Amy Schumer has nurtured a reputation for irreverently tackling explicit sexual topics. Revealing persistent, pervasive double standards of blatant sexism, Schumer turns the tables on her male partners, rejecting emotional involvement and long-term commitment, confronting sexist insults. How surprising then that her dramatic film "Trainwreck" has a soft romantic core while promoting a traditional endorsement of love triumphant.
Director Terry Gilliam expresses his fertile visual imagination in his latest film, "The Zero Theorem." In it Christoph Waltz as Qohen Leth inhabits a futuristic world where he's plagued by THE eternal question: What is the meaning of life? What is the point? Qohen's pursuit of the answer gives Gilliam the opportunity to showcase his provocative inventiveness.
So it's directed and written by Jim Jarmusch. So it's witty and pretty -- and dark. "The Only Lovers Left Alive" is still, at base, a bloody zombie movie. So if you love those blood-sucking franchises, you might like "Only Lovers." If you like decadence, you'll eat up "Only Lovers."
Writer/director Wes Anderson has done it again. After starting off with peculiar films, such as "Rushmore" and "The Royal Tenenbaums," he created that bliss of entertainment he called "Moonrise Kingdom" last year. Now, with Hugo Guinness, he has written a confectionary script that's a story within a story within etc.
British director Lynne Ramsay's We Need to Talk About Kevin charts the first 16 years of the emotionally damaged title character who lacks the ability to empathize. As Kevin's mother Eva, Tilda Swinton carries the film registering an amazing array of reactions as the film's narrative structure fragments time, a design that eerily fits Kevin's dissociative state.