The Babadook

An often-effective, surpringly rare horror motion-picture show maneuver is to require Associate in Nursing everyday state of affairs that’s straightforward to relate to and to ramp it up to the purpose of psychopathy. Australian writer-director Jennifer Kent’s assured initial feature is that child everybody is aware of (or has been), the one who’s thus scared of the bugbear — or no matter imagined terror haunts his nights — that he utterly disrupts his parents’ life and his own.

Young Noah Wiseman may be a force of nature as guided missile, promptly the foremost vulnerable and most irritating kid conceivable, infecting his worn-down mother (Essie Davis) with temporary state (at one purpose, he crawls into her bed whereas she’s exploitation her vibrator), having a screaming ill temper within the automotive whereas kicking the rear of her seat, and in bother for transferral home-baked monster-fighting weapons to highschool. The backstory — Amelia’s husband died in a very automotive crash driving her to the hospital to own their son — is poignant and also the portrait of mother and son bolted in a very single, escalating fantasy is riveting and awfully credible. the house stretch, that hints at the origins of the monster, is suspensive and surprising. At first, we’re cornered in a very house with a child World Health Organization is relentless in his fantasy — to the purpose wherever his mother suspects he’s producing proof of Babadook activity, like broken glass the soup. Then, the film enters deeply into Amelia’s troubled mindscape as "The Babadook", that has secure to kill her son by possessing her to try to to the deed, takes over, and guided missile has cause to be genuinely afraid. In films just like the "Amityville Horror" and "The Shining", fathers ar influenced by the supernatural to become menaces to their kids, however this can be a rare instance of the syndrome moving a mother. Davis is surprising because the drained mum, troubled to traumatize a toddler World Health Organization forever says and will the incorrect issue at the incorrect time — protesting regarding the medication he’s been given to create him sleep whereas the social services ar creating a decision. "The Babadook" shares some traits with up to date ghost stories like sensory receptor, "Mama" or "Insidious" however with a stronger character basis. It’s genuinely scarey in its jump moments, however additionally imparts a lingering sense of dread that may stick with you for days — and can positively come back to mind subsequent time you get up within the middle of the night curious what that scratching noise was. Its expressionist vogue means that it’s not simply reduced to an easy story of a psychological delusion — there's a true monster, tho' ambiguity on its nature is carried throughout to the worrisome end. The deceptive, vicious, odd pop-up book that turns up within the home with no real rationalization and triggers the crisis is bright designed, and unsettling. The Seussish-with-a-nightmare-edge illustrations ar dextrously horrid, exactly not appropriate for pliant youngsters, however still gift a unforgettable, virtually cute brand. The Babadook manifests in varied forms — at one purpose, taking drugs on late-night tv within the middle of a Georges Méliès film — strutting and denudation teeth sort of a hideous mixture of Struwwelpeter, Nosferatu, Willy Wonka, Freddy Krueger and also the Child Catcher.

source:http://www.empireonline.com/reviews/reviewcomplete.asp?FID=138767

Movie Info Six years once the killing of her husband, birth defect (Essie Davis) is at a loss. She struggles to discipline her 'out of control' half-dozen year-old, Samuel (Noah Wiseman), a son she finds not possible to like. Samuel's dreams ar littered with a monster he believes is coming back to kill them each. once a troubling storybook known as 'The Babadook' turns up at their house, Samuel is convinced that the Babadook is that the creature he is been dreaming concerning. His hallucinations spiral out of management, he becomes additional unpredictable and violent. Amelia, genuinely frightened by her son's behaviour, is forced to medicate him. however once birth defect begins to ascertain glimpses of a sinister presence all round her, it slowly dawns on her that the factor Samuel has been warning her concerning is also real. 

(C) IFC

• Rating:     Unrated
• Genre:     Drama, Horror, Mystery, Suspense
• Directed By:     Jennifer Kent
• Written By:     Jennifer Kent
• In Theaters:    November twenty seven, 2014 restricted
• On DVD:    April thirteen, 2015
• Runtime:    one time unit. 34 min.

IFC Films - Official Site

source:http://www.rottentomatoes.com/m/the_babadook/ 

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The Immigrant

Movie Info 

In James Gray's The Immigrant, Ewa Cybulski (Marion Cotillard) and her sister sail to ny from their native Poland in search of a replacement start and also the ambition. after they reach Ellis Island, doctors discover that Magda (Angela Sarafyan) is unwell, and also the two women are separated. 

Ewa is free onto the mean streets of Manhattan whereas her sister is isolated.  Alone, with nowhere to show and eager to reunite with Magda, Ewa quickly falls prey to Bruno (Joaquin Phoenix), a captivating but wicked man who takes her in and forces her into prostitution. The arrival of Orlando (Jeremy Renner) - a dashing stage magician who is additionally Bruno's cousin - restores her self-belief and hopes for a brighter future, becoming her only chance to flee the nightmare within which she finds herself.  (c) Weinstein Co

• Rating : R (for sexual content, nudity and a few language)
• Genre : Drama , Romance
• Directed By : James Gray
• Written By : James Gray , Ric Menello
• In Theaters : could sixteen, 2014 Limited
• On DVD : Apr seven, 2015
• US Box Office : $2.0M
• Runtime : 2 hr.

The Weinstein Company - Official Site

source:http://www.rottentomatoes.com/m/nightingale_2013/  - Movies for you Android -  

A Most Violent Year

And not simply A Most Violent Year, either: the foremost violent year. The third film by J. C. Chandor, World Health Organization wrote and directed Margin Call and All Is Lost, could be a neck-prickling ethical heroic tale set in the big apple town, 1981: statistically speaking, the deadliest twelve months within the city’s history, and no time to create a good living.

In the District Attorney’s workplace, murder and corruption cases compile on desks just like the gray snow that collects within the alleyways outside. From the shores of borough, you'll almost see Manhattan within the distance, the skyline of the money district lead-blue and gleaming, the dual towers of the globe Trade Center looming massive. For Abel Morales (Oscar Isaac), that sort of success remains a far off dream, however he’s creating higher progress than most. This first-generation migrant runs a heating-oil business together with his Brooklyn-born better half Anna (Interstellar's Jessica Chastain), World Health Organization handles the accounts. Business is nice, though recently, the corporate has been hit by a spate of hijackings, with anonymous gunmen holding up fuel trucks and spiriting them away to places unknown. One night, Abel spots a wierd figure outside the couple’s lavish new Westchester home. He chases him off, however the subsequent morning, within the bushes by the door, the couple’s girl finds a loaded gun. Abel is convinced this can be the work of 1 of his rivals, World Health Organization between them have the city’s oil market sculpted up sort of a Mafia protection racket. however due to associate assistant D.A. (a subtle, very good David Oyelowo) with a keen interest within the company’s books, it’s Abel who’s tarred as a criminal. notwithstanding, he desires to play things straight; build his empire on ground. “I wish to own the items i take advantage of,” he tells a bunch of Jewish Orthodoxy Jews World Health Organization provide to rent, then eventually sell, him a warehouse down by the harbour. WASPy white faces area unit largely conspicuous by their absence. The city belongs to incomers, and Abel desires them, in turn, to belong to him. You underestimate adult male. and Mrs. Morales at your peril – and, for that matter, Isaac and Chastain. As one or two they’re a dramatic dream team, giving Abel and Pakistani monetary unit a beautiful, acidic chemistry that comes from compounding an excessive amount of business with not enough pleasure. Isaac, with gray streaks through his hair and a slate-coloured suit, yet again skulking spherical chilly the big apple streets once Inside Llewyn Davis, seems like a for good suspicious crow, whereas Chastain, all ruby-red lips and fine silk blouses, has the poise of a steel sculpture. In a terrific scene, the couple hit a ruminant in their automotive on the means home one evening, and whereas Abel hovers miserably over the spasm animal, clutching a hand tool and psyching himself up for the mercy kill, pow! pow!– Pakistani monetary unit attracts a firearm from her handbag and blasts the beast out of its misery. Chandor doesn’t roleplay the amount setting, however like Sidney Lumet, he hunkers down on the pavement together with his characters, showing North American nation their energy and determination to climb higher, as circumstances and their rivals grasp at their ankles. At one purpose, Abel happens by accident to be within reach once one in all his trucks is hijacked, and, recognizing an opportunity to finally learn who’s sabotaging his business, he follows in his automotive – an exploration that becomes a panic-stricken chase down the city’s backstreets, over patches of waste land, through railway yards so on foot and on the subway. On the means Abel finds a gun, and also the temptation for him to use it, and play by the city’s rules instead of his own, is overwhelming. The sequence is controlled and exhilarating – an ethical action sequence – however it additionally reminds Abel, and us, that even this purportedly successful man is at the mercy of spiderly external forces. “You’ve been walking around this whole time thinking this comes right down to your toil, your smart luck, your charm,” snorts "Anna" once he returns home that night. “Mr. F_____’ American Dream. Chandor’s film offers the Dream associate authentic, unreal texture. Here, success is even scarier than failure: it’s a nocturnal fantasy, tempting and ablaze with threat.

source:http://www.telegraph.co.uk/film/a-most-violent-year/review/

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A Most Violent Year (Perancis)

Et pas simplement A Most Violent Year, soit: l'année violente avant tout. Le troisième film de J. C. Chandor, Organisation mondiale de la Santé a écrit et réalisé Margin Call et All Is Lost, pourrait être un conte héroïque éthique cou-picotements mettre dans la grande ville de pomme, 1981: statistiquement parlant, les plus meurtrières douze mois dans la ville de histoire, et pas le temps de créer une bonne vie.

 Dans le lieu de travail du procureur de district, les cas de meurtre et de corruption compilent sur les bureaux, tout comme la neige grise qui recueille dans les ruelles à l'extérieur. Des rives du quartier, vous aurez presque voyez Manhattan dans la distance, la ligne d'horizon du quartier de l'argent plomb bleu et brillant, les deux tours du globe Trade Center imminente massif.

Pour Abel Morales (Oscar Isaac),ce genre de succès reste un rêve lointain, mais il se agit de créer des progrès plus élevé que la plupart. Ce migrant de première génération dirige une entreprise de fuel avec son Brooklyn-né meilleure moitié Anna (Interstellar's Jessica Chastain), Organisation mondiale de la Santé gère les comptes. Business est agréable, même si récemment, le entreprise a été frappée par une vague de détournements, avec des hommes armés anonymes levant camions de carburant et les spiriting retirer dans des endroits inconnus. Une nuit, Abel voit une figure bizarre extérieur somptueux nouvelle maison Westchester du couple. Il le poursuit arrêtés, cependant le matin suivant, dans les buissons près de la porte, la fille du couple trouve une arme chargée.

Abel est convaincu que ce peut être l'œuvre d'une de ses rivaux, Organisation mondiale de la Santé entre eux ont marché du pétrole de la ville sculpté jusqu'à une sorte de racket de protection Mafia. mais en raison de adjointe déléguée D.A. (Une subtile, très bon David Oyelowo)avec un vif intérêt dans les livres de la société, ce est Abel qui est goudronné comme un criminel. nonobstant, il désire jouer des choses droites; bâtir son empire sur le sol . “Je tiens à posséder les éléments Je profite de," at-il dit un tas de Juifs juive Orthodoxie Organisation mondiale de la Santé prévoit de louer, puis finalement de vendre, l'un entrepôt par le port. Visages blancs unité Waspy de domaine largement brillé par leur absence. La ville appartient à incomers, et Abel les désire, à son tour, de lui appartenir.

Vous sous-estimez mâle adulte. et Mme Morales à vos risques et périls - et, d'ailleurs, d'Isaac et Chastain. Comme un ou deux ce est une équipe de rêve dramatique, donnant Abel et pakistanaise unité monétaire une belle, la chimie acide qui vient de composer une quantité excessive de affaires avec pas assez de plaisir. Isaac, avec des stries gris dans ses cheveux et un costume de couleur ardoise, encore une fois rôder frisquet sphérique les grandes rues de pommes une fois Inside Llewyn Davis, qui semble être un pour une bonne corbeau suspect, alors que Chastain, toutes les lèvres de rouge rubis et fines blouses de soie, a l'aplomb d'une sculpture en acier. Dans une scène terrible, le couple a frappé un ruminant dans leur automobile sur les moyens à la maison un soir, et que Abel plane lamentablement sur l'animal de spasme, serrant un outil à main et se psyching la miséricorde kill, pow! pow - unité monétaire pakistanaise attire une arme à feu de son sac à main et explosions la bête hors de sa misère. Chandor ne roleplay pas le réglage de la quantité, mais comme Sidney Lumet, il se accroupit sur le trottoir avec ses personnages, montrant nation nord-américaine leur énergie et leur détermination à monter plus haut, que les circonstances et leurs rivaux saisir à leurs chevilles.

À un but, Abel arrive par accident à portée de main une fois une dans tous ses camions est détourné, et, reconnaissant la possibilité d'enfin apprendre qui a saboter son entreprise, il suit dans son automobile - une exploration qui devient une poursuite de panique bas les ruelles de la ville, plus de parcelles de terre des déchets, à travers les gares de triage afin à pied et dans le métro. Sur les moyens Abel trouve une arme à feu, mais aussi la tentation pour lui de l'utiliser, et de jouer par les règles au lieu de son propre de la ville, est écrasante. La séquence est contrôlé et exaltante - une séquence d'action éthique - mais il rappelle en outre Abel, et nous, que même cet homme prétendument réussie est à la merci de forces extérieures spiderly. "Vous avez été marcher autour de tout ce temps à penser cela vient jusque dans ton travail, votre chance à puce, votre charme," ronflements "Anna" une fois qu'il rentre à la maison ce soir-là. 'M. F_____ ' American Dream. Le film de Chandor offre le rêve associé texture authentique et irréelle. Ici, le succès est encore plus effrayant que l'échec: ce est un fantasme nocturne, et tentant feu avec menace.

source:http://www.telegraph.co.uk/film/a-most-violent-year/review/

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The Hunger Games: Mockingjay - Part 1

The biggest problem with the new Hunger Games movie is right there in the title: Part 1. Mockingjay, the final installment in Suzanne Collins’ best-selling YA trilogy, wasn’t conceived in two parts. That was a decision made in Hollywood by a studio looking to double down and milk every last dime out of its blockbuster franchise. The suits probably thought, ”Hey, it worked for Harry Potter and Twilight, so why not us?” You can’t blame them for wanting to keep the good times rolling. But it’s a pretty cynical business plan, and it’s led to a film that feels needlessly padded. Mockingjay—Part 1 is like a term paper with the margins enlarged and the font size jacked up to reach the assigned number of pages.






This is especially disappointing because the previous chapter, 2013’s Catching Fire, was such a pleasant surprise. While the 2012 original laid out Collins’ dystopian death-sport milieu with flair and faithfulness, it was also a bit flat. Catching Fire, on the other hand, gave the heroine, Katniss Everdeen, an adrenalized urgency. As played by Jennifer Lawrence, Katniss developed into a character who was both brainy and badass. Now, in Mockingjay—Part 1, she’s become passive. The movie picks up after the incendiary conclusion of Catching Fire’s Quarter Quell, when Katniss was rescued and brought to the rebels’ underground fortress in District 13. Here, the anti-Capitol leaders plot their next strike against President Snow (Donald Sutherland), hatching a plan to turn Katniss into the fiery symbol of the resistance and spur the powerless citizens of Panem to rise up against the Capitol. It’s a propaganda war, and she’s the secret weapon—a Che Guevara T-shirt made flesh. The rebel brain trust includes President Coin (Julianne Moore, sporting silver Cruella De Vil locks), spin-savvy strategist Plutarch (Philip Seymour Hoffman, to whom the film is dedicated), hacker Beetee (Jeffrey Wright), the newly clean and sober Haymitch (Woody Harrelson), and Effie Trinket (Elizabeth Banks, channeling a drag queen). They send Katniss and Gale (Liam Hemsworth) to the front lines with a guerrilla film crew that records her battlefield heroics and beams it all back to the huddled masses.



But Snow has a secret weapon of his own. Kidnapped by the nefarious president’s forces at the end of the last movie, Peeta (Josh Hutcherson) reappears in the Capitol, and in a series of interviews with the sensationalist journalist Caesar (Stanley Tucci), he denounces Katniss and urges a cease-fire. The betrayal devastates her, forcing her to realize that her feelings for him weren’t a charade after all. With its Wag the Dog subplot and fist-in-the-air proletarianism, Mockingjay may be the most harmlessly Marxist movie to come out of Hollywood since Reds.



I suppose director Francis Lawrence and writers Peter Craig and Danny Strong deserve some credit for daring to sneak any political cheekiness into a movie that’s as big and corporate as this. But overall their hands are tied too tightly. While the series’ first two films captured the grandeur of the outdoors during the kill-or-be-killed competitions, Mockingjay is mostly bound to the bleak and claustrophobic bowels of a bunker. It suffocates the film. And when the story finally does manage to get interesting toward the end, it just screeches to a halt and cuts off, leaving fans wriggling on the hook for a finale they won’t get to see for another 12 months. That’s not a cliff-hanger, that’s just a tease.


source:http://www.ew.com/article/2014/12/05/hunger-games-mockingjay-part-1



Movie Info


The worldwide phenomenon of The Hunger Games continues to set the world on fire with The Hunger Games: Mockingjay - Part 1, which finds Katniss Everdeen (Jennifer Lawrence) in District 13 after she literally shatters the games forever. Under the leadership of President Coin (Julianne Moore) and the advice of her trusted friends, Katniss spreads her wings as she fights to save Peeta (Josh Hutcherson) and a nation moved by her courage. The Hunger Games: Mockingjay - Part 1 is directed by Francis Lawrence from a screenplay by Danny Strong and Peter Craig and produced by Nina Jacobson's Color Force in tandem with producer Jon Kilik. The novel on which the film is based is the third in a trilogy written by Suzanne Collins that has over 65 million copies in print in the U.S. alone.


(c) Lionsgate







Rating:

PG-13 (for intense sequences of violence and action, some disturbing images and thematic material)


Genre:

Drama , Action & Adventure , Science Fiction & Fantasy


Directed By:

Francis Lawrence (II) , Francis Lawrence


Written By:

Danny Strong , Peter Craig


In Theaters:

Nov 21, 2014 Wide


On DVD:

Mar 6, 2015


US Box Office:

$337.1M


Runtime:

2 hr. 5 min.



Lionsgate Films - Official Site


source:http://www.rottentomatoes.com/m/the_hunger_games_mockingjay_part_1/



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Focus

Focus: Nicky (Will Smith) is a conman who goes about his work guided by a strict code of ethics and a set of rules. He keeps off the cop radar by preferring volume in numbers rather than single big 'tricks' that can attract unwanted attention. He meets and trains the talented, but inexperienced Jess (Margot Robbie), who is utterly impressed and somewhat besotted by him, in the art of thievery. She turns out to be way more talented than he could ever imagine.







Review


You know where you stand with a caper movie. Slippery as an eel, light as a goose-feather and populated by attractive people telling each other porkies, it will inevitably feature a seasoned grifter reciting hard-won knowledge to a scrappy upstart. “There’s hammers and nails,” Will Smith whispers to Margot Robbie in Focus. “You decide which you want to be.” Fortunately, she doesn’t ask how to figure out if you’re an electric drill. As this exchange implies, the latest entry in the category of film that is cinéma du swindle is a rather over-familiar confection. But at least it’s rarely as generic as its thuddingly first-base title, and while the route it takes is one that’s been travelled cinematically many times before, it has enough dazzle along the way to make it worth a watch. Smith and Robbie slip easily into their roles. Frequently cast as an authority figure, most recently in the joyless After Earth, Smith revels in the opportunity to play super-slick hustler Nicky. And Robbie gives as good as she gets, marvellously gutsy as pickpocket Jess. Part romantic comedy, part Jedi/padawan training drama, Focus is a fine showcase for their chemistry — and no doubt the reason they’ll be reunited in next year’s Suicide Squad. Writer-directors Glenn Ficarra and John Requa, the minds behind Crazy Stupid Love, manage for the most part to freshen up the formula with nifty sleight-of-hand. The opening set-piece starts with the pair meeting in conventional romcom style, and ends as something much sneakier, as Nicky and Jess put their cards on the table and recognise each other as kindred spirits. There’s a wonderful ‘ta-da!’ moment over brunch in a café as the scale of Nicky’s operation is revealed. In one standout sequence we track a villainous henchman as he goes about his business, killing time until he ambushes our heroes. The problem is that overall, the movie is just a little too light. Gliding smoothly from one situation to the next, Nicky is a character for whom everything comes effortlessly — as a gruff, foul-mouthed enforcer snapping at his heels, Gerald McRaney displays more personality in one scene than Smith is allowed during his entire screentime. He’s a cypher: a fun companion for the ride, but difficult to root for when the guano hits the fan in the third act. Jess is more interesting, but it’s one of those films that’s only as gripping as the bit of plot-twistiness that’s going on at any given time. Speaking of which, the highlight is a ten-minute sequence at the Mercedes-Benz Superdome in New Orleans. So self-contained it could work as a short film, it guest-stars BD Wong as a giggling, filthy-’tached billionaire who challenges Nicky to a high-stakes bet, and quickly spirals into a hugely suspenseful, assured piece of cinema. It’s at this point that Focus flies.


Director: Glenn Ficarra, John Requa


Cast: Will Smith, Margot Robbie, Rodrigo Santoro source: -http://timesofindia.indiatimes.com/entertainment/english/movie-review/Focus/movie-review/46538629.cms -http://www.empireonline.com/reviews/reviewcomplete.asp?FID=138841 - Movies for your Android -

Woman in Gold

"Woman in Gold" has a rich story to tell. The true account of Maria Altmann's fight to reclaim a famed Gustav Klimt painting of her aunt, "Portrait of Adele Bloch-Bauer I," first stolen by the Nazis and then appropriated by Austria after the war, is laced with riveting history, deep and complex emotion, and fascinating bureaucracy. Yet director Simon Curtis's rendering of Altmann's tale, though respectful and pretty, is somehow lifeless.

source:http://www.nola.com/movies/index.ssf/2015/03/woman_in_gold_movie_review_fa.html#incart_story_package

Gustav Klimt's famous painting of a dark-eyed beauty encased in shimmering gold lozenges is often dismissed by art critics as a disappointing excursion into kitsch by the avant-garde Austrian painter. But the portrait, commissioned by a wealthy Jewish family not long before the outbreak of World War II, has brought visceral pleasure to countless owners of postcards, posters and key-rings who have yet to set foot in New York's Neue Galerie, where the original hangs today. How it got there from Vienna makes for a sensational true-life tale, however staidly told in the new film Woman in Gold.

To Maria Altmann, an elderly Los Angeles Jewish dress-shop owner played in the movie by Helen Mirren, Portrait of Adele Bloch-Bauer was a precious reminder of her glamorous and beloved Aunt Adele, lost forever in the wake of Nazi art theft. Before her premature death, Bloch-Bauer had bequeathed the painting to Vienna's prestigious Belvedere art gallery. Soon after, the painting, along with many other artifacts owned by her family, was brazenly looted by Austrian Nazis; Maria was one of the few in her family who escaped death and ended up in the Untied States. After the War the painting resurfaced and remained in Vienna's prestigious Belvedere gallery for six decades until Altmann — with the help of a young attorney who happened to be the grandson of émigré composer Arnold Schoenberg, a contemporary of Klimt — returned to try to reclaim her family property.

The epic legal fight that followed is the subject of Woman in Gold, a stolidly sequential drama by British director Simon Curtis (My Week With Marilyn). With a directing style best described as reverently ceremonial, Curtis plods through scenic tours of the baroque architectural grandeur of Vienna today, regularly punctuated with flashbacks to the traumatic wrecking of Maria's gilded youth. Dancing the hora at Maria's wedding comes with a thudding overlay of Nazi jackboots. On the soundtrack, lest you miss the message, is "O Mary, don't you weep."

With star power more in mind than goodness of fit, the movie is hopelessly miscast. Mirren is her usual entertaining blast of acerbic brio, but here she improbably reprises her QEII testiness, accessorized with an Austrian accent. For his part Ryan Reynolds, a terrific physical comedian, is all wrong for the earnestly idealistic Randy Schoenberg, who found a novel way to help Maria sue the Austrian government for recovery of a painting it had now recast as a symbol of the country's national identity.

How they accomplished this is such a great yarn that, for all its broad brush strokes, Woman in Gold can't help but tell a moving populist parable about the will to power of an ordinary woman — one among millions, it turns out as the restitution of wartime cultural theft becomes a very big deal in the art world — taking on powerful institutions to regain a tiny fraction of her family's appalling losses.

To the credit of screenwriter Alexi Kaye Campbell and a nice turn by Daniel Bruhl as an Austrian investigative journalist with a guilty secret he is driven to expunge, Woman in Gold does not shy away from Austria's reluctance to face up to its wartime record. Instead, the film suggests that the affirmation of national pride that moved Austrian officials to fight Maria's claim tooth and nail depended on a sustained denial of its own shameful history.

After a Herculean struggle, in the end an Austrian arbitration committee did right by Altmann, who sold Klimt's Adele to cosmetics heir Ronald Lauder for a fortune and donated most of the proceeds to arts institutions and Holocaust survivors' groups. There it hangs in New York, a refugee like its rightful owner — and an enduring testament to the Austrian back-story that never made it into The Sound of Music.

source:http://www.npr.org/2015/04/02/396789932/lost-art-is-reclaimed-in-woman-in-gold

Movie Info

WOMAN IN GOLD is the remarkable true story of one woman's journey to reclaim her heritage and seek justice for what happened to her family. Sixty years after she fled Vienna during World War II, an elderly Jewish woman, Maria Altmann (Mirren), starts her journey to retrieve family possessions seized by the Nazis, among them Klimt's famous painting 'Portrait of Adele Bloch-Bauer I'. Together with her inexperienced but plucky young lawyer Randy Schoenberg (Reynolds), she embarks upon a major battle which takes them all the way to the heart of the Austrian establishment and the U.S. Supreme Court, and forces her to confront difficult truths about the past along the way. 

(C) TWC

Rating:	PG-13 (for some thematic elements and brief strong language)
Genre:	Drama
Directed By:	Simon Curtis
In Theaters:	Apr 1, 2015 Wide
Runtime:	1 hr. 50 min.

The Weinstein Company - Official Site

source:http://www.rottentomatoes.com/m/woman_in_gold/ 

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Wild

Only a hundred or so more days to go. Cheryl Strayed (Reese Witherspoon) did just that. She strayed. Weighted down by guilt, anger and grief over the death of her mother, the then-22-year-old pulled up stakes and -- figuratively, at least -- she wandered, like so many tend to do in times of trouble.

For her, it became a dangerous journey, as the self-described experimentalist and habitual yes-girl wandered farther than most dare, toward heroin addiction, toward meaningless sex, toward anything to help her forget everything but the moment.

And then she found her way back.

It's that moving and inspirational journey -- to the brink of self-destruction and back again -- that she described in her best-selling 2012 memoirs, and it's the journey director Jean-Marc Vallee tells in his beautiful, soul-stirring adaptation, "Wild."

After day one of her hike up the Pacific Crest Trail—a winding path that stretches from the Mexican border all the way up the West Coast of the U.S. to the outskirts of Canada—Cheryl Strayed is seriously questioning her willpower. And her sanity.  

But it was kind of a mental meltdown that got her here in the first place. Her life has become a mess. She knows it, and everyone around her knows it. Before she set her feet down on this rough-cut trail, she had been on a self-destructive path of drug addiction and sex with strangers. It was a trek that had destroyed her marriage and sucked away her health. Maybe walking a thousand miles will set things straight.

If nothing else, this journey might give her a chance to think, to dissect the mistakes she's made, to salve the things that hurt the most. Maybe this exhausting slog filled with aching muscles, scraped knees and bloody feet will allow her to finally dig up all the stuff she's had buried down deep.

So she shrugs into her huge and agonizingly heavy pack once again. She takes the next step. She conquers the next mile. She embraces the next hour alone with her thoughts. With only a hundred or so more days to go.

Cast:

Reese Witherspoon as Cheryl Strayed

Laura Dern as Mom/Bobbi

Thomas Sadoski as Paul

Keene McRae as Leif

source:http://www.nola.com/movies/index.ssf/2014/12/the_wild_reese_witherspoon.html#incart_m-rpt-1

& http://www.pluggedin.com/movies/intheaters/wild-2014.aspx

Movie Info

With the dissolution of her marriage and the death of her mother, Cheryl Strayed has lost all hope. After years of reckless, destructive behavior, she makes a rash decision. With absolutely no experience, driven only by sheer determination, Cheryl hikes more than a thousand miles of the Pacific Crest Trail, alone. WILD powerfully captures the terrors and pleasures of one young woman forging ahead against all odds on a journey that maddens, strengthens, and ultimately heals her. (c) Fox Searchlight

Rating:	R (for sexual content, nudity, drug use, and language)
Genre:	Drama
Directed By:	Jean-Marc Vallée
Written By:	Nick Hornby
In Theaters:	Dec 3, 2014 Limited
On DVD:	Mar 31, 2015
Runtime:	1 hr. 55 min.

20th Century Fox - Official Site

source:http://www.rottentomatoes.com/m/wild_2014/ 

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The Imitation Game

Synopsis

Alan Turing's life story is unequivocally a tragedy. The Imitation Game, a new biopic that focuses on his accomplishments as a codebreaker during World War II, manages to recognize this while celebrating his formidable legacy.

The film tells an important story. Turing, a mathematician, is considered the father of computer science and a pioneer of artificial intelligence. That alone would merit his continued recognition as a great thinker. But he also played a crucial role in World War II—so much so that Winston Churchill said Turing made the most important contribution to winning the war. He was a war hero. Perhaps the biggest war hero.

During the war, the Axis forces had no better weapon than their Enigma machines, cryptographic marvels the Nazis thought were impossible to crack. Turing and other Allied codebreakers thought differently, and built a machine to break the code. This allowed Allied forces to intercept Axis communications, enabling access to information that ultimately helped the Allied forces defeat the enemy.

The film primarily focuses on Turing's time at Bletchley Park's Hut 8. Using a police officer's investigation into Turing in 1951 as a framing device, the story is told largely in flashbacks. The film follows Turing, played by Benedict Cumberbatch, as he antagonizes and bonds with his fellow codebreakers—particularly Joan Clark, the team's brilliant, lone female member (portrayed by Keira Knightley in a subtle, unshowy performance), to whom he was briefly engaged. In the movie, as in life, Turing called off the engagement after he told her he was gay.

The Imitation Game is a good movie, but not a great one: While the actors turn in solid performances, the screenwriting relies too much on the trope of the tortured, misunderstood genius vs. the world, and the historical footage of the war seems awkwardly crammed in to make you remember that, oh shit, U-Boats were scary.

In fact, The Imitation Game is really a few different movies at once: It's a spy caper, a race-against-the-clock film, a celebration of eccentricity, and an indictment of Britain's shoddy treatment of one of her heroes. The framing device was distracting, since it asks us to imagine that Turing would confess his highly classified role to a random police officer.

And the flashbacks to Turing's formative schoolboy relationship border on schmaltzy. Though they do serve to humanize the character, they wouldn't have been necessary if the script gave Turing a more nuanced characterization. Some of his lines sound like it's just Sheldon from Big Bang Theory talking, although Cumberbatch saves much of the material from getting too paint-by-numbers-nerd.

Despite the tremendous debt Britain owes him, Turing died a convicted felon. He committed suicide at age 42, two years after his arrest for "gross indecency" after being exposed as a homosexual. He was unable to continue working with the government, and was forced to choose between chemical castration and prison, and chose castration. The man whose work helped save Britain was treated monstrously, just for being who he was.

The film touches on the tragic ending to Turing's life as the film closes, as well as the way his reputation has been (thankfully) restored in recent years. It notes that he was eventually granted a posthumous royal pardon last year. I'd be surprised if you didn't leave the theater after seeing it without agreeing with former Prime Minister Gordon Brown's apology to the (long-dead) Turing in 2009: "We're sorry. You deserved so much better."

I saw The Imitation Game at the Toronto International Film Festival, but it will have a limited wide release November 21. So spend Thanksgiving this year being thankful Alan Turing existed.

source:http://gizmodo.com/the-imitation-game-review-a-stirring-look-at-turings-t-1633503454

Movie Info

During the winter of 1952, British authorities entered the home of mathematician, cryptanalyst and war hero Alan Turing (Benedict Cumberbatch) to investigate a reported burglary. They instead ended up arresting Turing himself on charges of 'gross indecency', an accusation that would lead to his devastating conviction for the criminal offense of homosexuality - little did officials know, they were actually incriminating the pioneer of modern-day computing. 

Famously leading a motley group of scholars, linguists, chess champions and intelligence officers, he was credited with cracking the so-called unbreakable codes of Germany's World War II Enigma machine. An intense and haunting portrayal of a brilliant, complicated man, THE IMITATION GAME follows a genius who under nail-biting pressure helped to shorten the war and, in turn, save thousands of lives. 

(c) Weinstein

Rating:	PG-13 (for some sexual references, mature thematic material and historical smoking)
Genre:	Mystery & Suspense , Drama
Directed By:	Morten Tyldum
Written By:	Graham Moore
In Theaters:	Nov 28, 2014 Wide
On DVD:	Mar 31, 2015
US Box Office:	$90.5M
Runtime:	1 hr. 54 min.

The Weinstein Company - Official Site

source:http://www.rottentomatoes.com/m/the_imitation_game/

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