The story of a man with the ability to time-travel... and the girl he meets along the way.
Type: Event | Date: Friday, Nov 1, 2013
Type: Article | Date: Sunday, Jan 26, 2014
Macklemore & Ryan Lewis, to Robin Thicke, to Taylor Swift and more...
Type: Post | Date: Friday, Jan 10, 2014
Plus why she changed her mind after turning the film down
Type: Post | Date: Tuesday, Jan 7, 2014
Yolanda and Lisa defend Brandi, but should they?
Type: Gallery | Date: Monday, Dec 30, 2013
Breakout projects of 2013: Even though she’s been kicking around the mu...
Type: Post | Date: Wednesday, Dec 18, 2013
We 're exhausted from looking back, and we're only halfway through
Type: Post | Date: Tuesday, Dec 3, 2013
The annual guild pruning leaves room to maneuver for other hopefuls
Type: Post | Date: Tuesday, Nov 12, 2013
Watch our interview with the actress: Is more time travel in her future with 'Passenger?'
Type: Event | Date: Tuesday, Oct 6, 2009
Filmmaker Mark Hartley explores Australia's hidden genre in this documentary that casually casts aside "official" film history to celebrate the demented genius of director Brian Trenchard-Smith, and the exciting wave of little-known but supremely entertaining films that entertained adventurous Australian filmgoers throughout the 1970s and '80s. Every film student worth his or her weight in celluloid has seen Breaker Morant and Picnic at Hanging Rock, but what about the lesser-known gems that didn't make the film-school textbooks? In his forward to Tim Lucas' book Mario Bava - All the Colors of the Dark, director Martin Scorsese states, "We have to keep resisting the idea of official film history, a stately procession of 'important works' that leaves some of the most exciting films and filmmakers tucked away in the shadows." In this documentary, director Hartley explores the films forgotten by "official film history" with the comprehensive eye of a true film buff. As a child watching such films as Snapshot and The Man from Hong Kong, Hartley immediately recognized how wildly disparate they were in tone and execution from the films that comprised Australia's traditional film library. Appearing like American genre films that just happened to be shot in Australia and cast with Australian actors, these so-called "Ozploitation" flicks flourished in the wake of relaxed censorship laws down under. Yet despite constant chatter about the "new wave" of Australian cinema, financially successful films like The Man from Hong Kong and Patrick that were popular both at home and abroad were never mentioned, sneeringly dismissed as "genre" films rather than Australian films. Perhaps in the wake of such successful Australian films as Wolf Creek and Undead -- and looking ahead to such films as the slasher shocker Storm Warning and the eagerly anticipated remake of Long Weekend -- curious filmgoers are finally prepared to discover what they've been missing all these years. ~ Jason Buchanan, All Movie Guide
Type: Event | Date: Tuesday, Sep 15, 2009
In Roman Polanski's first American film, adapted from Ira Levin's horror bestseller, a young wife comes to believe that her offspring is not of this world. Waifish Rosemary Woodhouse (Mia Farrow) and her struggling actor husband, Guy (John Cassavetes), move into the Bramford, an old New York City apartment building with an ominous reputation and only elderly residents. Neighbors Roman and Minnie Castevet (Sidney Blackmer and Ruth Gordon) soon come nosing around to welcome the Woodhouses to the building; despite Rosemary's reservations about their eccentricity and the weird noises that she keeps hearing, Guy starts spending time with the Castevets. Shortly after Guy lands a plum Broadway role, Minnie starts showing up with homemade chocolate mousse for Rosemary. When Rosemary becomes pregnant after a mousse-provoked nightmare of being raped by a beast, the Castevets take a special interest in her welfare. As the sickened Rosemary becomes increasingly isolated, she begins to suspect that the Castevets' circle is not what it seems. The diabolical truth is revealed only after Rosemary gives birth, and the baby is taken away from her. Polanski's camerawork and Richard Sylbert's production design transform the realistic setting (shot on-location in Manhattan's Dakota apartment building) into a sinister projection of Rosemary's fears, chillingly locating supernatural horror in the familiar by leaving the most grotesque frights to the viewer's imagination. This apocalyptic yet darkly comic paranoia about the hallowed institution of childbirth touched a nerve with late-'60s audiences feeling uneasy about traditional norms. Produced by B-horror maestro William Castle, Rosemary's Baby became a critically praised hit, winning Gordon an Oscar for Best Supporting Actress. Inspiring a wave of satanic horror from The Exorcist (1973) to The Omen (1976), Rosemary's Baby helped usher in the genre's modern era by combining a supernatural story with Alfred Hitchcock's propensity for finding normality horrific. ~ Lucia Bozzola, All Movie Guide