Alex (played here by first time writer/director Ryan O’Nan) is dumped by his girlfriend, given the heave-ho by his band-mates and fired from his boring job as a real-estate agent, so he decides to form a duo with devoted fan Jim (Michael Weston). The pair set off on a sort of cross-country tour of the good ole US of A but then their terrible tour manager Cassidy (Arielle Kebbel) disappears at the worst time that Alex and Jim could have possibly have imagined.
There is something inherently easy about British romantic comedies. Maybe it’s the lure of seeing a posh man mumbling incoherently, or the thrill of hearing a curse word in the Queen’s English. Maybe it’s the fact we can understand the cultural references, unlike many of Hollywood’s offspring (to this day, I still don’t fully understand why everyone must drink out of red paper cups).
Following the immense praise for the first look at Daniel Day-Lewis as Abraham Lincoln from Steven Spielberg's highly anticipated Presidential biopic, Lincoln, comes a new poster that gives us even more of the Oscar winner's near mythic presence.
Lawless is the latest film from John Hillcoat, so far trailers have played coy regarding the film's content, focusing more on the plot and the impressive pedigree of the cast, but finally we get a trailer that really shows its teeth.
With his latest film Cosmopolis having its limited release in New York and Los Angeles this week, it has recently been confirmed that Robert Pattinson is set to play a young Lawrence of Arabia in Werner Herzog's indie, Queen of the Desert.
“Shut it!” ; “You’re Nicked!”; “Leave it aaaaht!” No, this isn’t another episode of The Apprentice, but a modern updating of the 1970’s most iconic and well-loved British cop shows.
Having already announced he would be joining Lars Von Trier's erotic drama, Nymphomaniac, Shia LaBeouf has confirmed a few other raunchy details.
The Master is coming. To celebrate we have a new clip and a snippet of Jonny Greenwood's imposing new score.
Borrowing the title for her second feature from a Leonard Cohen song, Sarah Polley’s tale of love, lust, passion and folly promises to transfer the poetry and melancholy of his words to the screen. Despite the unlikely combination of Cohen's raw emotion with her comedic indieness, the promise is delivered with this grounded character-driven debunkification of the myth of marriage. While Take This Waltz is unashamedly idiosyncratic and embraceful of its own dreamy pretension, there is something about it that rings inexorably true and ultimately leads to an end that justifies the means.