With the greatest of respect to a beautiful country, Spain's box office doesn't usually rate much of a mention -- but it seem worth mentioning when it addresses at least one question mark hovering over one of this year's Oscar hopefuls. Juan Antonio Bayona's tsunami drama "The Impossible" didn't get quite the level of buzz some expected out of Toronto: many reviews were strong, but others took issue with the filmmakers' decision to turn the true-life story of a Spanish family, the Belons, into one about a fictional British brood, allowing for more Hollywood-friendly casting. As it turns out, Spanish audiences couldn't care less: the film has been a domestic smash, shattering local records with its opening four-day gross. Will it connect with audiences Stateside in a tough holiday release slot? [Variety]
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It's the final installment of the three-part "The Real Housewives of New Jersey" reunion, and I'm really looking forward to this long, ugly rehashing of the season being wrapped up for good. I mean, this isn't the "Star Wars" or "Lord of the Rings" trilogy; this is a bunch of women screaming at each other for hours and hours on end. Given that the blood feud that started the reunion has shown no signs of being resolved, I guess this means another hour of insults. Yay, insults. But Andy Cohen declares that this episode will be "all out war," which makes me wonder what the previous two hours were -- war-ish? Skirmishes? What?
A quick review of tonight's "Tremé" coming up just as soon as I sacrifice a sock to the music gods...
A review of tonight's "Homeland" coming up just as soon as I forget my jack...
A review of tonight's "Boardwalk Empire" coming up just as soon as I get you some Passover vodka...
In case the marketing spiel has somehow escaped you, James Bond is 50 years old this year. Well, maybe a bit older – he wasn’t exactly a newborn in “Dr. No” – or a bit younger, if you choose to take only 44-year-old Daniel Craig’s salt-and-pepper-stubbled visage into account. Either way, he’s not young anymore, and boy, does “Skyfall” ever want you to know that.
“Brave new world,” 007 mutters grumpily, after his first encounter with a whizzy new Q (Ben Whishaw) who scarcely needs to shave yet. “Old dog, new tricks,” twinkles Naomie Harris’s sexy MI6 underling, her tone vaguely patronizing, as if teaching an elderly uncle how to send an email.
As such platitudes suggest, clever quippery is not one of the many strengths of Bond’s 23rd feature outing. They aren’t even accurate: the perma-dapper spy isn’t learning any new tricks, but rediscovering ones fallen into disuse, like scuffed Oxfords polished to a high shine. The same goes for “Skyfall,” which endearingly stresses fashionably analog traditionalism at every turn: Bond’s gadgets are restricted to a gun and a radio, the beloved, Connery-era Aston Martin makes a reappearance, while for the bulk of the action, far-flung locales are curbed in favour of the Land of Hope and Glory. (In Britain’s banner year of Jubilee and Olympic celebration, that can’t be an accident.) Another old-school touch, Adele’s Bassey-aping title ballad, is pretty splendid, but they may as well have gone with a big-band cover of “Everything Old Is New Again.”
It turns out that you don't even have to be born to qualify as one of the undead popping up on the radar of Theresa Caputo, the star of "Long Island Medium" (Sundays, 9 p.m.) In this exclusive clip, Caputo finds a woman's best friend, Brian, on the other side. Brian, who died in a motorcycle accident almost eight years prior, sends his regards -- and also lets the medium know that he's taking care of the woman's unborn child. Good to know that you can put your dead friends to work as babysitters, at least in the after life.
NEW YORK -- The modest similarities between Robert Zemeckis's last live action film, 2000's "Cast Away," and his latest, "Flight," are interesting. Both begin with a plane crash that changes a man's life, a man who goes on a journey of finding himself and restarting his life anew. Both are films about rebirth. One chooses a tale of a company guy stranded on a desert island to convey the theme. The other chooses that of a pilot caught up in a malfeasance nightmare.
Each commits to film one of the most harrowing plane crashes ever seen*, but while Tom Hanks's time-obsessed protagonist in "Cast Away" learns to take his time through life, Denzel Washington's addiction-afflicted hero in "Flight" learns to admit his problem to the one person he's still fooling: himself.
And that's what the film is about. It may have elements of action filmmaking and courtroom drama, but it is, ultimately, a character study about the sickness of addiction. It captures the embarrassment, the denial, the rage and, crucially, the chronic fallibility that comes with it. The screenplay, from writer John Gatins, pulses with an authenticity that suggests personal experience, but married to a narrative that all but asks whether impairment might have sparked the inspiration to save a hundred lives in a bold way, it becomes something more complex.