The radically different Formula One racers James Hunt (Chris Hemsworth, left) and Niki Lauda (Daniel Bruhl) are at the center of Ron Howard's <em>Rush</em>, a biographical drama that's as strong on character as on cars.
Credit Jaap Buitendijk / Universal Pictures
Hunt's penchant for dangerous driving, as well as his playboy tendencies, fueled his rivalry with Lauda.
Originally published on Fri September 20, 2013 8:52 am
You might think that if the driving scenes in your auto-racing movie are the least interesting thing about it, that's a problem. But it's far from a sign of engine trouble for Rush, a swift-moving, character-rich biopic whose kinetic Grand Prix sequences are constantly being overshadowed by genuinely riveting scenes of ... people talking.
But then in a film written by Peter Morgan — of The Queen and Frost/Nixon -- maybe it's no wonder that questions like why they drive, why they want to win and who they want to beat take center stage.
This week's show finds me, Stephen, Trey and Glen together again in the studio, but due to a scheduling tweak, finds us in Historic Studio 45 instead of Historic Studio 44, so we hope you can all still follow the conversation.
After James Gandolfini's death this past June, the actor's turn in <em>Enough Said, </em>where he stars opposite Julia Louis-Dreyfus as a man looking for a second chance at love, has taken on a tinge of the bittersweet.
Credit Lacey Terrell / Fox Searchlight
Catherine Keener, a frequent collaborator with Nicole Holofcener, takes on a supporting role as Albert's ex-wife — who's Eva's new client.
It was writer-director Nicole Holofcener's good fortune, and her bad luck, to have snagged James Gandolfini for Enough Said, her comedy about two imminent empty-nesters dipping their toes into fresh romantic waters. Given his untimely death,the film is likely to be remembered less for its own modest virtues than as a last chance to say a bittersweet farewell to its star.
Originally published on Thu September 19, 2013 4:52 pm
Watch enough TV or movies these days, and you're likely to witness a throat getting slit. Not off-screen, or in a flash, but performed in full view of an unflinching camera. Call it authenticity, call it chutzpah or call it sadism, it takes only a few episodes of, say, Boardwalk Empire or Breaking Bad to realize that our visual storytellers are increasingly going for the gore.