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In Once I Was a Beehive, Lane Speer is a 16 year old girl who spends her family vacations camping in the mountains. Donnie Yen (Rogue One: A Star Wars Story and Crouching Tiger, Hidden Dragon 2) ignites the screen in a return to the role that made him an icon - as Ip Man, the real-life Wing Chun grandmaster who mentored Bruce Lee. A major part of Lucifer’s success can be attributed to actor Tom Ellis, who brings massive charm and appeal to the lead  role.
Though we’ve seen the story of mismatched pairs who eventually form a unique bond, Tumbledown has its share of intriguing elements.
For more on Tumbledown, check out my discussion of the film on CinemAddicts in the media bar below (starting at 55:00). If you’re a fan of jazz, you know that the music form can be moving and captivating, pulling you in with the flow, but it can also be equally maddening and chaotic in its attempts to reach genius.
Don Cheadle embodies jazz legend Miles Davis, a legend we’re introduced to as a somewhat broken man. Enter English writer Dave Brill (Ewan McGregor), who has been knocking at Davis door hoping to score an interview with no success.
The transitions between modern day and past are done cleverly at times, but the plot device ultimately proved maddening as well.
A Hologram for the King features Tom Hanks as Alan Clay, an American businessman sent to Saudi Arabia to close a huge business deal that could conceivably change his life.
Alan, whose passion for his job has waned over the years thanks to age and his understandable inability to shake a past tragedy, must sell this holographic teleconferencing system technology to the Saudi government or face huge repercussions with his tenuous job. When he and his team arrive in Saudi Arabia, their planned meetings are repeatedly delayed and they are given a rather cold reception.
Based on Dave Eggers’ novel, A Hologram for the King is directed by Tom Tykwer, who previously worked with Hanks on Cloud Atlas.
To hear more about A Hologram for the King, which opens today in select theaters, check out this week’s CinemAddicts podcast. In 50 years plus of filmmaking, Brian De Palma has crafted successful studio driven projects (Scarface, Mission: Impossible, The Untouchables) and has also managed to chase his singular creative passions (Sisters, Dressed to Kill, Femme Fatale). Directed by Noah Baumbach and Jake Paltrow, De Palma is a documentary that delves into the filmmaker’s inspiring and often controversial creative life.
Set in Los Angeles and directed by Lorene Scafaria (Seeking a Friend for the End of the World), The Meddler centers on Marnie, a widow who continues to meddle in her daughter Lori’s (Rose Byrne) life. The TCM Classic Film Festival is just around the corner, and actress Faye Dunaway will make an appearance at the fest for a screening of Network. When she’s not consoling her daughter or dropping by for an unexpected visit, Marnie hangs out at the Grove, a beautiful outdoor shopping center where many Angelenos and tourists congregate. In playing Marnie, Sarandon thankfully doesn’t go for a broad, caricature based portrayal of a helicopter mom.
With all its stereotypical eccentricities, Los Angeles, like any big city, can be a very lonely place. Losing a loved one is an inevitability, and how Marnie gradually finds her own footing by reaching out to others is, thanks to grade-A writing and wonderful work from a talented ensemble, a sublime experience. The FOX series Gotham, a series that’s delightfully filled with film noir flourishes, is one of the most underrated shows on television.
The abductee is an 8-year-old boy named Alton Meyer (played by winning young actor Jaeden Liberher who previously wowed in St. Feeling a need to allow his son to fulfill his destiny, Roy takes young Alton from The Ranch, enlists a childhood friend, a state trooper named Lucas (Joel Edgerton) to help him out and sets out on the run, eventually reconnecting with his ex Sarah (Kirsten Dunst) along the way.
Midnight Special has drawn comparisons to Close Encounters of the Third Kind, Starman, E.T.
As expected, The Jungle Book beat all comers with a gargantuan $103.6 million debut, giving it the second biggest April opening to date (Furious 7 holds the #1 spot with $147 million). There are so many balls in the proverbial air that may keep you guessing throughout The Adderall Diaries (R, 87 minutes), and though some detractors may view it as a bit too much, the film is buoyed by inspired performances from James Franco and Ed Harris and self-assured directing by first-timer Pamela Romanowsky. With the utilization of flashbacks, slow-motion sequences, and a pitch perfect score from composer Michael Andrews, Romanowsky effectively creates the suffocating world that engulfs Stephen, and even though some of his pain can be construed as self-inflicted, the filmmaker doesn’t cast a judgmental eye on our protagonist. One would assume spending three years developing The Adderall Diaries, which included time at the Sundance Directors Lab, gave Romanowsky the depth and insight to that the film absolutely needs to work.
Green Room centers on Pat (Anton Yelchin) the leader of a punk group called The Ain’t Rights (Alia Shawkat and Joe Cole are two of the members). She takes the memories for granted until she loses her father to an unexpected bout with cancer. Feel free to contact us at please enable javascript to view with your scoops, comments or advertising inquiries. In this explosive third installment of the blockbuster martial arts series, when a band of brutal gangsters led by a crooked property developer (Mike Tyson) make a play to take over the city, Master Ip is forced to take a stand.
The series centers on the the titular character, an evil man who’s tired of life in hell and decides to temporarily move to the morally compromised city of Los Angeles. Director Sean Me2shaw and screenwriter Desiree Van Til, who grew up in Maine, infuse the film with a real sense of place. He’s hidden himself away from the music world for five years and has more or less shut out the rest of the world as well, while he attempts to reclaim his status with a much in-demand new album.
But when Miles needs to confront his label about their pulling of funds and the appearance of Brill, who claims he was sent from Rolling Stone on behalf of the label, he finally relents so long as Brill will drive him to the label. We see him meeting and falling in love with stunning dancer Frances Taylor (Emayatzy Corinealdi) and how their romance propelled him to some of his most creative heights. Yes, you get the hint of what’s going on in the past, but the shifts between time periods occasionally feel as though it is stopping the momentum of the story.
The story may not work for everyone, focusing so much time on the caper of the stolen tape, but the payoff is grand and the film itself gives just enough, though maybe not the full insight into the genius of Miles Davis. The Boss - $6 million and with a worldwide total of $57.7 million, the film should at least turn a slight profit (its budget was $29 million).
Eye in the Sky - Helen Mirren and Aaron Paul military thriller has taken in a respectable $14.9 million domestically. Most importantly, Alan is trying to make enough money to pay for his daughter Kit’s (Tracey Fairaway) college education.

Whether Alan will ever get a real sit-down to propose his deal takes on Waiting for Godot like proportions, and such a frustrating process leaves our protagonist in a permanent holding state.
Tykwer, who infused frenetic energy in Run Lola Run and a touch of surrealism with Heaven, brings a down to earth subtlety to this film, and it’s his most restrained film to date. Instead, we are treated with a very human story about a man who’s trying to rediscover his footing in the world.
A visual master who grew up loving Alfred Hitchcock and French New Wave films, De Palma’s movies, whether you love them or not, are never boring (even The Bonfire of the Vanities had its moments). President Richard Nixon and Michael Shannon is Elvis Presley in Elvis & Nixon, a narrative which centers on the December 1970 meeting between the two iconic figures.
The storyline centers on Alan (Hanks), a businessman who travels to Saudi Arabia in hopes of closing a huge deal that will hopefully change his life. Released in 1976, the Sidney Lumet directed feature garnered three acting Oscars (Dunaway, Peter Finch, Beatrice Straight), with Best Screenplay honors going to Paddy Chayefsky.
With Seeking a Friend for the End of the World she explored the search for companionship during the end of days, and though The Meddler isn’t set within an apocalyptic environment, its narrative is just as ambitious.
There she befriends  Freddy (Jerrod Carmichael), an Apple Store employee who helps her with iPhone questions and, thanks to Marnie’s refreshingly over friendly nature, becomes a significant part of her life. Finding your own home, especially if its seemingly tucked away in a corner, is one way to navigate through an intimidating metropolis, and Scafaria effectively showcases the more intimate aspects of the City of Angels. With Seeking a Friend for the End of the World and The Meddler, Lorene Scafaria introduces us to people who continue to persevere through their respective storms with a little love and hope to guide their way. The origin story focuses on a young Bruce Wayne who eventually becomes Batman and how the legendary Batman villains came to be.
As witnessed in The Avengers and the previous Captain America installments, our patriotic hero has always gone above and beyond the call of duty.
Your answer to that question may inform how you view the new Jeff Nichols film Midnight Special. Hot on their tail are the government officials and a pair of Ranch thugs intent on claiming the boy for their own purposes.
While not a character, the musical score of David Wingo might as well be, as it was key in creating the intense vibe of the high stakes film.
Unfortunately, Batman v Superman: Dawn of Justice continues to plummet, as its fourth place finish and $9 million take is simply sub-par.
Criminal - Kevin Costner didn’t hit this one out of the park, as this action movie was dead on arrival. In the film, Elliott (Franco) is a narcissistic writer with addictive tendencies, and slowly but surely his flourishing career and personal life is headed towards an inevitable abyss.
Instead, we are called to look at how we edit our own memories to suit our personal stories. Fractured storytelling, especially one that deals with the haunting complexities of memory, could have been handled as a purely cinematic experience, and under a different eye the movie could have been a showy exercise to showcase a budding filmmaker’s technical talent. During the first segment we take a look at director Jeremy Saulnier’s (Blue Ruin) latest effort Green Room, an action thriller with tons of suspense, tension, and stomach churning violence. Their latest gig is in a room filled with neo-Nazis in a remote bar in the Oregon backwoods. Lehrer and Gene McGovern. DREAM BUILDERS is the story of two men who rose from the streets of New York to create one of the largest construction companies in the world. Only a year later, as Lane is still reeling from her father's death, her mother remarries a guy that Lane hardly knows. Fists will fly as some of the most incredible fight scenes ever filmed play out on the big screen in this soon-to-be genre classic.
Instead of collecting souls for his kingdom, Lucifer spends his days helping the LAPD capture criminals! A well written dinner scene between Hannah and Andrew, as the pair briefly share past stories, sets a solid foundation for what’s to come, and even though the movie does have its predictable moments, Tumbledown is blessed with solid performances by an invested ensemble. He lives in an unkempt apartment, hobbles around while self-medicating and can only be bothered by the outside world when his latest check fails to show up.
But the past also uncovers Davis as an insecure man, unwilling to allow Taylor to have her own career and increasingly paranoid in the wake of his own infidelity and drug use.
In comparison, the 2012 feature Snow White and the Hunstman made $56.2 million in its opening weekend. Divorced, saddled with a lack of funds and traveling to parts unknown, Alan is definitely behind the eight ball. To add more problems to his plate, Alan discovers a lump on his back, and his failed attempt at removing his cyst leads to a fateful encounter with Zahra (Sarita Choudhury), an insightful doctor who brings much needed light to Alan’s journey. Choudhury and Black also lend wonderful supporting work, giving the film an extra level of depth. Sarita Choudhury and Alexander Black co-star in the film, which reunites Hanks with Cloud Atlas director Tom Tykwer. Lori is a highly successful TV writer who’s working on a new pilot, and though her career is on the upswing, her personal life is on the rocks (she still harbors feelings for her ex-boyfriend, played by Jason Ritter). Since Lori is way too busy for and, at times, irritated by her mother, Marnie redirects her energy with this trio of relative strangers. The movie is also a showcase for Sarandon who gives one  of her most appealing and affecting performances to date. Along with the great acting and writing, it’s the visually arresting look of the show and high production values which gives Gotham its unique flavor. The writer-director plops the audience right in the middle of what appears to be an amber alert situation, but little by little the layers a peeled back. But as we soon learn, not only is the FBI interested in the boy, but so is the cultish compound called The Ranch from which Alton was taken. A son must convince his father that everything will be okay even when past logic says otherwise.
Though he enters a passionate affair with a New York Times reporter (Amber Heard) while attempting to cover a murder trial (Christian Slater plays the criminal in question) and has a ride or die best friend (Roger Parrack) at his beck and call, Stephen’s inability to effectively process past tragedies and move forward continues to haunt him in the present. While there are wonderful aesthetic choices (shooting on Steadicam, giving the film a grainy, surreal feel) that inhabit the world of The Adderall Diaries, the story isn’t mired in artifice.

After unwittingly witnessing a crime, the band are held captive in the bar by Darcy Banker (Patrick Stewart), the cold-blooded and business minded owner of the establishment. Their projects included the restoration of the Statue of Liberty, Euro Disney and Canary Wharf. Larry is known for his affinity for people with extra ordinary dreams. The journalist side of Hunter, however, questions if Hunter’s tragic fall during an outdoors excursion was in fact a suicide, and this investigation may cause a rift with Hannah and her family (Blythe Danner and Richard Masur play her parents).
Musician Damien Jurado was also tasked with crafting music inspired by Hunter Miles, and the songs featured in the film are worth a listen, especially if you’re a fan of the melodic and melancholic work of Bon Iver and Nick Drake. Alexander Black co-stars as Yousef, a taxi driver who serves as Alan’s daily transport and tour guide. A Hologram for the King is essentially a fish out of water experience that’s set in the desert, and watching Alan slowly warming up to Saudi Arabia living is a pleasure to watch.
Sometimes a simple story told well is all you need, and A Hologram for the King (R, 97 minutes) is an absolute charmer.
But these coordinates have also caught the attention of the government as they match something only government officials should know. And most all who come in contact with this special young man must throw out what they know in order for his destiny to be fulfilled. Ultimately how much you love this film will be how well you accept what is presented and connect the dots to your own conclusions. The rubber hits the road when his father Neil (Ed Harris), who he writes off as dead in his memoir, is very much alive and shows up at a book reading to expose his son’s seemingly unforgivable lie. Franco and Harris infuse the story with a tangible vulnerability, and their confrontations are nothing short of electric (and ultimately heartbreaking).
As Stephen begins to finally write from a place of truth, he reaches a place that exists beyond all those beautiful words.
In the past two years he has interviewed people as diverse the billionaire founder of  Vornado Realty, Steve Roth to the architect of the new City Center complex in Las Vegas, the legendary Cesar Pelli. His cult documentary classic, PIN GODS, was given a retrospective in New York City by the curator of the Toronto Film Festival, Thom Powers in 2010. To top it off, while they are on their honeymoon, they arrange to have her stay with her Mormon step-aunt who takes her away to a bible-themed girls camp with a bunch of young Mormon girls. Meanwhile, in present day, Davis continued association with Brill and also unwillingly with Hamilton and his artist leads to a stolen tape caper filled with action, gunplay and a surprisingly heartbreaking at first yet interesting resolution.
It’s arguable on how transcendent cinema can truly be, but at least Romanowsky understands where Stephen is going, as do we.
Confronted with memories of camping with her family, she tries to find peace with her new surroundings and deal with the death of her father. His first feature Documentary, Riding The Rails premiered at Sundance and went on to win a Peabody award finding a home at American Experience. His next film Angola: The Farm, won him a Prime Time Emmy award for Cinematography while being nominated for an Academy award and winning The Grand Jury Prize at Sundance.
The film premiered at the Toronto Film Festival and played a limited theatrical run to very favorable reviews. Available on DVD.1992- FREE FALLIN’- 18 minute short about a man who dreams of parachuting off the World Trade Tower. The short was purchased by MTV and was also recreated as a Volkswagen commercial for German TV in 1997. In this pre-Spellbound era, Pin Gods managed to make a small bowling-ball sized splash at the Toronto festival, only to fall through the cracks of the distribution system (a fact bemoaned last night by one of Pin Gods’ biggest fans, Stranger Than Fiction programmer Thom Powers).A film about what its director Larry Locke calls, “the small dream,” Pin Gods is an endearingly humane look at four men, each one trying to make a life out of professional bowling with various degrees of success. A founding member of the Professional Bowlers Association, Salvino is at once pragmatic and philosophical. Once you’re on the road, he says, “Your bowling style now has got to be measured and geared, your reference points now are on the tour.
So you have to practice on strange lanes.” Salvino knows something about strange lanes, having spent decades on the tour and winning 17 tour titles. He’s an effective touchstone for Larry Locke’s terrific documentary, first released in 1996 and screening 4 May at Stranger Than Fiction in New York (when Locke will be on hand for a Q&A). As Salvino looks back, the film follows three young bowlers as they head out on the tour, not quite prepared for how hard it will be. It’s a question facing each of the bowlers in Pin Gods as they pursue the remarkable success of the PBA’s current star, Walter Ray Williams. Winner of multiple titles, Williams appears in the film as a model of cool composure: even when he’s behind during a tournament, he finds ways to come back, to make strikes when the pressure is on, to triumph again and again. Bob’s wife Mendy remembers, “My parents didn’t agree with his profession at first, you know,” she smiles. They don’t understand bowling.” Tony’s uncle is sponsoring his first year on the tour, a cost the family estimates at about $1000 a week. At his mother’s dinner table in Ledgwood, New Jersey, Tony’s uncle nods, “I don’t feel he’s gonna get blown out,” vowing to support his nephew’s ambition “as long as I can do it.” As his uncle “understands,” Tony feels encouraged when he leaves home for the first time. At each new stop on the tour, the bowlers trying to make the cut to the TV Show (the last five competitors of each tournament) start in again.
The shot is low and long, as 20 or so bowlers throw their first balls, their bodies in a sort of rolling sync. I’m a killer.’” Each tournament is an opportunity to out-think as well as out-perform your rivals.
If Salvino’s pronouncements suggest the focus and determination needed to succeed on the tour, the film makes the case that greatness in bowling (and elsewhere) can be measured variously, in individual decisions and moments of generosity and appreciation.
And when Bob spends time with his young son at home, he shows another side of himself, delighted to hear the boy laugh out loud. As different as each bowler’s experience may be, all come together in their understanding of the game. As Sonny says of his mother, so patient, supportive, and lovely, “I have to do what I have to do, and she understands that. Over the years, I was involved with close to 10,000 projects for broadcast and cable networks and many major companies.

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