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Julianne Moore

Liam Neeson Can’t Bring ‘Non-Stop’ in On-Time

HollywoodChicago.com Oscarman rating: 2.5/5.0
Rating: 2.5/5.0

I’m a sucker for a well-toasted slice of escapism that employs a singular setting to maximum impact. Liam Neeson trapped on a plane with a devious killer who’s trying to extort $150 million from him? Where do line up to buy a ticket? Seriously, this is the kind of Oscar counter-programming that I love this time of year—turn off your mind and take a trip with “Non-Stop”.

Performances Carry Update of Horror Classic ‘Carrie’

HollywoodChicago.com Oscarman rating: 3.5/5.0
Rating: 3.5/5.0

CHICAGO – Director Kimberly Peirce (“Boys Don’t Cry”) doesn’t convey the dread or atmosphere of Stephen King’s “Carrie” to a degree that elevates it to the source material’s true potential but she does handle performance in a way that’s rare in the genre, making this remake one of the best horror films of the season.

Sins of Modern Parenting Are ‘What Maisie Knew’

HollywoodChicago.com Oscarman rating: 4.0/5.0
Rating: 4.0/5.0

CHICAGO – When mixing parenting responsibility, the separation of those parents and a legal system that cannot address the farce of human retaliation, the results become “What Maisie Knew.” Julianne Moore portrays a rock star, and the mother to the title character.

Robert De Niro Triumphs Again in ‘Being Flynn’

HollywoodChicago.com Oscarman rating: 4.5/5.0
Rating: 4.5/5.0

CHICAGO – The intensity that Robert De Niro puts into his movie characters had slackened a bit, as he bent his reputation on more commercial roles. But Director Paul Weitz has revived the old legend with a meaty, purposeful character, and De Niro delivers it with his old fire. ‘Being Flynn’ is not a comeback, but a gratefully received reboot.

Steve Carell, Ryan Gosling in Great ‘Crazy, Stupid, Love.’

HollywoodChicago.com Oscarman rating: 4.0/5.0
Rating: 4.0/5.0

CHICAGO – “Crazy, Stupid, Love.” is undeniably clichéd, broad in its humor, and a bit manipulative in its sentimentality, but it should be. This is a movie about grand statements, soulmates, and true passion, a film that unabashedly believes in the craziness and the stupidity of what we call love. It’s also one of the most purely entertaining films of the year.

Annette Bening, Julianne Moore Out in the Light With ‘The Kids Are All Right’

HollywoodChicago.com Oscarman rating: 3.0/5.0
Rating: 3.0/5.0

CHICAGO – It is Hollywood that is often ahead of the social curve, expressing in art what most people can’t fathom in real life. “The Kids Are All Right” is that type of consciousness, depicting a committed lesbian couple – played by Annette Bening and Julianne Moore – coming to grips with transitions occurring with their kids.

Colin Firth Plays a Wistful Game of Solitaire in ‘A Single Man’

HollywoodChicago.com Oscarman rating: 4.5/5.0
Rating: 4.5/5.0

CHICAGO – There is a certain madness in the shock of grieving over a loved one who has passed that manifests itself in particular ways. Colin Firth interprets those emotions intuitively in the captivating “A Single Man.”

Julianne Moore Pushes Freudian Implications to Limit in True Story of ‘Savage Grace’

HollywoodChicago.com Oscarman rating: 3.0/5.0
Rating: 3.0/5.0

CHICAGO – The national acting treasure Julianne Moore never shies away from a performance challenge.

From her memorable exposure in Robert Altman’s “Short Cuts” to her willingness to go all the way in Paul Thomas Anderson’s “Boogie Nights,” Moore has proven that true vulnerability in a role requires the ability to bare – and bear with – all.

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  • Bad Words

    Looming over “Bad Words” is the potential it could have had, as is, were it released ten years ago. With its focus of R-rated behavior poking at the projected innocence of children, along with the couple of chromosomes that keep Bateman’s Trilby from being a Vince Vaughn character, this movie is certainly a product of the comedies that have sculpted out the manchild story in the past decade.

  • Winter's Tale

    The theatrical poster for “Winter’s Tale,” after promising that “It’s not a true story, it’s a love story,” made a large demand from its viewers at the bottom: “This Valentine’s Day, Believe In Miracles.” While there is indeed a difference between filmmaking and marketing, it is hard to not imagine writer/director Akiva Goldsman whispering “believe in miracles” into the ear of every executive who helped “Winter’s Tale” come to life, immediately after throwing glitter on them.

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