A drama based on a Texas congressman Charlie Wilson's covert dealings in Afghanistan, where his efforts to assist rebels in their war with the Soviets have some unforeseen and long-reaching effects.
Director:
Mike Nichols
Stars:
Tom Hanks,
Julia Roberts,
Philip Seymour Hoffman
In order to raise the tuition to send her young son to private school, a mom starts an unusual business -- a biohazard removal/crime scene clean-up service -- with her unreliable sister.
A story of a man who fakes his own death and assumes a new identity in order to escape his life, who then moves in with a woman who is also trying to leave her past behind.
An eccentric, if not charming Southern professor and his crew pose as a classical ensemble in order to rob a casino, all under the nose of his unsuspecting but sharp old landlady.
Two college students share a ride home for the holidays, but when they break down on a deserted stretch of road, they are preyed upon by the ghosts of people who have died there.
Iris invites her friend Jack to stay at her family's island getaway after the death of his brother. At their remote cabin, Jack's drunken encounter with Hannah, Iris' sister, kicks off a revealing stretch of days.
Director:
Lynn Shelton
Stars:
Mark Duplass,
Emily Blunt,
Rosemarie DeWitt
A nine-year-old amateur inventor, Francophile, and pacifist searches New York City for the lock that matches a mysterious key left behind by his father, who died in the World Trade Center on September 11, 2001.
Six Californians start a club to discuss the works of Jane Austen, only to find their relationships -- both old and new -- begin to resemble 21st century versions of her novels.
When a law school dropout answers an advertisement to be a personal assistant he unknowingly signs on to work for a belligerent has-been magician struggling to resurrect his career. This leads to a journey across the country staging the comeback of a lifetime. Written by
Anonymous
The scene with the mass hypnosis, supposedly in Cincinnatti, is clearly in the main lobby of the Dorothy Chandler Pavillion in Los Angeles. The banner with Placedo Domingo's name is even clearly seen hanging outside. See more »
Quotes
Buck Howard:
Troy you can bring that, and... toss my salad when you get back to the hotel.
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The Great Buck Howard is not a great movie, but it is sometimes a sweet movie. Deliberately pushing the nostalgia button, the film bathes in the lost star power of a once famous "mentalist" Buck Howard (John Malkovich), who best represents the simple days of magicians like the Amazing Kreskin (the inspiration for Buck's character). As with Kreskin, Buck once delighted the late night shows, Vegas venues, and small towns such as Akron, Ohio.
Troy Gable (Colin Hanks) drops out of law school to become a writer (his uninspired voice over narration notwithstanding), but first he becomes Howard's assistant, much to the chagrin of his father (Tom Hanksyes, that Hanks and that real-life father). Troy gets plenty of material from his boss, a dime-store vaudeville diva who yet displays a self confidence and pride to help the most cynical of us see the need to push on in the face of adversity, not the least of which is becoming passé.
Along the way we might learn a thing or two about professional integrity, true grit, and the possibility of love in all the odd places. Troy seems to learn those lessons although Hanks so underplays it's hard to tell. Director Sean McGinly apparently can't coax anything more than dimpled smiles from Hanks, whose similarity to his dad is both physical and temperamental. "Bland" is another word that comes to mind although I found the younger Hanks more animated on the London stage.
More passionate is publicist Valerie Brennan (Emily Blunt, reminding us of egos in Devil Wears Prada), with whom Troy must work and love. But, hey, even Malkovich underplays for this one, although his aging egotist is still impressive with the actor's patented impatience and theatrical outbursts. It's just that the underwhelming script doesn't allow the principals to rise above clichés, and the framing device of the relationship between narrator and mentalist goes nowhere (As it didn't for Gatsby's Nick either, I suppose).
It's a small world of small town vaudeville, fading but eloquent about talent and the need to be who you really are. Not easy, that.
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The Great Buck Howard is not a great movie, but it is sometimes a sweet movie. Deliberately pushing the nostalgia button, the film bathes in the lost star power of a once famous "mentalist" Buck Howard (John Malkovich), who best represents the simple days of magicians like the Amazing Kreskin (the inspiration for Buck's character). As with Kreskin, Buck once delighted the late night shows, Vegas venues, and small towns such as Akron, Ohio.
Troy Gable (Colin Hanks) drops out of law school to become a writer (his uninspired voice over narration notwithstanding), but first he becomes Howard's assistant, much to the chagrin of his father (Tom Hanksyes, that Hanks and that real-life father). Troy gets plenty of material from his boss, a dime-store vaudeville diva who yet displays a self confidence and pride to help the most cynical of us see the need to push on in the face of adversity, not the least of which is becoming passé.
Along the way we might learn a thing or two about professional integrity, true grit, and the possibility of love in all the odd places. Troy seems to learn those lessons although Hanks so underplays it's hard to tell. Director Sean McGinly apparently can't coax anything more than dimpled smiles from Hanks, whose similarity to his dad is both physical and temperamental. "Bland" is another word that comes to mind although I found the younger Hanks more animated on the London stage.
More passionate is publicist Valerie Brennan (Emily Blunt, reminding us of egos in Devil Wears Prada), with whom Troy must work and love. But, hey, even Malkovich underplays for this one, although his aging egotist is still impressive with the actor's patented impatience and theatrical outbursts. It's just that the underwhelming script doesn't allow the principals to rise above clichés, and the framing device of the relationship between narrator and mentalist goes nowhere (As it didn't for Gatsby's Nick either, I suppose).
It's a small world of small town vaudeville, fading but eloquent about talent and the need to be who you really are. Not easy, that.