Saturday, 22 October 2016

‘Little Sister’: Movie Review And News

In this article we write a complete information of little sister hollywood movie review and news. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft  movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here



Hollywood Movie Little Sister Reviews And News:

Addison Timlin and Ally Sheedy star in a dark-tinged comedy about family and country, set during the final months of George W. Bush’s presidency.
In life as in fairy tales, some monsters are good. They’re the misunderstood misfits, the kindhearted rejects, the discomfiting reminders of truths better ignored. They’re the spark of messy life at the center of Zach Clark’s wonderfully low-key Little Sister, a wryly serious comic tale in which a former Goth girl’s path to the convent is sidelined by family crisis and her own lingering doubts. Addison Timlin and Ally Sheedy lead a pitch-perfect ensemble as, respectively, the novitiate and her depressed mother. Beyond the family angst, though, the movie pulses with a quietly incisive commentary on the everyday political realities (and dreams) of 21st-century Americans.

Among Brooklyn’s Sisters of Mercy, a modern order that eschews the wearing of habits, Colleen Lunsford (Timlin) has found a joyful purpose in community service. As her first vows near, though, the Reverend Mother (Barbara Crampton) wonders if she’s truly ready, given her late nights among hipster performance artists — who mask their unease in her presence with smug ridicule, clearly not Colleen’s first brush with derision.

Summoned home to North Carolina by her mother, Joani (Sheedy), she makes the trip to take stock of the domestic dysfunction she left behind, but mainly to see her brother, a grievously injured Iraq veteran who hasn’t left their parents’ guesthouse since being released from the hospital. It’s October 2008, and the lawns and refrigerators of arty Asheville flaunt Obama-Biden signage.

His face disfigured by burns (convincing prosthetic and makeup work), Jacob (Keith Poulson) hides from the world in hoodie and shades even when he’s indoors. He ignores CNN’s requests for an interview and rebuffs the seductive moves of his fiancée, Tricia (Kristin Slaysman), a character who confounds the stereotype that assumes beauteous blondes must be inconstant and uncaring.

Colleen’s dad, Bill (Peter Hedges), is as mellow as her mother is aggressively nervous and demanding. Their middle ground is cannabis, part of the self-medication that supplements the pharmaceuticals prescribed to Joani, who refers to her suicide attempt as “my accident.” Denial is rampant, as writer-director-editor Clark shows, with a light hand, in the election-year backdrop of disconnected, passive expectations that a new leader will solve everyone’s problems.

Colleen stands strong, however petitely, outside the mainstream. Her choices, from her religion to her vegetarianism, are an affront to her parents, whether they’ll admit it or not. Joani is more willing to make her feelings known, although not always out loud; her irked expression is priceless as, wine glass in hand, she watches her daughter pray over her meatless dinner plate.

Snippets of childhood videos of Colleen and Jacob are the film’s most overt plays at sentiment, but mainly Clark (White Reindeer) has crafted a sharply sad yet hopeful story, looking at faith in its varied forms. Depending on the person, some callings are perhaps more deeply considered than others; they include not just spiritual devotion but political commitment, military duty and animal rights activism. The latter is the credo of Emily (Molly Plunk), a fellow high school outcast who Colleen reconnects with. Gangly and sweetly earnest, Emily hasn’t forgotten her teenage crush on Jacob.

But it’s one-time Goth girl Colleen who makes the first, crucial overtures to draw him back into the flux and flow. Getting out the pink hair dye and black lipstick that are still in her old room — after righting the inverted crucifix adorning the wall — she lets something loose in both of them, something silly and fierce. The monsters, good, bad and indifferent, are out, culminating in a misbegotten family Halloween celebration. Flirting with sitcommy high jinks, Clark instead gives us a bittersweet cocktail of soul-weary defeat and unassuming vigor.

The quartet of actors playing the Lunsfords convey everything we need to know, making the childhood memories that Clark weaves into the mix unnecessary at best. Timlin embodies a deeply rooted equanimity that’s anything but self-satisfied, while Sheedy uses her brilliant intensity to create a woman who’s equal parts heartbreaking and infuriating. Between them, agreeing to disagree has rarely had more heart.

In addition to well-chosen punk and metal tracks, the percussive score by Fritz Myers sounds just the right drumbeat of emotions that, despite everyone’s best efforts to keep them down, rise from the politely contained muck like unruly beasts.

Distributor: Forager Films
Production companies: Forager Films in association with Nice Dissolve and Wraith Films
Cast: Addison Timlin, Ally Sheedy, Keith Poulson, Peter Hedges, Kristin Slaysman, Molly Plunk, Barbara Crampton
Director-screenwriter: Zach Clark
Story by: Zach Clark, Melodie Sisk
Producers: Zach Clark, Daryl Pittman, Melodie Sisk
Executive producers: Peter Gilbert, Eddie Linker, Joe Swanberg, Jennifer Brown, Ash Christian, Chris Kenny, Chip and Jennifer Lunsford, Joseph Pattisall, Daryl Pittman, Pierce Varous, Farah White
Director of photography: Daryl Pittman
Production designer: Nick Iway
Costume designer: David Withrow
Editor: Zach Clark
Composer: Fritz Myers
Hair and makeup: Margaret Sackman
Special makeup effects: Gerner & Spears Effects
Prosthetic design: Brian Spears
Makeup application: Peter Gerner
Casting: Jessica Kelly, Rebecca Dealy

Not rated, 91 minutes


‘Heaven Will Wait’ (‘Le Ciel attendra’): Film Review

In this article we write a complete information of hollywood movie ‘Heaven Will Wait’ (‘Le Ciel attendra’) review and news. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft  movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here

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Hollywood Movie ‘Heaven Will Wait’ (‘Le Ciel attendra’) News And Reviews:

Writer-director Marie-Castille Mention-Schaar (‘Once in a Lifetime’) follows two French teenage girls who voluntarily join the ranks of radical Islam.
With the spate of terrorist attacks occurring in Paris and other French cities over the last few years, and with many of those attacks perpetrated by local residents, the recruitment of homegrown Jihadi fighters has recently become a popular subject on both the big and small screen. In films like Made in France, Les Cowboys, Road to Istanbul and the TV movie La Desintegration, filmmakers have tried to explore how young French men and women from all walks of life find themselves indoctrinated by radical Islam, leaving their families in ruin and occasional victims in their wake.

In the femme-centric drama Heaven Will Wait (Le Ciel Attendra), writer-director Marie-Castille Mention-Schaar doesn’t so much touch upon this hot-button topic as whack it over the head with a sledgehammer in a film that makes some salient points about why teenage girls could be drawn into the clutches of ISIS recruiters, but does so with little thematic depth or cinematic nuance. Still, it’s effective enough as a sort of middlebrow wake-up call that will definitely impact some viewers — especially parents wondering what their children are doing behind their bedroom doors. (The film’s answer: They’re praying to Mecca!) After a well-received theatrical release in France and stints at Locarno, Toronto and Tokyo, Heaven should see continued attention abroad, with Gaumont already racking up a string of sales in foreign lands.

Aljur Abrenica in 'Expressway'
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Crosscutting between three storylines that come together in the final act, Mention-Schaar and co-writer Emilie Freche (The Jews) follow two young protagonists who experience the call to Jihad in mirroring narrative strands. On one side we follow Sonia (Noemie Merlant), a born-again Muslim arrested for trying to pull off an attack in France, after which she goes through a long detox process that slowly transforms her into the girl she once was. And on the other hand there’s Melanie (Naomi Amarger), a studious cello player who meets a recruiter online and gradually falls into his clutches. (There’s a third strand involving a mother (Clotilde Courau) suffering from the absence of her daughter, with the director deliberately holding back key information despite the obvious connection she has to one of the main characters.)

While there is a documentary-style approach to certain sequences — particularly those involving therapy sessions led by real-life indoctrination expert Dounia Bouzar — the way that Mention-Schaar dramatizes these young girls’ lives often comes across as grossly deliberate and borderline ridiculous. In one scene, the highly susceptible Melanie sends texts to her Muslim “prince,” as she calls the unseen Islamist recruiter, while her teacher reads aloud an anti-religious diatribe by Guy de Maupassant. And in a series of over-the-top domestic spats, Sonia, who is on house arrest and at the mercy of her helpless parents (Sandrine Bonnaire, Zinedine Soualem), is seen going through severe Jihadi withdrawal, murmuring prayers, wandering about comatose, turning her sheet into a headscarf, screaming, crying, clutching at the walls and cursing. It feels like at any second, her head will do a 360 like Linda Blair’s in The Exorcist.

Tom Karabachian and Anita Ferraz in 'The Other End.'
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Mention-Schaar may be the least subtle French filmmaker currently working in this semi-art house vein, relying primarily on close-ups because she has no real sense of staging, and capturing ripped-from-the-headlines tales in ways that both jolt and comfort the audience. (Her last film, the breakout hit Once in a Lifetime, dealt with banlieue kids learning important lessons from the Holocaust, including a scene where they hear the horror stories of an actual survivor.) As a concerned citizen, she deserves credit for tackling subjects that are constantly in the news and on everyone’s mind, but as a helmer her faux-realist methods seem inherently flawed, substituting easy narrative clichés — in this case, different lives thrown together, then reconciled, by the evil doings of ISIS — for something more ambiguous and provocative.

Certainly, there’s truth to be found in the kind of events depicted in Heaven Will Wait, with reports stating that over the last five or so years, thousands of young French adults have fled their homes to join radical Islamic forces fighting in Syria and elsewhere. But transforming such events into credible fiction is another matter, and despite hard-hitting performances — especially from leads Merlant and Amarger, who throw themselves full-throttle into difficult roles — the filmmakers ultimately turn a deeply complex phenomenon into what feels like a gratifying movie-of-the-week.

Production companies: Willow Films, UGS Images, France 2 Cinema
Cast: Noemie Merlant, Naomi Amarger, Sandrine Bonnaire, Clotilde Courau, Zinedine Soualem, Dounia Bouzar
Director-producer: Marie-Castille Mention-Schaar
Screenwriters: Marie-Castille Mention-Schaar, Emilie Freche
Executive producer: Philippe Saal
Director of photography: Myriam Vinocour
Production designer: Valerie Faynot
Costume designer: Virginie Alba
Editor: Benoit Quinon
Casting directors: Marie France Michel, Christophe Istier
Sales: Gaumont


In French