“Green Room” director/writer Jeremy Saulnier uses real-world elements to create horror film. The audience will be able to relate to the fight-or-flight feelings punk rock band members feel after witnessing a crime.
How did David Hockney, born and raised in working-class Yorkshire, become perhaps the modern painter most associated with Los Angeles? The lively, affectionate documentary "Hockney" doesn't necessarily answer that question, but it provides entertaining glimpses of the man just the same.
Will Ferrell is not pursuing a film project about President Ronald Reagan, a spokesman for the actor said Friday. The actor had read and considered the script for "Reagan" but had never committed to developing or starring in the comedic film, which had prompted a strong family backlash.
Hollywood's 2015 summer was its second biggest ever, with nearly $4.8 billion in box office. Here are the blockbusters that will hope to match that total, as well as some other notable releases coming in the next four months:
Lonely Island, the trio of Andy Samberg, Akiva Schaffer and Jorma Taccone, has technically already made the leap to the big screen in 2007's wannabe daredevil comedy "Hot Rod." But it won't be until "Popstar: Never Stop Never Stopping" hits theaters that the full experience of Lonely Island — in all their seductively wrapped male anatomy glory and seafaring glee — lands at the movies.
If you watched the trailer for "Keanu" - starring Jordan Peele and Keegan Michael Key of Comedy Central's beloved series "Key & Peele" - and wondered "is this a real movie?" you're not alone. In fact, it's one of the auto-searches on Google. It's understandable, as most know "Key & Peele" as a veritable factory of genre-bending viral sketches that engage with the tropes of Hollywood. But yes, "Keanu" is a real movie, a real funny one at that.
It seems there's no stopping Garry Marshall's terrifying cinematic rampage on our nation's treasured holidays. Having ruined both "Valentine's Day" and "New Year's Eve" with his star-packed omnibus projects, the director has burned his way through the calendar, landing on "Mother's Day" as his next victim.
Based on a popular Playstation game, the sci-fi animated feature "Ratchet & Clank" seeks to capture the kid-friendly audience this weekend, as well as the gamer crowd who have a familiarity with the space-based game characters. The film is a basic hero story about Ratchet (James Arnold Taylor, also the voice in the video game), a young lombax (a cat-like creature) who dreams of joining the Galactic Rangers, only to find that the hero business is much more complicated than it seems.
Much of the pre-release chatter around "Mother's Day," the latest holiday-themed group therapy session from director Garry Marshall ("Valentine's Day," "New Year's Eve"), has focused on the subject of Julia Roberts' hair - specifically, the strawberry-blond Anna Wintour bob that her character wears throughout. As the diligent investigators at People recently confirmed, Roberts donned the exact same wig 17 years ago for a brief scene in "Notting Hill," in which she played an actress playing an astronaut in an outer-space thriller called "Helix."
One of the earliest and grisliest scenes in "Tale of Tales," a fitfully entrancing English-language fantasy from the Italian writer-director Matteo Garrone, is what you might call an offal sight: A queen (played by a severe-looking Salma Hayek) sits in an all-white room, devouring the heart of a freshly slain sea monster. The queen may be clad in funereal black, as befits her status as a new widow, but any suggestion of grief is refuted by the smear of blood on her face and the fierce, almost sexual hunger with which she tears into the creature's flesh.
"Sworn Virgin," Laura Bispuri's subdued and intimate debut feature, follows a young woman who has availed herself of a centuries-old Balkan tradition to live as a man. You could say the movie arrives at a fortuitous moment, given that transgender stories and experiences have never been more culturally front and center. But Bispuri, an Italian director adapting a novel by the Albanian writer Elvira Dones, wisely sidesteps any facile parallels in her examination of a fading and fascinatingly specific subculture.