Word: cholodenko
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LAUREL CANYON. Frances McDormand plays against type in Laurel Canyon, a well-crafted family dramedy by director Lisa Cholodenko. McDormand, the overbearing mom in Almost Famous, this time plays the type of fast-moving music producer scorned by her character in Cameron Crowe’s amusing 2000 cult favorite. Among her character’s transgressions: inviting Alex (Beckinsale), her future daughter-in-law, to join a three-way as part of an unconventional “getting to know you” exercise. Sam, her uber-straightlaced son (Christian Bale), would not approve. Sam and Alex...
LAUREL CANYON. Frances McDormand plays against type in Laurel Canyon, a well-crafted family dramedy by director Lisa Cholodenko. McDormand, the overbearing mom in Almost Famous, this time plays the type of fast-moving music producer scorned by her character in Cameron Crowe’s amusing 2000 cult favorite. Among her character’s transgressions: inviting Alex (Beckinsale), her future daughter-in-law, to join a three-way as part of an unconventional “getting to know you” exercise. Sam, her uber-straightlaced son (Christian Bale), would not approve. Sam and Alex...
LAUREL CANYON. Frances McDormand plays against type in Laurel Canyon, a well-crafted family dramedy by director Lisa Cholodenko. McDormand, the overbearing mom in Almost Famous, this time plays the type of fast-moving music producer scorned by her character in Cameron Crowe’s amusing 2000 cult favorite. Among her character’s transgressions: inviting Alex (Beckinsale), her future daughter-in-law, to join a three-way as part of an unconventional “getting to know you” exercise. Sam, her uber-straightlaced son (Christian Bale), would not approve. Sam and Alex...
...Bill Condon's Gods and Monsters stars Ian McKellen in a parable about '30s Hollywood director James Whale (Frankenstein, Show Boat). Like Billy, he is consumed with sexual longing, but here it is the ultimate form of masochism: a desire to be killed. The erotic charge sizzles in Lisa Cholodenko's High Art, a pensive throwback to the drug-and-sex angst of the '70s. It tosses Ally Sheedy into heavy, fraught clinches with Patricia Clarkson and Radha Mitchell. (Mitchell: "It's hot in here." Sheedy...
...High Art shares In the Company of Men's tendencies toward pretension and detachment, it also recalls its Sundance precursor for its literate dialogue, nuanced portrayals and admirable breadth of vision. Cholodenko would have done well to decide early on if her film was about three women artists or about Art as embodied in three women; her title implies a closer sympathy with the broader, less intimate project. all the same, Sheedy and Cholodenko especially more than prove their mettle, giving us hope that their talents and potential will come to fuller flower than the story suggests is possible. Like...