The haze of the cigarette smoke from the night hung in the sunlight peaking through the bar's pane glass windows. The staff had run in circles attempting to prep the bar for the Sunday patronage and touching up whatever happened the night before.
Justin Johnson of Pretty Little Empire compared his band's upcoming album release show to a wedding. "This is the one I want people to come to," he said. "If you haven't seen us before or for a while, this is definitely the show to see."
After a summer of good movies about boys, the autumn offers a fine film about girls and women. "Short Term 12" is a serious movie, blessedly unsentimental and not fodder for an "Afternoon Special" on television.
It matters little that Sebastian Silvio, the writer/director of "Crystal Fairy," also wrote and directed "The Maid," a little masterpiece. It matters only that he thought a moment in his own life would make a dandy little film, and, further, that he thought that moment and that film would interest anyone. It does not.
If what you want in a summer movie is more crashing and less talking, there's “Fast and Furious VI.” If you want a film where the writing is sterling, the talking is dazzling and true, there's “Before Midnight.”
For years, the film industry ignored the 65- to 88-year-old demographic on the theory that we did not have discretionary money to throw at the silver screen after our hair turned silver. Now that this demographic is one of the few that still goes to the movies off-line, we're being wooed.
What filmmakers have never understood is that F. Scott Fitzgerald’s novel is not about the parties. Their hands get all sweaty at the idea of filming those grand, balloon-filled ballrooms. The Great Gatsby is a classic because it’s not just a backdrop brought forward, not just about showering shirts down from a magnificent closet.
Where do you turn for succor when you are lost? Alina, a young Romanian woman, returns to her love, her sister by choice, her dear friend, Voichita. Alina arrives from Germany, where she’s run from her foster family, taken in just for the work she can provide. She sees Voichita and runs to her.
Immediately after a photo of an atom bomb’s mushroom cloud, the prologue of “Ginger and Rosa” moves from Hiroshima 1945 to London 1945 in a maternity ward where two women reach out to each other as they labor and where two men sit apart on benches in a dark hall.