It’s no surprise that the camp closed after the film’s release.—Kate Kiefer 96.Love Actually Year: 2003 Director: Richard Curtis When it comes to portraying love confessions of all varieties, very few can beat the kind on display in Richard Curtis’ epic romantic comedy Love Actually.And there are two stories that have subsequent episodes, including one featuring a couple of salesmen (Holger Andersson and Nils Westblom) who specialize in novelty joke items like fake vampire teeth.The specifics of what happens in these vignettes is less important than precisely how they’re constructed.But Magic Mike would hardly be as magical without Tatum, whose good looks, athletic physicality, easygoing charm and heart-on-his-sleeve sincerity are as seductive to moviegoers as to the women he dances for on-screen.—Annlee Ellingson took a break between the 3 million dollar Cowboys & Aliens and Disney’s live-action remake of The Jungle Book to write, direct and star in a small indie comedy-drama about a celebrated chef rediscovering his love for food.When the owner of his restaurant (Dustin Hoffman) won’t let him experiment in the kitchen and his social-media ignorance leads to a very public feud with a food critic (Oliver Platt), he quits and buys a food truck.While certainly sweet and heart-warming, the inherent sadness that pervades this scenario—such a relationship can never work out between the two—prevents the exchange from being overly saccharine.—Mark Rozeman 95.Dope Year: 2015 Director: Rick Famuyiwa At its core, Dope is a coming-of-age story told from the black geek perspective.
Except for a by-the-book opening segment, in which director Barbara Kopple seems to grind through all of her blandest tendencies to make room for the grist of what’s important, the film filters Jones’s life and career through her illness.
Along with a solid script by Tatum’s producing partner Reid Carolin, director-cinematographer Steven Soderbergh(who took a low-budget, highly experimental look at the life of a high-end call girl in The Girlfriend Experience) brings a warm golden aesthetic that’s at once polished and serendipitous.
The way the sunlight dapples the actors’ bodies during a sunset beach scene is particularly lovely.
So it shouldn’t be a surprise that, in Lo and Behold, he tackles the Internet—all of it.
This breezy, consistently thought-provoking documentary doesn’t purport to be exhaustive—what would such a film about the World Wide Web look like?
Famuyiwa keeps things entertaining while still posing hard-hitting questions to the characters and audience. Set in 1973 at the height of the Cold War, the film turns on the suspicion that a double agent has infiltrated Britain’s Secret Intelligence Service (SIS), a.k.a. Shortly after a botched operation to ferret out the mole ends his career, Control (John Hurt) dies, leaving his investigation in the hands of retired operative George Smiley (Gary Oldman).