Barry Jenkins‘ Moonlight is already being called one of the best movies of the year, and not without reason. It’s a visual feast quaking with beauty and sadness, a hushed poem of pain and romance, and a piece of filmmaking that feels more alive . But most people will also be talking about Moonlight for its actors, and its triads of shattering, magnetic performances.
Interviews - Page 4
After making his English-language debut with Stoker, Park Chan-wook returned to his native South Korea for The Handmaiden, a sensual and gracefully twisted new film that is equal parts clever thriller and, surprisingly enough, romantic drama. To say that this is his best film to date is an astonishing suggestion — this is the man behind Oldboy, after all — but a second viewing validated my belief that it is his masterpiece. As a longtime fan, I was anxious to interview Director Park, who was far less intimidating than I had imagined. He is warm and gracious, and spent the duration slowly pacing around the room (in a great sweater, by the way), speaking his thoughts to a translator with the patient consideration of someone dictating a heartfelt letter.
The first thing I think of when I hear the name Edward Zwick is his Oscar-winning 1989 film Glory. Specifically, I think of the time my entire 7th grade class was assembled in Marlboro Middle School’s amphitheater to watch it. And when the same thing happened again in 8th grade. And then again in high school, where I was shown Glory two more times in history classes. My colleagues on the ScreenCrush staff all have similar stories. For a certain generation of American school kids, Glory was like a rite of passage.
For the past several years we’ve seen Sarah Paulson play some of the loudest, more extreme characters on television. Whether she’s donning a perm as Marcia Clarke, wearing two heads as Bette and Dot Tattler, or thick black eyeliner as Hypodermic Sally, Paulson is often a bold, stylized on-screen presence. But in Blue Jay, Paulson, looking like her natural self, gives a quieter performance as one of her most stripped-down characters yet.
When the first teaser trailer for The Great Wall debuted this summer, much of the internet responded in a collective thinking face emoji, wondering, why is a white dude the hero of an action movie set in China?
Ava DuVernay‘s latest documentary, ‘13th,’ couldn’t be arriving at a more relevant time. Urgent, angry and unflinching, the documentary looks at the current state of mass incarceration and police militarization, attempting to understand why the United States contains 25 percent of the world’s prisoners, which today is 2.3 million people. Opening this Friday just weeks after the largest prison strike in U.S. history, a month shy of the 2016 Presidential Election, and following a year full of harrowing violence against the black community, ‘13th’ feels like essential viewing now more than ever.
What makes American Honey so effective is the cast of mostly unknown, amateur stars, including the film’s magnetic lead, Sasha Lane. Despite having no acting experience, Lane comes off like a pro; her chemistry with co-star Shia LaBeouf feels tangible, and there’s an effortless quality to the way she conveys emotion without saying anything at all. We spoke with Lane in Austin ahead of the film’s premiere at Fantastic Fest, where she was just as lovely in person as she is on screen.
Kathryn Hahn is a savior of sorts. Often the best part of her movies, Hahn’s the type of actress who can turn a small cameo into one of the most memorable and wackiest roles in a mediocre film (think: Tomorrowland, How to Lose a Guy in 10 Days, Win a Date With Tad Hamilton). But in Jill Soloway’s Transparent, Hahn has played the literal role of the savior for the Pfeffermans, a woman introduced as a religious guide for a family thrown into flux by the gender transition of their former patriarch, Maura (Jeffrey Tambor).
Peter Sarsgaard often plays guys you can’t help but hate. From his ‘Boys Don’t Cry’ character to his ‘An Education’ con man to his Chuck Traynor in ‘Lovelace,’ Sarsagaard has mastered playing seedy jerks who pray on the weaknesses of others. In Antoine Fuqua’s ‘The Magnificent Seven,’ Sarsgaard takes on the role of the bad guy once more.
You may not know Haley Bennett’s name yet, but by the end of the fall movie season you’ll certainly recognize her. The 28-year-old actress, who’s appeared in ‘Hardcore Henry’ and ‘The Equalizer,’ has been acting for almost a decade, but its her trio of upcoming films this year that are bound to put her on your radar.