Romantic Horror Movies Dolores (2017)

Times entertainment news from Hollywood including event coverage, celebrity gossip and deals. View photo galleries, read TV and movie reviews and more. A review of the first Sundance 2017 breakout, the fantastic The Big Sick.

Bokeh Movie Review & Film Summary (2. Like the recent Chris Pratt/Jennifer Lawrence vehicle “Passengers” sans its giant spaceship or mortifying ethics, “Bokeh” takes that romantic sensation of feeling like the only two people in the world and challenges it with a literal interpretation.

Is that the most vital feeling when in love? How important are our other loved ones, or even just other people, and could we live without them? This compelling, low- key sci- fi indie asks those questions and more, with the focused articulation of exciting talent across the board. Only worthwhile storytellers could take an elevator pitch like this one (the last two people on Earth) and produce long- lasting curiosity about its inherent beauty and horror. Advertisement. There’s sturdy chemistry between rising actors Maika Monroe (“It Follows”) and Matt O’Leary (.

Only worthwhile storytellers could take an elevator pitch like this one and produce long-lasting curiosity about its inherent beauty and horror. September 2017 movie releases and movies that come to theaters in September 2017. Read the latest news and updates on your favorite movies, tv shows & stars. Moviefone is your source for entertainment, movie, DVD, online streaming & TV news.

Jenai (Monroe) and Riley (O’Leary) are in Reykjavik, on their first vacation overseas. Their first morning they wake up, the streets are dead quiet and everyone in the land is gone. In some rough line- reading, they exclaim the gist of “What’s happening?!” or “There’s got to be someone here,” but after Jenai can’t make contact with her mom back in America, it becomes apparent—for some reason, whether it’s the rapture or something else, they are alone in the world. Instead, writer/directors Geoffrey Orthwein and Andrew Sullivan keep the story interesting by making it about their differing ideologies during such a phenomena, creating thoughtful characters who see the world as either half- empty or half- full. Sometimes they’re on the same page, as they go shopping during a giddy montage, or find romance outside in places that would normally swarm with tourists.

But it all comes to a head when Riley takes Jenai (who constantly checks her email inbox, missing her family) to see the abandoned corpse of a crashed plane from decades ago. He, an optimistic photographer who loves his old camera and the ugly images it can create, thinks it looks cool. She, however, as a pragmatist with a previous background in religion, sees it as an insulting symbol of where they are now. That statement is always true for the characters as they clash and come to terms with the world (and its a good reminder for the lovers in the audience as well). Halfway through, “Bokeh” pulls back on narrative and pushes visual poetry, revealing its ambitions.

At its best, these scenes proclaim talent with their ghostly, empty settings and lovingly- framed cinematography by Joe Lindsay, as gliding cameras, whimsical voiceovers and light pacing create a gorgeous atmosphere where you insert yourself into the story, wondering what you’d do—and want to believe—in this situation. Movie Dvd La La Land (2016). At their worst, these showy passages with twinkling pianos and harps are an obvious bid for a Terrence Malick comparison, as if raising the ante on the “Song by Song” maestro by excising the whole world population in the final cut, instead of just main cast members. Advertisement. There are other facets that don’t work quite as well, too, like a cheap burst of terror involving an elevator door or the fact that some scenes end abruptly, giving a literal definition to “Bokeh’”s filmmaking often being rough around the edges.

Directed by Paul Shoulberg. With Zachary Spicer, Wrenn Schmidt, Danny Glover, John C. Daniel loved his job as a small town priest more than anything. San Francisco events in August 2017 include Outside Lands, comedy shows, festivals, sports events, theater & other things to do. Find a full calendar here. Our film critics on blockbusters, independents and everything in between.

And I would have liked to see Monroe’s character given more personality, but this film continues to prove that the “It Follows” breakout actress is destined for a significant career if she keeps believing in such ambitious, sharp scripts. And though it's not primarily a relationship movie, its delicate story does hammer home one thing in particular: that relationships are living organisms that must endure the most unpredictable of circumstances. Maybe in a non- apocalyptic world, Riley and Jenai would never even learn these things about each other, their collective fate much different than where .

Sundance 2. 01. 7: . Think Steve Carell in “The 4. Year- Old Virgin,” Seth Rogen in “Knocked Up” or Amy Schumer in “Trainwreck.” He only produced Michael Showalter’s “The Big Sick,” but it continues this pattern, as the director helped build the project around the multi- talented stand- up comedian and star of “Silicon Valley,” Kumail Nanjiani. Not only should this movie make Nanjiani a star, but the entire project is based on his own life, focusing on his relationship with his girlfriend Emily Gordon, who co- wrote the film with him. This deeply personal aspect of the film lends it authenticity often missing from romantic dramedies, and allows Nanjiani and Showalter to imbue the film with so much more character- based truth than we usually see from the genre.

It’s the best romantic comedy in years. Advertisement. Kumail plays a version of his younger self—an Uber driver by day and a stand- up comedian by night in Chicago. One night, a beautiful young lady gets his attention from the crowd, and he works up the courage to talk to her at the bar after his set. Her name is Emily (Zoe Kazan) and she’s a grad school student at University of Chicago.

There’s an instant connection but both halves of this couple are believably apprehensive. Emily doesn’t want to get hurt again—we later learn she was married at a very young age and is divorced—but Kumail faces a massive cultural wall in that his Pakistani family wouldn’t possibly hear of a white girlfriend. In fact, his mother keeps a chair open at dinner next to Kumail whenever he comes over for this week’s Pakistani girl who just happens to “drop by.” As they’re aggressively trying to arrange a marriage for Kumail, he starts to fall for Emily. Meanwhile, his stand- up career takes off, and Apatow lovingly captures the behind- the- scenes world of stand- up life in a way that recalls Mike Birbiglia’s “Don’t Think Twice.”That’s the first half of “The Big Sick,” but you may be understandably wondering about the title at this point. After a horrendous fight in which they break- up over Kumail’s unwillingness to tell his parents about Emily, she suffers a vicious lung infection that forces doctors to put her into a medically- induced coma. As the infection spreads to her kidneys and heart, Kumail is forced to interact with Emily’s parents for the first time, played with remarkable delicacy and truth by Ray Romano and Holly Hunter. This is where “The Big Sick” transcends its rom- com set- up, capturing how relationships are often forged through trauma and how we sometimes only know how we’ll react to stress when it’s placed right in front of us.

Nanjiani stress- eats and panics, but he stays. He can’t let Emily go. The echoes in “The Big Sick” go back further than Apatow, often recalling one his clear inspirations, the great James L.

Like Brooks, Showalter's film deftly blends laugh out loud moments (the premiere crowd laughed so often that dialogue was regularly drowned out) with emotional truth and character- driven drama. Rom- coms so often rely on exaggerated behavior—set pieces, if you will—to get their joke.

Even Apatow has been a victim of this. But “The Big Sick” doesn’t resort to set pieces. Every joke feels like it comes from the characters, and then Romano and Hunter show up to add a layer or depth and gravity to the piece. Yes, they get a few laughs of their own, but they’re basically in a drama, playing two people who might lose their daughter.

They’re both absolutely fantastic. The best Hunter has been in years and possibly the best Romano has ever been on film. Advertisement. Having said that, the movie belongs to Nanjiani. It is as smart, authentic and sweet as his comedy.

To be fair, he sometimes falters ever so slightly in the big emotional scenes, but he absolutely nails the quieter moments, capturing a man thinking, feeling, and responding to the moment as it happens. Kazan is great too, even though the movie sidelines her for most of the second half. She make such an impact in the first half that you still feel her presence, and you understand why Kumail can’t leave her hospital room. Like so many recent Apatow films, “The Big Sick” is arguably too long and gets somewhat repetitive in its final act, but it has built up so much goodwill by that point that I just didn’t care. The truth of it all makes the length forgivable.

I enjoyed spending time with these people so much, even down to the supporting characters of Nanjiani’s family and colleagues at the club (including Aidy Bryant and Bo Burnham). It couldn’t sound cheesier, but I was sad to see them go. That’s often the sign of a great comedy—when you just enjoy the time spent with these people so much that flaws are pushed aside. This is a great comedy. Next Article: Sundance 2.

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