Carly Rae Jepsen will open the 45-city North American tour. By Gil Kaufman Justin Bieber Photo: Ethan Miller/ Getty Images While Justin Bieber fans are awaiting the June 19 release of Believe , perhaps they can slake their fever by snatching up some tickets to the singer’s upcoming North American tour. Bieber will hit the road for a headlining tour in support of his fourth album on September 29 with a show in Glendale, Arizona, with fans who purchase tickets to the shows getting a chance to pre-order the disc. The “Believe” outing will hit 45 cities before wrapping up in Miami on January 26, 2013, with prot
The 2012 Cannes Film Festival is underway (catch up with Movieline’s coverage from the French Riviera here), and plenty of stars have already traipsed the Croisette. See Marion Cotillard, Sean Penn, Bill Murray, Jada Pinkett Smith, Naomi Watts, Eva Longoria, Freida Pinto, Jane Fonda, Jessica Chastain, Diane Kruger, and more in Movieline’s gallery of red carpet looks and candid shots from Cannes. Some favorite Cannes 2012 moments so far… Freida Pinto and Jane Fonda on the red carpet… Sean Penn and snap-happy Cannes president Gilles Jacob… Jacques Audiard, Marion Cotillard, and Matthias Schoenaerts at the premiere of Rust & Bone … Click for more images! Get all of Movieline’s Cannes 2012 coverage here.
After months of humiliating posters and destabilizing trailers , the big-screen “adaptation” of Heidi Murkoff’s megahit advice tome What to Expect When You’re Expecting has finally arrived at multiplexes nationwide. Critical reactions are about as chilly as you might expect for a film that turns one of the most influential books of the last quarter-century into a kitchen-sink ensemble romcom; while director Kirk Jones’s film does seem to have its following ( 21 percent fresh on Rotten Tomatoes! Even A.O. Scott is into it ! Sort of!), the overriding sense seems to be one of vague — or maybe not so vague — loathing. Let’s cool off with a refreshing dip in the bile. 9. “The best seller What To Expect When You’re Expecting has been around for 28 years, making the book much newer than most of the jokes in this all-star movie.” — Farran Smith Nehme , NY Post 8. “The cheerily childless out there don’t get any screen time, not just because this is a film about having kids but because they wouldn’t fit into the overall worldview, which is that you haven’t lived until you’ve spawned, or, barring that, snagged a cute infant from Ethiopia.” — Alison Willmore , Movieline 7. “In a year when women’s reproductive freedoms are constantly in the political crosshairs, What to Expect When You’re Expecting feels like just another affront to anyone who owns and operates a uterus.” — Alonso Duralde , TheWrap 6. “Any movie that opens with Cameron Diaz tossing her cookies on the set of a Dancing with the Stars -esque reality show can’t be all bad, right? That’s the mother of all rhetoricals, and speaking of mothers: This mostly laugh-free pregnancy comedy, adapted from Heidi Murkoff’s pop-parenting best-seller, is at least a slight step up from director Kirk Jones’s last effort, 2009’s claw-your-eyes-out-awful Robert De Niro vehicle Everybody’s Fine .” — Keith Uhlich , Time Out New York 5. “I guess this picture should get some novelty points for providing a theme song to a miscarriage scene. David Gray’s ‘Forgetting,’ in case you were wondering. Get it? Because there’s always a next time? Despite the small pleasures the movie’s performers strive to provide, I sincerely hope that no siblings are considered.” — Glenn Kenny , MSN Movies 4. “Nutshell, meet review. Review, meet nutshell. I can sum up my feelings about What to Expect When You’re Expecting in a single word: Ugh. Ugh, because of the acting. Ugh, because of the dialogue. Ugh, because of characters doing ridiculous things and acting the way no reasonable human being on this planet would act/react. It’s a comedy with few laughs, a romantic tale with zero sizzle, and, supposedly, it’s a movie for both sexes. I say it’s for neither. And stay away… stay far, far away… from this one on date night if you ever again hope to convince your partner it’s your turn to choose a movie.” — Rebecca Murray , About.com 3. “Sure, it’s just a silly, stupid Hollywood chick-flick, but the movie’s attitude is so repugnant that it deserves its own special warning: This movie may cause you to seek an immediate vasectomy . There is hardly a shred of believable human behavior in this film. Granted, I haven’t hung out with a pregnant woman for nine months straight, but Banks’s and Diaz’s inanely hyperbolic performances sure do feel like the sort of caricatures that exist only in a Hollywood type’s head. (By the way, it goes without saying that just about everybody in this movie is well-off enough that a baby will present no great financial burden to them. Too bad if you’re sitting in the audience and can’t afford a child — you’re probably not worthy to be a parent anyway.)” — Tim Grierson , Deadspin 2. “The movie reads like an extended Caroline Hax ‘Tell Me About It’ column of petty complaints so stunningly self-involved, irresponsible, and selfish that what the movie needs most is a representative of Child Protective Services to take all the babies to better homes. It is another measure of the movie’s disregard of its audience that we go back to the Dudes so they can reverse everything they said the first time. It is not that they have learned anything. The movie is just lazy enough to hope some warm ‘parenting is wonderful’ comments will erase the synthetic waste of celluloid (pixels?) that has gone before. No such luck.” — Nell Minow , BeliefNet 1. “‘End of day, family’s all that matters,’ says Quaid, never mind that his character’s abusive fathering made his son into an obese neurotic. ‘Kids—that’s all we really leave behind.’ If that’s true, and if millions of years of biological, intellectual, and technological evolution must yield to shallow-field American family values, the least we can do is cop to our shoddy legacy. Let’s start with this disdainful, demoralizing, grimly unfunny bastard of a film.” — Eric Hynes , The Village Voice [Reviews via Rotten Tomatoes ]
Reality TV is getting the Cannes treatment at the world’s premiere film festival. Italian director Matteo Garrone (pictured above right with actor Nando Paone) brought Reality to the fest’s competition, following up his critically acclaimed gangster pic Gomorrah several years ago. The film centers on a village fisherman who sacrifices everything for the perceived chance to become a reality-television celebrity. After being persuaded to apply for the Italian version of Big Brother , Luciano gets a follow up interview in Rome. He is initially reluctant to pursue the role, but after an interview he thinks went well, Luciano begins to believe he’s in the running for the series. After returning to Naples, he begins to believe he’s still “being cast” as he goes about his daily life. Soon, he lives as if he’s already on the show. A chance meeting with people from Rome turns into an “incognito casting session,” and soon it gets worse as he loses sense of actual reality. “After Gomorrah , I was waiting for a theme that would be as powerful,” Garrone said in Cannes on Friday morning. “I wanted a surprising film, but after Gomorrah , I didn’t realize I’d be hitting a brick wall.” The film is chock full of thematic takeaways, including the religious metaphor that through good works, one can achieve paradise: In the film, Luciano begins to give up his worldly possessions, believing the people secretly watching him will be charmed by his selflessness — much to the horror of his family. Reality could also be an indictment of the meteoric rise of reality television itself over the past decade, though Garrone said the film takes a neutral stance — at least officially. “We shot the film without trying to be critical in any way,” he said. “The main character is like a modern day Pinocchio. One can always re-invent this story. We were thinking of Pinocchio as we were making this film… People can read into this story what they like.” Still, Garrone alludes to some vague overriding associations. “In Rome he finds some kind of redemption,” he noted. The cult of fame topic is not new to modern Italian cinema. Back in 2009, Erik Gandini brought his documentary Videocracy to the Toronto International Film Festival. The film explores how celebrity worship and the quest for television stardom has threatened Italian democracy itself, turning the country into a culture of banality. Garrone’s Reality does not overtly condemn society on that level, but there is enough wiggle room to formulate conclusions. “We wanted to simply tell a tale that’s close to the people,” Garrone said. “We weren’t trying to critique politics or society. We follow this character and then he loses his inner identity and goes mad.” Read more of Movieline’s Cannes 2012 coverage here .
‘Acting was a whole different world,’ the singer-turned-actress tells MTV News, comparing ‘Battleship’ to her music videos. By Kara Warner, with reporting by Josh Horowitz Rihanna in “Battleship” Photo: Universal Pictures Given Rihanna ‘s illustrious and commanding presence in all her music videos , it seems as though the Caribbean-born superstar’s experience performing in various clips would be the perfect training ground for her eventual transition into full-fledged acting. When MTV News sat down with Rihanna recently to discuss her acting debut in “Battleship,” we asked if her work in music videos helped prepare her for her role in the film. “Training ground? Maybe not, it wasn’t exactly that,” Rihanna said. “For me, acting was a whole different world. We make mini-movies with music videos, but there’s always a song track that’s playing, you don’t have to speak, so [with acting] you have to tell that emotion with the tone of your voice, and I have an accent, so I had to change it to a bit of an American accent for this movie, so that was different,” she explained. So might we see more of Rihanna’s acting skills in future films? We asked the “Where Have U Been” singer if having her first film under her belt has given her the confidence to go out and conquer more movie roles. “It will always be brand-new, because it’s a whole different project every time, it’s a whole new person,” she said. “There’s nothing you can have under your belt with acting, not in my opinion, because I’m not a natural. This isn’t my first [career choice], so I don’t know. I think it’s always going to be a challenge for me, but I like that.” Check out everything we’ve got on “Battleship.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos MTV Rough Cut: ‘Battleship’ Related Photos ‘Battleship’
‘This is my favorite place in the mother—-in’ world!’ Drizzy declares. By Maurice Bobb Drake Photo: MTV News HOUSTON — Drake’s ties to Houston run deep. It was the city made famous by Rap-a-Lot Records, the Geto Boys, UGK, DJ Screw and a litany of chopped-and-screwed odes to purple syrup that sired, cultivated and ultimately catapulted the Toronto native into the stratosphere of chart-topping, award-winning artists, so it was only fitting that the MC born Aubrey Graham would pour more of his heart and soul into Thursday night’s Toyota Center performance, an earmarked leg on his mammoth Club Paradise Tour. Before Drizzy took the stage for his nearly two-hour set, he was preceded by a coterie of hip-hop radio fixtures: French Montana, 2 Chainz, Meek Mill, Waka Flocka Flame and J. Cole. Each artist was allotted an average of 30 minutes to run through their budding catalog of hits as the crowd — an amalgamation of ages, races and backgrounds — filed into the expansive arena to see the YMCMB MC. Dressed in a simple black T-shirt and jeans — sans garish bejeweled pendant, necklace or watch — and backed by a five-piece band, the Canadian spitter took the stage just before 10 p.m., bursting with nostalgia and reverence for H-Town. “I love Toronto, but this (Houston) is my favorite place in the mother—-in’ world!” he declared. Drake jumpstarted the throng with last year’s undisputed summer anthem, “I’m on One,” before igniting the crowd with the Weeknd-assisted “Crew Love” from his critically and commercially successful sophomore opus, Take Care . In between sips of mystery drank from a grande-sized Styrofoam cup, Drake bounced across the stage like a whirling dervish, looking as if he were unchained from the restrictions and restraints of the criticism he’s faced since solidifying his brand of moody, self-reflective braggadocio in the hardened, self-policing pantheon of hip-hop. Songs like “She Will” and “Up All Night” flowed from the multiplatinum MC’s happy place like an unrelenting wave crashing on a sandy beach. Drake was having so much fun onstage he felt compelled to share it with his co-stars. “Every n—a you wanna hear is right f—ing here!” Drake said before bringing out 2 Chainz for the newly released banger “No Lie.” The record has yet to gain the kind of traction it deserves, but one thing is clear: You haven’t heard “No Lie” until you’ve heard it in a live arena setting. Next up was Waka Flocka, whose high-energy flow on “Round of Applause” was punctuated by pyrotechnics on the “Baby make that ass clap” refrain. Drizzy briefly put his parade of guest stars on hold to offer up his current crossover hit “Take Care” before Meek Mill stepped into the cypher for “House Party” and “I’m a Boss.” The biggest surprise — literally and figuratively — of the night emerged from stage right to thunderous applause: Rick Ross. The Teflon Don and French Montana joined Drake and Meek Mill for the first-ever all-hands-on-deck live performance of “Stay Schemin” from Rozay’s groundbreaking mixtape Rich Forever . Drake’s growth as a live performer was evident as he took time to single out fans for various compliments, comments and jokes, making 15,000 fans feel as though they were in a small, intimate venue meant for 1,500. Drizzy crooned and pandered to the shrieking females in the audience as a prelude to “Make Me Proud,” but the exuberant pirouettes and middle-fingered Mazel tovs were back with “HYFR” and “The Motto.” The only blemish on the evening came when a young fan managed to hop onstage ala Lil Mama before being promptly removed by herculean security guards. “Shout out to that f— ass n—a that ran onstage,” Drake said. “He probably getting his ass beat right now.” To close out his set, Drizzy thanked the fans for their unyielding support and offered up the defiantly brazen “Headlines,” lest there were any haters left in the building — or in the industry, for that matter — “overdosed on confidence” enough to think they can keep Drake from being Drizzy. Because, as he so eloquently put it on this night, Drake doesn’t care about what the naysayers have to say: He only cares about making music for his fans. Have you seen the Club Paradise Tour? Share your review below! Related Videos Drake Kicks Off His Tour In Houston Related Artists Drake
‘This is my favorite place in the mother—-in’ world!’ Drizzy declares. By Maurice Bobb Drake Photo: MTV News HOUSTON — Drake’s ties to Houston run deep. It was the city made famous by Rap-a-Lot Records, the Geto Boys, UGK, DJ Screw and a litany of chopped-and-screwed odes to purple syrup that sired, cultivated and ultimately catapulted the Toronto native into the stratosphere of chart-topping, award-winning artists, so it was only fitting that the MC born Aubrey Graham would pour more of his heart and soul into Thursday night’s Toyota Center performance, an earmarked leg on his mammoth Club Paradise Tour. Before Drizzy took the stage for his nearly two-hour set, he was preceded by a coterie of hip-hop radio fixtures: French Montana, 2 Chainz, Meek Mill, Waka Flocka Flame and J. Cole. Each artist was allotted an average of 30 minutes to run through their budding catalog of hits as the crowd — an amalgamation of ages, races and backgrounds — filed into the expansive arena to see the YMCMB MC. Dressed in a simple black T-shirt and jeans — sans garish bejeweled pendant, necklace or watch — and backed by a five-piece band, the Canadian spitter took the stage just before 10 p.m., bursting with nostalgia and reverence for H-Town. “I love Toronto, but this (Houston) is my favorite place in the mother—-in’ world!” he declared. Drake jumpstarted the throng with last year’s undisputed summer anthem, “I’m on One,” before igniting the crowd with the Weeknd-assisted “Crew Love” from his critically and commercially successful sophomore opus, Take Care . In between sips of mystery drank from a grande-sized Styrofoam cup, Drake bounced across the stage like a whirling dervish, looking as if he were unchained from the restrictions and restraints of the criticism he’s faced since solidifying his brand of moody, self-reflective braggadocio in the hardened, self-policing pantheon of hip-hop. Songs like “She Will” and “Up All Night” flowed from the multiplatinum MC’s happy place like an unrelenting wave crashing on a sandy beach. Drake was having so much fun onstage he felt compelled to share it with his co-stars. “Every n—a you wanna hear is right f—ing here!” Drake said before bringing out 2 Chainz for the newly released banger “No Lie.” The record has yet to gain the kind of traction it deserves, but one thing is clear: You haven’t heard “No Lie” until you’ve heard it in a live arena setting. Next up was Waka Flocka, whose high-energy flow on “Round of Applause” was punctuated by pyrotechnics on the “Baby make that ass clap” refrain. Drizzy briefly put his parade of guest stars on hold to offer up his current crossover hit “Take Care” before Meek Mill stepped into the cypher for “House Party” and “I’m a Boss.” The biggest surprise — literally and figuratively — of the night emerged from stage right to thunderous applause: Rick Ross. The Teflon Don and French Montana joined Drake and Meek Mill for the first-ever all-hands-on-deck live performance of “Stay Schemin” from Rozay’s groundbreaking mixtape Rich Forever . Drake’s growth as a live performer was evident as he took time to single out fans for various compliments, comments and jokes, making 15,000 fans feel as though they were in a small, intimate venue meant for 1,500. Drizzy crooned and pandered to the shrieking females in the audience as a prelude to “Make Me Proud,” but the exuberant pirouettes and middle-fingered Mazel tovs were back with “HYFR” and “The Motto.” The only blemish on the evening came when a young fan managed to hop onstage ala Lil Mama before being promptly removed by herculean security guards. “Shout out to that f— ass n—a that ran onstage,” Drake said. “He probably getting his ass beat right now.” To close out his set, Drizzy thanked the fans for their unyielding support and offered up the defiantly brazen “Headlines,” lest there were any haters left in the building — or in the industry, for that matter — “overdosed on confidence” enough to think they can keep Drake from being Drizzy. Because, as he so eloquently put it on this night, Drake doesn’t care about what the naysayers have to say: He only cares about making music for his fans. Have you seen the Club Paradise Tour? Share your review below! Related Videos Drake Kicks Off His Tour In Houston Related Artists Drake
Signs that your precious little girl may be inhabited by a malicious demon, according to this first trailer for the Sam Raimi-produced The Possession : She eats her pancakes at abnormal speeds (watch out for that fork), cradles an ancient wooden puzzle box in her bed at night, has a horde of insects living inside her mouth. What are desperate parents Jeffrey Dean Morgan and Kyra Sedgwick to do? Get a peek at the latest in dybbuk horror — so hot right now! — after the jump. Produced by Raimi’s Ghost House Pictures, August 31’s The Possession stars Morgan and Sedgwick as estranged parents of two girls, one of whom makes the best-worst yard sale find ever: A dybbuk box housing an assortment of tokens and pieces of hair, which appear to possess her, effectively combining the Jewish horror and scary child genres in one convenient movie! (A dybbuk, in Jewish mythology, is a malevolent possessing spirit; also see: 2009’s The Unborn .) What makes this movie slightly more interesting is that it’s based on a true story — at least, on the 2004 L.A. Times article ” Jinx in a Box ” that documented the allegedly cursed item known as the Dybbuk Box, an antique wine box found by one unlucky owner at a yard sale that went on to curse subsequent owners and even has its own Wikipedia page . Another fun fact: The Possession features Jewish rap sensation Matisyahu in a supporting role! Plan your summer viewing accordingly. [ Yahoo ]
A former grifter gets out of prison after serving 25 years for killing his partner in The Samaritan, and in a tale as old as time (or at least as old as the movies), tries to go straight, only to get pulled in for one last job. His name is Foley, and he’s played by Samuel L. Jackson, and this film from Canadian director David Weaver is svelte enough in its reassembling of familiar elements to be, for a while, as comfortably pleasant as sipping on what once used to be your go-to drink — until The Samaritan takes a jarring turn right out of Park Chan-wook, and from there takes a tumble into ludicrousness from which it doesn’t recover. The opening, at least, is stagey but solid. Foley is world-weary and jaded, and leaves prison expecting and getting nothing from the outside. Everyone he knows is either dead or would rather not be reminded of the past he represents, and any money he lent out is long gone. Foley is left to rattle around the Toronto he no longer knows, a city portrayed with self-conscious chiaroscuro to emphasize the story’s noir qualities. The only person interested in Foley is Ethan (Luke Kirby), the son of his old partner and a real piece of work. He has a grift and he has a target in mind — the dangerous but wealthy Xavier (Tom Wilkinson) — and while Foley wants nothing to do with the kid (who initially claims no resentment for what happened to his dad), Ethan keeps after him, taking him out for a drink and dropping a girl, Iris (Ruth Negga), into his lap like it’s another option on offer at the bar. Negga’s an interesting actress — her most prominent role to reach US screens so far has been as the best friend of the protagonist in Neil Jordan’s Breakfast on Pluto , and here she gets a solid showcase for her very modern, Asia Argento-ish fierceness. Iris is both femme fatale and gamine in need of rescue, the product of an unhappy orphaned upbringing, a smack addict bearing scars from suicide attempts. She pursues Foley with a single-mindedness that he seems to find quietly alarming, and not just because he has his doubts about her motivations — she wields her disastrousness like a club, as if inviting victimization were part of her appeal, as though being self-aware were enough to address her many problems. The relationship that develops between her and Foley doesn’t crackle with chemistry and gets partially smooshed into a montage, but it does have some edgily interesting moments, as when he tells her she doesn’t need to shut the door when she goes into the bathroom to shoot up, and keeps her company when she does it. Being a con man is so much more a movie profession than any kind of tangibly real-life one that to say someone is unconvincing at it feels a little silly. But Foley just doesn’t make a believable grifter. He’s meant to have once been legendary (Ethan says he was the “best in the city, according to a lot of the old timers”), though we don’t see those days other than in a brief flashback to the murder. In the present, Samuel L. Jackson is so intrinsically Samuel L. Jackson that the idea of his slipping into a role to loosen someone of his or her cash is amusing — he makes a believable tough guy when he beats someone up in the bathroom of a dive bar, but he doesn’t give off the air of a smooth talker. When we do finally get Foley in action, his technique seems to be acting badly, woodenly talking about offshore accounts in a way that blatantly signals he’s here to gyp his target out of something despite his earlier advice that the trick of the game is that “the mark gets to act like he’s doing me a favor.” Jackson doesn’t so much act as appear in films these days, and while he does some initial modulating of his on-screen persona for the role of Foley, it starts to fall away — the way he delivers the line “Rip that shit off this wall and throw it away!” is so close to the rhythms of “Yes, they deserved to die and I hope they burn in hell!” it’s worthy of a giggle. But he makes a good former convict because he seems too together to wallow in the fact that the world has passed him by. As a mood piece, at least, the film’s introduction is mournfully interesting. The Samaritan is best when it’s letting Foley drink alone at his shadowy, empty bar of choice after the bartender has asked permission to ignore him and watch the hockey game, as he tries to decide whether or not to join the girl in the corner, a girl who’s promising trouble but also redemption. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
Johnny Depp likely has a lock on the weekend’s new releases with Tim Burton’s Dark Shadows . The movie is set for 3,700 screens. No other new release comes close, but there are nevertheless plenty of other limited roll-outs that may make their way in a theater near you. Check a few of them out in this weekend’s new-release roundup. Dark Shadows (Opening Wide) Director Tim Burton Writers: Seth Grahame-Smith (screenplay), John August & Seth Grahame-Smith (story), Dan Curtis (television series) Cast: Johnny Depp, Michelle Pfeiffer, Eva Green, Helena Bonham Carter, Chloe Grace Moretz, Bella Heathcote Comedy/Fantasy/Thriller Distributor: Warner Bros In 1750 parents Joshua and Naomi Collins set sail to start a new life in America from England with their young son Barnabas. There they build a fishing empire in coastal Maine. Two decades later, Barnabas (Johnny Depp) is a rich, powerful playboy with the world at his feet. But things unravel when he falls for Josette DuPress (Bella Heathcote) and breaks the heart of Angelique Bouchard (Eva Green) – a witch who dooms him to become a vampire and then buries him alive. Two centuries later, Barnabas is freed from his tomb and emerges in 1972 to meet his descendants. The Cup (Limited Release) Director: Simon Wincer Writers: Simon Wincer, Eric O’Keefe Cast: Bryan Martin, Stephen Curry, Jodi Gordon Drama Distributor: Myriad Pictures The film centers on horse race, the Melbourne Cup, described as a “race that stops a nation.” Held the first Tuesday in November, no other Melbourne Cup had as much significance as the 2002 edition. Australians sought refuge in the race held three weeks after terrorist bombings in Bali killed scores of their countrymen. And a grieving jockey’s courage in the face of his own loss gave Australians a lot more than a race. (Based on a true story). Girl in Progress (Limited Release) Director: Patricia Riggen Writer: Hiram Martinez Cast: Eva Mendes, Cierra Ramirez Comedy/Drama Distributor: Lionsgate, Pantelion Films A single mom, Grace is busy juggling work, bills and a certain Dr. Hartford to give her daughter Ansiedad enough attention. The young girl gets introduced to classic coming-of-age stories by her English teacher and she decides to forget adolescence and get on with life without her mother. While mom is consumed by the affections of her co-worker, Ansiedad gets help from her friend to segue her to ‘adulthood.’ God Bless America (Limited Release) Director: Bobcat Goldthwait Writer: Bobcat Goldthwait Cast: Joel Murray, Tara Lynne Barr, Mackenzie Brooke Smith Comedy/Thriller Distributor: Magnolia Pictures/Magnet On a mission to rid society of its most repellent citizens, terminally ill Frank makes an unlikely accomplice in 16-year-old Roxy. ” It’s wild and over the top but has a big heart as well,” Magnet releasing exec Matt Cowal commented about the film. “There’s a lot of viewers that are going to have a really good time indulging in their own pet peeves which [director] Bobcat revels in.” Viewers will get a better look at actor Joel Murray said Cowell who noted, “One of the strong aspects of the movie is Joel Murray. He’s a strong actor and I think he’s under-utilized. He’s what gives the film grounded. He gives it heart as he’s on a killing spree.” In Alison Wilmore’s Movieline review of the film , however, she notes: “Goldthwait’s latest effort, an overly bleak film ready to write off the world and go down in a blaze of gunfire, both middle fingers raised.” Nobody Else But You (Limited Release) Director: Gérald Hustache-Mathieu Writers: Gérald Hustache-Mathieu, Juliette Sales Cast: Jean-Paul Rouve, Sophie Quinton, Guillaume Gouix Foreign Distributor: First Run Features The film centers on a crime novelist who travels to the countryside to investigate the mysterious “suicide” of a woman who thought she was the reincarnation of Marilyn Monroe. “It’s not a thriller, but I would describe in in the vein of a Coen Bros. film in that it’s offbeat and clever,” said First Run exec Marc Mauceri. “It’s not rocket science. [The film] harkens back to Marilyn Monroe and [its promotional material] is reminiscent of Marilyn calendars of the ’50s.” Portrait of Wally (Limited Release) Director: Andrew Shea Documentary Distributor: Seventh Art Releasing Director Andrew Shea relays the tortured history of Egon Schiele’s celebrated painting (pictured at top), which was stolen by the Nazis in 1939 and spent more than a decade in legal limbo after it turned up “on loan” to the Museum of Modern Art in 1997. ” Portrait of Wally isn’t just about stolen art,” wrote critic John Anderson in Variety . “It’s about cultural skulduggery, political sleaze, institutional hypocrisy and the virtues of persistence.” Wally recently premiered to a sold-out crowd as a special presentation at the Tribeca Film Festival . The Road (Limited Release) Director: Yam Laranas Writers: Aloy Adlawan, Yam Laranas Foreign/Horror Distributor: Freestyle Releasing A 12 year-old case is re-opened when three teens become missing somewhere on an abandoned road. During the course of the investigation, more and more gruesome stories of abduction and murder are unearthed. And after 20 years, the secret of the haunted road may finally be revealed. Tonight You’re Mine (Limited Release) Tonight You’re Mine Director: David Mackenzie Writers: Thomas Leveritt Cast: Luke Treadaway, Natalia Tena, Mathew Baynton Comedy Distributor: Roadside Attractions (theatrical) Set at Scotland’s music festival “T in the Park,” two feuding rock stars get handcuffed together for 24 hours where they’re supposed to perform. Originally titled You Instead , U.S. distributor Roadside Attractions head Howard Cohen called the film actually a “love story set against the Coachella of Scotland.” Cohen said the film is ripe for both cinephile and music fans in the 20s to 30s range. The film opens in New York and Los Angeles. Where Do We Go Now? (Limited Release) Director: Nadine Labaki Writers: Thomas Bidegain, Nadine Labaki, Jihad Hojeily, Sam Mounier Cast: Claude Baz Moussawbaa, Leyla Hakim, Nadine Labaki Foreign Distributor: Sony Pictures Classics The feature revolves around a group of Lebanese women determined to protect their isolated mine-encircled community from outside forces that threaten to destroy it from within. United by a common cause, the women unite across religious lines against the religious fault lines that have torn apart their society and hatch some inventive and even comical plans to keep the men in their village from tearing along religious lines. “Nadine Labaki is a force of nature,” Sony Classics head Michael Barker said about the film’s director and star. “Women of all ages will adore this film. It’s one of those well-made films that’s also so vastly entertaining.” In her Movieline review , Stephanie Zacherek notes: “…its occasional entertainment value aside, the picture is also blithe to the point of being flimsy.” [Comments and other portions of this article were previously published in Brian Brooks’ weekly specialty preview article on Deadline .]
Breaking Sports Video
