Swedish director Tomas Alfredson’s take on John le Carré’s popular British spy novel “Tinker Tailor Soldier Spy” is an expertly crafted return to old-school filmmaking set against the backdrop of the Cold War. Much like the story’s taciturn protagonist George Smiley (Gary Oldman), the taut espionage thriller shows much but says little, keeping viewers on their toes as the British secret service elite scrambles to uncover the mole in its midst.
On the surface, “Shame” is about a man with a sex addiction but taps into the paradoxically isolating nature of modern, high-tech society in surprising ways. Unfortunately, it’s the first part that’s been getting the most attention, and having seen the film, I can’t say that I blame people.
Director Steve McQueen reunites with actor Michael Fassbender for his sophomore feature “Shame,” a grim story of a closeted sex addict whose carefully controlled private life is thrown off balance with the arrival of his wayward younger sister.
Michelle Williams channels Hollywood’s most notorious blonde bombshell in director Simon Curtis’ “My Week with Marilyn”, an account of the late star’s collaboration with Sir Laurence Olivier (Kenneth Branagh) through the eyes of his young assistant.
Shot in vibrant 3D, “Hugo” is a curious mix of old and new; a quirky fairytale that highlights the tension between tradition and innovation, but nevertheless reminds us of the enduring magic of the movies.
In town to promote her latest project, Alexander Payne’s highly anticipated “The Descendants,” actress Judy Greer traipses into the press-reserved seventh floor suite of San Francisco’s Ritz-Carlton in towering platform heels, looking fresh-faced and chic in black skinnies, blouse and velvet blazer.
Adapted from Kaui Hart Hemmings’ novel with a script co-written by Payne, Nat Faxon and Jim Rash, “The Descendants” introduces Matt King (George Clooney), lawyer and heir to a sizeable Hawaiian land trust, as he copes with his comatose wife in the aftermath of a speedboat accident.
Paying homage to film noir of a bygone Hollywood era through its low-light aesthetic and dramatic voiceovers, Clint Eastwood’s ambitious biopic “J. Edgar” is a complex character study of the notorious founding director of the Federal Bureau of Investigation. Starring Leonardo DiCaprio as J. Edgar Hoover, the film recounts both his achievements and abuses, interspersed with glimpses of a little-known personal life, in order to form a meditation on that grey area between morality, justice and power.