Tom Hiddleston and Tilda Swinton star as Adam and Eve, a husband and wife vampire duo whose marriage has lasted centuries. Their journeys have introduced them to countless artists and icons, and lead them all around the world. But this isn’t the story of their past; it is one of their world-weary present.
This week we've got a special interview with David Picker, a former studio head who helped wrangle Woody Allen, James Bond, and The Beatles for United Artists, greenlight Grease for Paramount, and turned Steve Martin into a movie star in the late '70s.
Shot in crisp black and white, Nebraska seems simple at its start. But it's given incredible depth by its astounding cast. Dern's performance is the one that is getting the loudest lauding, and understandably so.
Handheld computers have infiltrated our lives so swiftly, and so fully, that it's so far been impossible to gauge what they mean to us-- most analysis settles for "They're ruining everything!" to "They're improving everything!" and nothing in between. Spike Jonze, maybe miraculously, occupies an imaginative and heartfelt middle ground in Her, where in the not-so-distant future, a not-so-preposterous love story plays out between a man (Joaquin Phoenix) and the operating system (voiced by Scarlett Johansson) programmed to meet his every need
Redford stars as this unnamed sailor who was out at sea, alone on his yacht, when disaster struck. Snoozing in his below deck cabin, this man, who I will call Captain, is awakened to the sound of rushing water as a free floating freight container tears a hole in the side of his boat. Rather than panic, our captain instantly and silently begins to assess the situation.
When 18-year-old Nelly joins the cast of one of Dickens’ plays, who could blame him for eying the pretty young ingénue that has a feverish love of his works? Moreover, who—Fiennes’ movie seems to demand—could blame him for publically casting his wife aside for her?
For decades French writer-director Catherine Breillat has been creating challenging cinema, but her latest film is shocking in that it is a thinly veiled retelling of her own story. For those unfamiliar, Breillat suffered a severe stroke in 2004 that physically crippled her, leaving the left side of her body paralyzed.
English sixty-somethings Nick (Jim Broadbent) and Meg Burrows (Lindsay Duncan who also pops up in NYFF’s About Time) have returned to Paris, to relive the joys of their youth. They jaunt about historical landmarks, search for divine culinary experiences, and blithely spend money they don’t have. But while he is desperately hoping these adventures will reignite the passion their marriage once had, she is wondering if it's worth the trouble.
What defines family: shared blood or shared experiences? This is the complicated question posed in Hirokazu Kore-eda's thought-provoking drama Like Father Like Son (or Soshite Chichi ni Naru in its native Japan).
“Everything you touch turns to shit,” sneers Llewyn Davis’s bitter former lover played by Carey Mulligan, “like King Midas’s idiot brother.” While it seems a cruel thing to say, she’s not wrong. Davis, a folk musician desperately trying to breakthrough with his covers of tender and tragic tunes, is like a bad luck charm, not just to those around him, but to himself as well.
the world renowned animator turned his attentions away from fantastical fairy tales that have made him and living legend and to the life of aeronautics engineer Jiro Horikoshi, the man behind Japan's Mitsubishi A6M Zero fighter plane, which was used as a dogfighter and later in kamikaze missions during World War II. Though Miyazaki has left behind his cavalcade of silly spirits and magical beasts, there is no shortage of wonder in The Wind Rises.
Proving once again that true stories with foregone conclusions can be just as gripping as a conventional thriller, Paul Greengrass's tense, overwhelming Captain Phillips faithfully, fiercely recounts the siege of the American container ship Maersk Alabama by Somali pirates in April of 2009.
The full slate for the 51st New York Film Festival is littered with titles we’ll likely be talking about for the rest of the year (as the Oscar picture snaps into focus), and possibly for years to come. Potential classics from Paul Greengrass (Captain Phillips), Joel and Ethan Coen (Inside Llewyn Davis), Alexander Payne (Nebraska), Jim Jarmusch (Only Lovers Left Alive) and more.