Katee Sackhoff talks about what it's like to be a part of "Star Wars: Rebels" and reveals the inspiration for her character on "The Flash." Plus, we get our Jedi on and learn how to wield a lightsaber.
A Korean-born man finds himself stuck in Columbus, Indiana, where his architect father is in a coma. The man meets a young woman who wants to stay in Columbus with her mother, a recovering addict, instead of pursuing her own dreams.
Haley Lu Richardson,
Pakistan-born comedian Kumail Nanjiani and grad student Emily Gardner fall in love but struggle as their cultures clash. When Emily contracts a mysterious illness, Kumail finds himself forced to face her feisty parents, his family's expectations, and his true feelings.
Ivan Cohen is a young man living in Palo Alto, California. Unsatisfied by his slacker group of friends, his love for a girl who doesn't know he exists and a dysfunctional family life, he is struggling to find his place in the world.
Resonating with vibrant memories and silent echoes of a shared life, the old house is somehow connected to "C", a sensitive composer who is hesitant of leaving it, while his loving wife "M", on the other hand, is keen on moving out, having an indecipherable but grim premonition of danger. Sadly, disaster soon strikes, and C's untethered spectre which detaches from the lifeless body, rises from the mortician's table, and in a swift decision, decides to linger in this dimension to faithfully follow the grieving M back to the old house. As silent as a shadow and as invisible as the air, C's unappeasable phantom observes M's denial and depression gradually turn to acceptance and even hope, as time unravels, moving forward through the decades. In this earth, man struggles to leave his legacy behind. Is this the way to immortality? Written by
Director David Lowery intended to use music from singer-songwriter Ke$ha in the background of the squatters party scene. When producers reached out to Kesha, she not only allowed them to use her songs, she also arrived on set and served as an extra in the aforementioned scene. See more »
When the pioneer is hammering the stakes into the ground, the sound doesn't match the swing of the mallet. See more »
A writer writes a novel, a songwriter writes a song, we do what we can to endure.
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A young man dies and returns as a ghost to silently observe and occupy the home he once lived in. Time passes, his widow moves out, but the ghost waits. Very early in this film you notice how stunning the cinematography is, a sure sign that the story is lacking in depth. There are hints of Terence Malick's 'The Tree of Life' here, and some of The Time Machine's ideas on the non-linearity of time. But the film offers nothing substantial or insightful. Long takes force us to engage for uncomfortably extended periods with one frame, but there is nothing especially thought-provoking or insightful on offer. A woman gorging herself on pie is an especially egregious example, a scene that was the trigger for the series of walk-outs that took place at the art-house cinema in Scotland where I watched this. A party bore offers up a vacuous speech on the fragility and indeterminacy of existence that a literature undergrad would blush at, never mind a middle-aged man. The main content of conversation post-viewing was whether this scene or the pie-eating was more tedious. A ghost that can walk through walls spends literally an eternity trying to fish a piece of paper out of a wall. The film has one of those ambiguous endings that is the calling card kop-out of the art-house poseur filmmaker. It is beautifully filmed, exquisitely so, but it is scant compensation for the trite storytelling.
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