Charlie Plummer), and he’s raised the kid by himself after his ex-wife skipped out on them both, but he can’t hold down on a job to save his life,...
- 9/1/2017
- by David Ehrlich
- Indiewire
There are any number of unforgettable images in Ai Weiwei’s “Human Flow,” the most necessary and comprehensive documentary to date about our planet’s current refugee crisis, but the most indelible of them all is borrowed from a movie about a very different humanitarian failure. For 1956’s “Night and Fog,” Alain Resnais ventured into the haunted ruins of concentration camps Auschwitz and Majdanek, training his camera on the evidence that had been left behind. A still ocean of women’s hair. A mountain of empty shoes, spilling through the rooms of a building like a flood. Symbols that convey the scale of apathy and death better than bodies ever could, because the horror of bodies is too all-consuming to allow for any deeper understanding.
In “Human Flow,” the film’s famous artist-director shoots a massive heap of abandoned lifejackets from above, the camera lifting into the sky to reveal...
In “Human Flow,” the film’s famous artist-director shoots a massive heap of abandoned lifejackets from above, the camera lifting into the sky to reveal...
- 8/31/2017
- by David Ehrlich
- Indiewire
The Movie:
In concept, ‘Alien: Covenant‘ is what ‘Prometheus‘ should have been. In many regards, the film is a vast improvement over it’s predecessor. It’s also better than many people are giving it credit for. Instead of focusing more on the philosophical aspects of the story, this film is a straight up Alien movie, and that’s a good thing. Unlike it’s predecessor, ‘Alien: Covenant‘ feels like it’s a return to form for both the franchise itself, as well as director Ridley Scott. Set roughly ten years after the events of ‘Prometheus’, the film is both a sequel to that, as well as a prequel to all of the previous Alien movies. But this is also part of the problem with the film, that it can’t quite juggle all of these aspects while also telling it’s own unique story. Despite a few minor flaws,...
In concept, ‘Alien: Covenant‘ is what ‘Prometheus‘ should have been. In many regards, the film is a vast improvement over it’s predecessor. It’s also better than many people are giving it credit for. Instead of focusing more on the philosophical aspects of the story, this film is a straight up Alien movie, and that’s a good thing. Unlike it’s predecessor, ‘Alien: Covenant‘ feels like it’s a return to form for both the franchise itself, as well as director Ridley Scott. Set roughly ten years after the events of ‘Prometheus’, the film is both a sequel to that, as well as a prequel to all of the previous Alien movies. But this is also part of the problem with the film, that it can’t quite juggle all of these aspects while also telling it’s own unique story. Despite a few minor flaws,...
- 8/28/2017
- by Taylor Salan
- Age of the Nerd
A handsome little biopic that’s sopping wet with the same clichés that its whiny hero so adamantly disavows, Mark Gill’s “England Is Mine” distills the early days of one Steven Patrick Morrissey into an anonymous coming-of-age story that — if not for its keen sense of place — could really be about any mopey white boy whose talents are dulled by torpor. The film begins in the late ’70s, when young Steven is still living in his family’s splintered Stretford council house and writing flippant concert reviews for some local music rags; it ends a few years later, before he and Johnny Marr have yet to record their first track as The Smiths. This isn’t a portrait of an iconoclastic rock god, but of a brooding artist who thinks he’s far too good for such a boring town, and resents the fact that he should ever have...
- 8/23/2017
- by David Ehrlich
- Indiewire
There has always been something rather Hawksian about Steven Soderbergh. Speaking with the French magazine Positif in 1993, Soderbergh actually brought up Howard Hawks, a venerable icon of Hollywood cinema, stating, “The career I would like is John Huston’s or Howard Hawks’s. You know, very varied, many different subjects.” It’s true Soderbergh and Hawks diverge greatly in terms of form—the latter is straightforward, classically composed, no frills; the former is stylish, spontaneous, technically innovative—but their recurring subject matter, with a little stretching, isn’t far removed. Take the focus on working professionals in Traffic (2000), the Ocean’s films (2001, ‘04, ‘07), The Girlfriend Experience (2009), and Magic Mike (2012); though not exactly traditional Hawksian occupations, there is a firm appreciation for a job to do and to be done well. More than that, though, what connects Howard Hawks and Steven Soderbergh is their uniform consistency, not necessarily in terms of year-after-year quantity,...
- 8/22/2017
- MUBI
Adapting “Death Note” into a feature-length American movie was always a colossally bad idea — Tsugumi Ohba’s manga ran 108 chapters, and there’s a good reason why the only decent riff on the original was an anime series that ran 19 hours — so neglecting to include Japanese-American actors among the top-billed cast just made things that much worse. It was a bad decision on top of a festering pile of bad decisions, but it was also the kind of mistake that reveals the wrongheadedness of an entire project.
Whitewashing is never a purely aesthetic act; it’s always an indication of a deeper rot. In this case, it pointed toward an inability or unwillingness to meaningfully engage with the source material. The only reason to take such a uniquely Japanese story and transplant it to Seattle is to explore how its thorny moral questions might inspire different answers in an American context,...
Whitewashing is never a purely aesthetic act; it’s always an indication of a deeper rot. In this case, it pointed toward an inability or unwillingness to meaningfully engage with the source material. The only reason to take such a uniquely Japanese story and transplant it to Seattle is to explore how its thorny moral questions might inspire different answers in an American context,...
- 8/21/2017
- by David Ehrlich
- Indiewire
Inhumans Trailer 3 The third TV show trailer for the Inhumans (2017) comic book adaptation by ABC has been released. A early review by another news website was not positive about Inhumans and this trailer is not dispelling those sentiments at all. On the contrary, they are reinforcing them. Inhumans is not looking good. Netflix was able [...]
Continue reading: Inhumans (2017) TV Show Trailer 3: ‘The Royal Family’ Highlighted by Marvel & ABC...
Continue reading: Inhumans (2017) TV Show Trailer 3: ‘The Royal Family’ Highlighted by Marvel & ABC...
- 8/19/2017
- by Rollo Tomasi
- Film-Book
Almost certainly the most confrontational film about the Asian-American experience since “Better Luck Tomorrow,” Justin Chon’s “Gook” is about as subtle as a trash can smashing through a pizzeria window, but this isn’t a story for subtle times. Set on April 29, 1992 — the first night of the Los Angeles Riots — it’s not a story about subtle times, either. On the contrary, this messy but lived-in drama is intended for a climate that’s tilted towards hatred and erasure, an environment in which people are forced to scream their voices hoarse just to remind the world of their basic humanity. You don’t call a movie “Gook” because you feel heard.
A frequently angry call to action that’s shot in spare black-and-white (all the better to evoke the scrappy kind of indies that were arriving on the scene back in the “Clerks” era), “Gook” hinges on two normal Korean-American guys.
A frequently angry call to action that’s shot in spare black-and-white (all the better to evoke the scrappy kind of indies that were arriving on the scene back in the “Clerks” era), “Gook” hinges on two normal Korean-American guys.
- 8/18/2017
- by David Ehrlich
- Indiewire
Every year, on the evening of August 6th, the people of Hiroshima gather along the banks of the Ota River and light more than 10,000 paper lanterns as the final part of a deeply moving peace ceremony. The memorial event caps off a day of reflection that includes film screenings, musical performances, and a wide variety of different speeches. Hibakusha — survivors of the nuclear blasts — gather around the Atomic Bomb Dome, many of them joined by their children and grandchildren. One particularly animated man performs a parable about the horrors visited upon his hometown, while a British ex-pat translates his story into English for the foreigners in attendance. The atmosphere is solemn, but not somber. There’s good food. Even the tourists start to loosen up.
However, perhaps the most striking thing about how Hiroshima chooses to commemorate its defining tragedy is the way in which the city focuses on the...
However, perhaps the most striking thing about how Hiroshima chooses to commemorate its defining tragedy is the way in which the city focuses on the...
- 8/10/2017
- by David Ehrlich
- Indiewire
We are defined by moments, decisions made by us or for us by another. For Teiichi Akaba (Masaki Suda) it was always the choice between love of the piano (his mother’s passion) and a desire to please his father (Kôtarô Yoshida’s Josuke Akaba) by following a path towards political power — something he himself failed to achieve. Teiichi chooses the latter because of something his Dad said during a rant about status and control: that ascension to the height of Japan’s Prime Minister is to position oneself as maker of the country. Only at the top can you dictate true change and/or ensure your passions are protected under law. It’s a lofty goal that proves as much about self-sacrifice as it does about self-centeredness. And the journey begins now.
Well, that’s a lie. As Akira Nagai’s Teiichi: Battle of Supreme High — adapted by Yoshihiro Izumi...
Well, that’s a lie. As Akira Nagai’s Teiichi: Battle of Supreme High — adapted by Yoshihiro Izumi...
- 8/7/2017
- by Jared Mobarak
- The Film Stage
“All the films in this book share an air of disreputability… I have tried to avoid using the word art about the movies in this book, not just because I didn’t want to inflate my claims for them, but because the word is used far too often to shut down discussion rather than open it up. If something has been acclaimed as art, it’s not just beyond criticism but often seen as above the mere mortals for whom its presumably been made. It’s a sealed artifact that offers no way in. It is as much a lie to claim we can be moved only by what has been given the imprimatur of art as it would be to deny that there are, in these scruffy movies, the very things we expect from art: avenues into human emotion and psychology, or into the character and texture of the time the films were made,...
- 8/6/2017
- by Dennis Cozzalio
- Trailers from Hell
He may be overweight, but Mr. Handsome’s furry love handles didn’t get in the way of his finding a fur-ever home. On the contrary, those extra pounds of pussycat created a feline frenzy.
Originally reported by Wncn North Carolina, the hefty kitty was dumped at the Chatham County Animal Shelter by previous owners, possibly because of his size.
In fact, Mr. Handsome — weighing in at 31.4 lbs. — was so large, he could not fit into the standard crate at the shelter. Instead, the big fellow was set up inside the building’s break room and he made himself snug inside a cabinet.
Originally reported by Wncn North Carolina, the hefty kitty was dumped at the Chatham County Animal Shelter by previous owners, possibly because of his size.
In fact, Mr. Handsome — weighing in at 31.4 lbs. — was so large, he could not fit into the standard crate at the shelter. Instead, the big fellow was set up inside the building’s break room and he made himself snug inside a cabinet.
- 8/1/2017
- by Saryn Chorney
- PEOPLE.com
With the Charlize Theron-starring “Atomic Blonde” exploding into theaters this weekend (opening night tally: $1.5 million), four members of IndieWire’s film team traded emails on what this summer’s latest female-led action movie means for the future of the genre.
David Ehrlich: I think people tend to talk about the future of female-driven action movies because it always seems like we’re waiting for them to come into their own, waiting for Hollywood to produce them with enough regularity that they no longer feel like the exception to the rule. To that point, there’s an understandable hesitation to declare that the future of female-driven action movies is here, as there’s a danger in using one kickass victory for representation as a smokescreen to obscure the pervasive sexism that continues to infect the entertainment industry.
Read MoreFrom ‘Wonder Woman’ to ‘Girls Trip,’ a Great Summer for Women...
David Ehrlich: I think people tend to talk about the future of female-driven action movies because it always seems like we’re waiting for them to come into their own, waiting for Hollywood to produce them with enough regularity that they no longer feel like the exception to the rule. To that point, there’s an understandable hesitation to declare that the future of female-driven action movies is here, as there’s a danger in using one kickass victory for representation as a smokescreen to obscure the pervasive sexism that continues to infect the entertainment industry.
Read MoreFrom ‘Wonder Woman’ to ‘Girls Trip,’ a Great Summer for Women...
- 7/28/2017
- by Kate Erbland, David Ehrlich, Jude Dry and Chris O'Falt
- Indiewire
There are two passages in episode 11 of “Twin Peaks: The Return” that perfectly crystallize why the show, in all of its various iterations, has always been so special. One is a sequence, the other is a single shot. The sequence epitomizes David Lynch’s novel approach to narrative — the shot illustrates how that approach has evolved over the last 25 years, and why David Lynch (the actor) has become so invaluable to David Lynch (the storyteller).
The sequence begins in a small town diner. Three people are wedged into a booth along the wall: A waitress, her police officer ex-husband, and their bleary-eyed adult daughter. They slouch in their seats like they’re unsure of the roles they’re supposed to play, their alien posture suggesting that it might have been years since the last time they all sat down together for a meaningful heart-to-heart — since the last time they felt like a family.
The sequence begins in a small town diner. Three people are wedged into a booth along the wall: A waitress, her police officer ex-husband, and their bleary-eyed adult daughter. They slouch in their seats like they’re unsure of the roles they’re supposed to play, their alien posture suggesting that it might have been years since the last time they all sat down together for a meaningful heart-to-heart — since the last time they felt like a family.
- 7/25/2017
- by David Ehrlich
- Indiewire
How much you enjoy Manhunt: Unabomber will depend almost entirely on one thing: how gripping you find watching someone else solve a puzzle.
In the first three hours of Discovery’s new anthology series (premiering Tuesday, Aug. 1, at 9/8c), there are some gruesome reenactments of Ted Kaczynski’s crimes, insurance that we never lose sight of what’s at stake. And the drama manages to wring suspense out of a bunch of G-men standing around a phone and listening, fearful of an explosion, as planes are cleared for takeoff. But mostly, it’s a whole lot of rookie profiler “Fitz...
In the first three hours of Discovery’s new anthology series (premiering Tuesday, Aug. 1, at 9/8c), there are some gruesome reenactments of Ted Kaczynski’s crimes, insurance that we never lose sight of what’s at stake. And the drama manages to wring suspense out of a bunch of G-men standing around a phone and listening, fearful of an explosion, as planes are cleared for takeoff. But mostly, it’s a whole lot of rookie profiler “Fitz...
- 7/24/2017
- TVLine.com
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