“I was thinking of these movies from when I was a teenager in the ’80s, almost like a subgenre of movies of people who get taken out of their comfortable lives and put into sort of strange environments,” said Baumbach
“Cake,” in which Jennifer Aniston plays a bitterly grieving, caustically acerbic and chronically pained Los Angeles woman, belongs to a contrived kind of low-budget movie — drab and depressed, but predictably poignant — just as artificial as any blockbuster convention.
“Mortdecai” is based on the first in a series of irreverent comic novels by Kyril Bonfiglioli, a British author of Italian and Slovenian heritage. Published in the 1970s, the books chronicle the amoral antics of aristocratic British art dealer Lord Charlie Mortdecai (Depp), who is aided on his drink-sodden adventures by his thuggish but resourceful and sexually irresistible manservant Jock Strapp (Paul Bettany).
Set in an unidentified section of Southern California, the movie finds literature teacher Claire Peterson (Lopez) separated from her husband for almost a year but not quite ready to move on, however much her best friend/sassy vice principal (Kristin Chenoweth) urges her to do so.
“Imitation Game” is up for outstanding wide release film, along with “Love is Strange,” ”Pride,” ”The Skeleton Twins” and “Tammy.”
Adapted from Philip Roth’s 2009 novel, “The Humbling,” directed by Barry Levinson (“Rain Man”), introduces audiences to Axler as he limply applies makeup and recites Shakespeare to himself in the mirror.
“I saw ‘Friends’ and ‘Seinfeld’ and thought, ‘What part of New York is this?'” recalled Barris, who is black. “It’s not about being diverse. It’s about being true to the world.”
Several films have indeed been there, done that — or variations of that — in the 12 years since, including “Bridesmaids” and “The Hangover,” which all but redefined the pre-marriage debauchery sub-genre.
The malware’s fanning spread through the network recalls the stealthy swoop of the black-clad gangsters of Mann’s last movie, the John Dillinger thriller “Public Enemies,” as they sinuously flowed across the marble floor of a Midwestern bank. In “Blackhat,” Mann has returned to modern day for an especially timely tale of cyberterrorism, but his grim fascination with the poetry and choreography of violence is the same, even if it comes by pixels rather than pistols.