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This film takes an altogether different view of the imitation game. Mark Kermode Kermode & Mayo's Film Review. TOP CRITIC. As much fun as it is to see Sylvester Stallone and Arnold Schwarzenegger team up onscreen, Escape Plan fails to offer much more than a pale imitation of.

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a way of consciously manipulating fictional structures, of playing games with fiction. In this sense, metafiction seems to pose a threat to imitation. and literacy in the vernacular which in many ways marks the beginning of the long Frank Kermode notes how in Hamlet there is a preoccupation with a. Posts about Mark Kermode written by badblokebob. up on (Would I Lie to You, The Imitation Game), though I did see both new episodes of Mrs Brown's Boys. BEKANNTE LATEINAMERIKANISCHE AUTORENTAL AMERICA Cons: Drag and the other person then it can in the future. This is a message notifies the. It does this numerous applications for large number of.

Criticism is not only an opinion: it can be a fulfillment of the possibility found in both art and philosophy. In the film James Franco is a charming and ambitious but shallow interviewer, Dave Skylark, who gets an interview with the North Korean leader played by Randall Park , an admirer of his television program; and American intelligence agents ask Skylark and his producer, Aaron Seth Rogen , to assassinate the dictator. The homoerotic nature of male social bonding is skewered as much as the perversity of political power.

I thought the film was amusing, very amusing. Kill the Messenger — The Reagan era, the s, could be seen as a period of retrenchment, of the recuperation of conservatism after the political rebellion of the s and social liberalism of the s. The film, through Webb, points directly at significant hypocrisy as well as crime conducted in high and low places.

Gary Webb found out that profits from drugs sold on American streets were being used to invest in Nicaraguan counterrevolutionaries, with the approval of American intelligence authorities. The news was not welcomed. Jeremy Renner is excellent as Webb—attractive, intense, tough. Walsh, the independent counsel involved in an investigation of the Reagan administration W. Lance Bennett, Regina G. As well, the magazine Lies of Our Times , an irreverent and provocative read, monitored The New York Times and other high-profile media from through Betrayal and corruption affect all, ending in tragic circumstances and choices.

Directed by Andrey Zvyagintsev, this is a film of great beauty and moral gravity but it is very discouraging for what it says about human nature in general and life in Russia in particular. Both Leviathan and Aleksei Fedorchenko Silent Souls , a story of grieving rituals, embody a yearning for spiritual wholeness. Lord of the Flies — Beauty is charm, grace, order, and purpose; and one does not expect it to be found near horror or terror, but there it is, again and again.

Are they too young to be truly civilized despite the positive assumptions of their social class and why are the rich or bourgeois assumed to be civilized when so much of their wealth is built on the cruel exploitation of others?

Or, does the isolation itself—and the threat to survival—often produce this crisis? Love Is Strange — The films Beginners and Love Is Strange focus on elderly white gay men—the first is an elegy from a son to a father and the second about a late life crisis, a lost apartment and the necessity of finding a place to live, that occurs after the happiest of moments marriage.

Both screenplays mix comedy with sadness; and both are good. Beginners , set in California, is a film about memory, grief, and new love—it, directed by Mike Mills, is very sure, full of observation and feeling, affecting. Set in New York, Love Is Strange , directed by Ira Sachs, begins with domestic life but its reverberations grow to include city and world.

The two men in Love Is Strange , a longtime couple, newly married—Ben John Lithgow and George Alfred Molina —are part of a large, loving community but that community does not fulfill their faith entirely when most needed. Yet, no one is glad of their sudden reversal of fortune. For those of us who have met a variety of older white gay men, it can seem rather fantastical that all the ones presented in Beginners and Love Is Strange are decent and affectionate: the real life personalities given to personal intrusion, petty insult, political presumption, and social exclusion of other minorities are not seen here.

Imagine that. Their travails lasted a long time. However, the Loving case decision—against the prohibition of interracial marriage—was not issued until The Misfits — The Misfits received a hostile reception when it first appeared, but in recent years it has been celebrated. The themes of The Misfits are life and death, time and change, friendship and love, decency and barbarity—and discerning the differences between illusion and reality.

The photoplay is a good script, especially for Marilyn Monroe, whose appeal, sensibility, and effect are well-presented: a sensitive, sensual woman of some sorrow about whom assumptions are made. What are they to live for?

I liked the movie very much, more than I expected. On one side are ranged, thematically, apercus into beauty and love, happiness, instinct, liberty and creativity, and on the other side stand the opposing vices—misery, hate, the impoverished imagination, money and death.

In the film, the German and American national intelligence services watch a lawyer and banker who attempt to help an immigrant who arrives in Germany without official documents and with a history of imprisonment; and all are investigated the American officers are especially impatient ; and people are arrested and detained on little evidence, or used as collaborators, turning genuine personal temptation into outright moral compromise and defeat, into corruption.

In this film A Most Wanted Man , the dominant American and European intelligence services are in the midst of a fight against Islamic terrorism, but prefer symbols of justice and triumph to actual justice and triumph the latter is too complicated, too difficult to achieve. Is that really true? How many people can recognize truth, or even fact? How much evidence is required before a man or woman becomes suspect, or is persecuted?

Americans tend to disdain philosophy and be skeptical about critical thinking but affirm simple ideology, which is passed off as common sense. Short-term goals that are selfish and symbolic are embraced before long term goals that are universal and useful.

To be and to think are less important than to act. The question is no longer can the truth be spoken or written, painted or filmed, sung or danced, but whether we can recognize the truth when we see it or hear it. Can anything be done about the confusion, the imperceptions, and the dullness of mind and dimness of sensibility; will anything? A trip to obtain the prize leads to memory and its correction.

Yet, the father in Nebraska is not spiteful, though he is ornery. The father Woody, as played by Bruce Dern, is rather heartbreaking—the prize money is a last hope for something special. The amusement, exasperation, and kindness on display make the film a memorable glimpse into a mirror. The Norman Heart has, after a very, very long delay been made into a film by Ryan Murphy: a painful but significant document of an historic moment: the beginning of the AIDS crisis in New York, when organizing was difficult but vital.

The film, which appeared on Home Box Office cable television , has a specificity about homosexual desire, friendship, and politics that is unusual and significant. Ned and Felix are part of a community of men—some intelligent, some silly, some brave, some fearful. It is almost shocking to see how much tension some of these relationships can sustain—so that when a break occurs when someone cries or screams that becomes a surprise. I do not think that writer Larry Kramer or director Ryan Murphy has a radical perspective—a critique of the social order that is both general and thoroughly precise in identifying what is wrong in principle and practice and offering remedies—but the situation depicted is bleak, terrible, and without justice, and honesty about that becomes the equivalent of radicality.

Omar — Omar is a feature film of fiction inspired by fact focusing on the Israeli surveillance of Palestinian citizens, and the subsequent promotion of political collaboration spying, betrayal ; and it is a film of imagination, rigor, and sympathy. Casting, script, location, action—everything is strong.

Omar may be a great film. It is full of intelligence and excitement. Directed by Hany Abu-Assad, it stars Adam Bakri as Omar, a bread baker who climbs a tall wall to see the girl he likes and to speak with her brother, a political activist; and Adam Bakri, a slim man of striking good looks—sensual, sultry—suggests both sensitivity and natural glamour as Omar.

Omar and his friends are hurt and insulted by Israeli occupation; and, responding to that, they violate the law. Omar participates in an act that gets police attention, and Omar is asked by one of the investigators—Agent Rami Waleed Zuaiter —to betray his friends. Acknowledged are the repression of Palestinians, the lawless Israeli settlements on Palestinian land, and the lack of full political participation for Palestinians—as well as the resistance to a one-state or two-state solution that would acknowledge Palestinian humanity and political rights.

The Others — The Others , written and directed by Alejandro Amenabar, and starring Nicole Kidman, is about a woman whose mind is not equal to her overwhelming experience of war, isolation, and the demands of motherhood. She, Grace Stewart Kidman , is hysterical and tries to exert control over her situation—when it is her own feelings she cannot control. Her religiosity and simple notions of class and marriage and family cannot bear the pressures of challenge and conflict, of the extremity of war and death.

The Others is an elegant film, engaging, memorable. Suspense: what will happen? Hysteria can breed the horror it fears. The root of horror is being forced to face the fears, guilts, shames, and terrors that we repress in daily life; and the shallowness—the insult and the thrill, the sensations with little or no thought—of the films we call horror films is that they take those terrors out of any felt, textured, thoughtful realm and extremely exaggerate them.

The Others is a film that gives us complicated life, death, and meaning—and terror. One is reminded that freedom in mortal life is brief, tempered by circumstance, vulnerable to the imperfections of mind. The permission we give ourselves and others can lead to trouble, as happens in Strangerland. Nicole Kidman plays a woman, a mother who is liberal in her parenting but stressed when her children go astray, in Strangerland , directed by Kim Farrant, and starring Joseph Fiennes as the husband and father and Hugo Weaving as the investigating officer.

Set in Australia and filmed within some of the most beautiful and unusual landscapes ever photographed, the scenario allows the wilderness within to meet the wilderness beyond. The mother is well-intentioned but foolish her loneliness and her sensuality and her liberalism have made her foolish, nearly mad ; and one feels impatient with her even as one sympathizes with her in the dark light of her controlling and distant husband and lost children—and, again, one admires Nicole Kidman.

Out of the Furnace is a strong drama. A veteran returns from war, lost; and his brother, who has spent time in jail, tries to help. Their lives are small, and their resources few. Many policemen do not know much about any life but their own—a lack of experience, knowledge, and imagination that makes them dangerous—but Forest Whitaker as the policeman suggests both self-awareness and sympathy for others.

Out of the Furnace is a film of brothers, love, and crime, and the motion picture shows how people come to harm through the lack of direction and support, and the desperate desire and will to do something, whatever you can, to affirm self and achieve change, even if that goes against custom or law.

Peeples — Human communities are diverse, whether they know or admit it. Its assumptions about the differences among African-Americans are honest and amusing, but there is not enough depth as there could be in exploring those differences or the romance itself. Still, the film is better than a lot of its comic competition. The value of the movie might well be its broad view of how many of us are juggling reputation and ideals and secrets.

The glorious Diahann Carroll appears as an elder, and her part is too small. Peeples is amusing rather than satisfying work. A Place in the Sun — Wealth and weakness, sex and betrayal and love, in a gorgeous black-and-white film, A Place in the Sun , featuring Elizabeth Taylor and Montgomery Clift as young people from different classes who vault over barriers to get to each other: Taylor and Clift are very alluring and convincing in this classic story of love and money, and of how ambition undermines personal morality, when a poor boy falls for a rich girl, and, for him, all is lost.

Those heroic people were marshalled against the cruelly institutionalized belief that humans are differentiated strictly by biology, by ethnicity, and that some people are innately superior to others: against racism. African-American citizens contested the laws that limited black voting—laws that instituted poll taxes, voting vouchers, and permitted publishing the names of voters for retribution elected officials and court juries were determined by voting status, completing a circle of great vulnerability.

Selma is one of the best films on the American civil rights struggle admittedly, apart from The Long Walk Home and Freedom Song there is not much competition. Such an accomplishment, rare though it is, was to be expected. Ava DuVernay has no particular fondness for historical films and that may be why her sensibility, both rigorous and sensual, was helpful in keeping the energy and excitement from draining out of a familiar but vital story, the story told in Selma.

Martin Luther King Jr. It was a winning strategy. Gandhi worked against the discrimination faced by Indians in South Africa, before returning to India, where Gandhi worked with scholar and political leader Jawaharlal Nehru and others—using both prayer and protests—to achieve national independence from the British. The Signal — The courage, intelligence, and friendship of youth are at the center of The Signal , a smart, spare, swift film about two computer nerds who follow taunting computer messages and encounter alien contact, strange places, medical experiments, and the difficulty of telling reality from illusion.

The compelling intensity of the performances surprised and pleased me. Directed by William Eubank, with a script by the director with Carlyle Eubank and David Frigerio, it is a remarkably astute, good-looking, and entertaining film.

The production designer was Meghan C. Rogers and the cinematographer was David Lanzenberg. We claim to know what we are by declaring what we are not—and who does not want to be innocent; or would not want to be considered a victim rather than a villain? Sophie is a woman who loses both of her children in the war; and the filming of Meryl Streep as Sophie speaking directly to the camera achieves a timeless and beautiful intimacy: she confesses and enfolds the viewer in a story of family, history, bigotry, and desperation.

A lie gave Sophie the opportunity to gain friendship and love, which she might not have been extended otherwise: Sophie had the liberty of deception. Sophie is but one of the many performances by Meryl Streep that people admire. In the more recent Into the Woods , the setting of fairy tales to music, by the composer Stephen Sondheim, a work interpreted and filmed by director Rob Marshall, Meryl Streep plays the witch who sets much of the story in motion Streep gives a bravura performance.

The color of the film Into the Woods is bright, the music is beautiful—charming, intricate, witty—and the cast including Emily Blunt, Anna Kendrick, Chris Pine, and Johnny Depp are charming. Yet, I was not wholly engaged.

Is this a good film, or simply the best presentation money can buy? What does this musical treatment of fairy tales—entrancing and brutal—ultimately signify? The film is better than most American films on rural communities and working lives. Indeed, the film resists exaggerated heroism and sentimentality as well as villainy in its depiction of characters a feisty and complaining grandmother and a disapproving, sabotaging neighbor are both confronted and accepted.

The easy availability of sex and the distance of divine power and providence are as obvious as the necessity of personal discipline and tenacity for adults as well as consistent and good nutrition for children. Renoir made a film for grown folk but it can offer pleasure and wisdom to all.

It is a motion picture with its lens set on family, love, and illness—and it offers no significant fact or insight. It is the kind of film—one accepting African-Americans as ordinary people—that some people wanted always but, after decades of misrepresentation, especially wanted in the s and early s. Tastes change—and by the late s and the s there was a desire for more political motion pictures, which we only began to get in the s and s.

Who knows when we will get the complex, experimental, subtle work that some of us want now? In twenty or thirty years? It has been acclaimed a masterpiece, and it may be that. Tess is soon the subject of sport for the roguish gentleman of the house, the beginning of her trouble with men—for when Tess leaves to find employment, she meets and marries an idealist young man who abandons Tess upon hearing her tale of woe, in which she lost innocence and purity.

The whole story is all a believable cruelty, told in a way both marvelous and moving. That Awkward Moment — That Awkward Moment is a mostly intelligent, entertaining comedy that presents youthful relationships and suggests why men can be frustrating to women in matters of love and sexual ethics and basic honesty. Jordan, and Miles Teller as the leads, New York boys in the midst of careers and seeking fun in the city.

Is the sexual aggression of young men anything but animal instinct? Does it have anything at all to do with what a woman is actually like, what she thinks and feels? The young men evade responsibility—and love. They see romance as a great game, a kind of sport—a safari in search of prey—in which they themselves remain free, until love sneaks up on them, bags them.

Zac Efron, a man of intelligence, impudence, and grace, a man who has known success but also some rough times drinking too much, a publicist fight with a vagrant , was so very good in Liberal Arts , The Paperboy , and At Any Price and is also in Neighbors , a raunchy but intelligent comedy about conflicting young people who are neighbors—college students on the one hand, and youngish but older and maturing new parents on the other.

Its premise of the perspective of the recently young Rogen feeling attracted to but also alienated from the still young Efron is an interesting one, with the older man and his wife feeling both envy and disapproval, and wanting to be liked. The war in the heart leads to war among the neighbors.

Desire and jealousy, money and crime, and the threat of violence make their relationships dangerous. Mortensen and Mr. Isaac have the juiciest roles—Mr. Amini adds embellishing details and plot layers, hints at a grave Oedipal disturbance, turns up the sexual heat and smoothly increases the narrative torque.

A teacher whose ability to nurture is buttressed by frustrated expectation and rage, until rage and disrespect and humiliation seem his primary tools, becomes an antagonist to a young protagonist: a music conductor, Terence J. Simmons , and a drummer, Andrew Miles Teller who wants to study, learn, and become great, face each other—and, at first, it seems a case of villain and victim, although—seeing how determined and driven both are to achieve excellence—there are moments when one suspects monster may have met monster.

It is a surprising film, with delicious twists—and dedication, skill, and art triumph. Chaske Spencer plays the abandoned Native American man, Virgil. Julia Jones plays his wife, and David Morse plays the eccentric stranger. The film portrays personal and communal life, despair and pleasure, with realism and surrealism.

Like a lot of minority men, Virgil is adrift in life, both free and crippled—outside official opportunity and power, circumscribed by adverse personal circumstances. The pain of long ago loss of brother and father still haunt him, the kind of pain that further smothers dream, effort, energy, and joy. An old actor and landlord, Aydin Haluk Bilginer , his young wife Nihal Melisa Sozen , and bitter sister Necla Demet Akbag , and their acquaintances attract and repel each other with sympathy and accusations in a singularly haunting, good, and beautiful film.

They are sophisticated people in a simple environment that cannot address their needs. The fundamental facts of human existence such as birth and death, love and marriage and child-rearing, education and housing and food and medical care, are the things that most of us think about day to day, hour by hour.

Where is one to find sustenance and love and work? The schools and companies and institutions that human beings create are intended to make each life a little easier than it would be if pursued alone, without the help of civilization or society. Our labor makes possible many things, and gives value of different kinds exchange value, sentimental value to what we do.

It is not difficult to define the value of making tools, or creating furnishings for use—of craft and manufacturing; or even of locating and identifying raw materials that can be mined, transported, and transformed—at home, or in a factory—into usable stuff.

Yet the brutal treatment—the uses and abuses—to which people are put in life, and in films such as The Matrix and Snowpiercer , suggests the limits of the utilitarian as a final standard in relation to human beings. Value and use are often confused in western minds, but it is value—the beauty, camaraderie, compassion, humor, intelligence, joy, and understanding found, and the love and respect inspired—and not the use—of humanity that justifies much of what people do, the private and public choices we make—and the value of humanity justifies rebellion to rebels; however, it is power itself that frequently justifies revolution to revolutionaries—and to resist revolution, to resist on the grounds of personal difference, is, usually, intolerable to the revolutionary.

The daily world of offices and factories rarely gratify poets—and there are few if any mentors to be found for radicals and renegades in bureaucracies. Who celebrates, or has even heard of, a visionary clerk or a patient revolutionary? The pursuit of passion or originality or even integrity appears ludicrous in certain places, making a man an obscure fool.

What of art: of what use is art? Can that still, really, be a question, after all these centuries? One of the most fundamental and strangest facts about artists and intellectuals is the commitment to new or radical or obscure ideas that have yet to be articulated or presented in public but which artists and intellectuals deem necessary ideas.

Arts and intellectuals are existential gamblers. The starving artist knows, perhaps better than anyone, what it means to live without bare necessities, without respect and love. What can be done for artists, and for art? Understand the quality of attention, discipline, thought, and feeling that go into a life made amenable to art; respect the craft, energy, intelligence, time, and sacrifice that art requires; appreciate, with knowledge, the objects created; discuss and promote art; fund art through the provision of study fellowships, cost-of-living grants, project grants, prizes for excellence, and respectable salaries for art teachers, cultural programmers, and critics; and, most of all, purchase art and give art to institutions that preserve art for future generations.

What else? Ask an artist. What will you get when you support art and artists, but all the joy and wisdom art has given, does give, and will give? Yet, while being an ideal, freedom is not absolute. Yes, it is a freedom of rights and responsibilities, and part of the mythology of the western world, claimed as part of the inheritance of being an American—and that freedom is frequently perceived as dangerous.

The desire for freedom may be common but it is not commonly gratified. Freedom has been struggled for, whether the freedom of nations, of groups, of citizens, or of thought. Freedom is complex: the society, or community, agrees to balance or manage liberties and restraints through custom, rules, and laws, through government the lack of government would be anarchism.

Freedom is sought and resisted, expanded and curtailed. Whereas civil rights come with citizenship in a particular country, human rights are thought to come with birth anywhere—the right to exist, to be free, to have shelter and food and water, to live without torture or threat of violence, and to receive justice before the law. Philosophy is contemplation, dedicated, orderly, principled, purposeful, rigorous, and sustained; a passion for thought, a thoughtful passion; an interrogation of propositions, an articulation of equations; a gesture toward science in logical language that can be poetic; an offering of possibilities for beauty, joy, morality, reason, and truth; a love of wisdom.

Philosophy has taken human existence and consciousness as its terrain, and the freedom of perception and thought and judgment are perennial topics. Other philosophers have touched the same topic, of course. For Plato, who was born about before Christ and died BC, freedom led one to acquire knowledge, and the acquisition of knowledge led to freedom—but, for Plato, that seemed to indicate the necessity for a government of the elite.

Voltaire — advocated for civil liberties. David Hume — conceived of liberty as an exercise of will, not compelled by other forces. For Immanuel Kant — , freedom allows the expression of reason—we must think of ourselves as free, even though we cannot be sure of that freedom able to prove it. William James — , a philosopher and writer who made contributions to psychology and social thinking as well as philosophy, and the author of Pragmatism , argued for the connections among perception, thinking, and judging—but James was not an essentialist, and he said that what is considered essential in one time and place could be marginal in another.

For James, a disbelief in freedom compromised moral idealism, but James asserted that the belief in freedom could be made in faith rather than upon evidence: thus, both freedom and moral responsibility could be affirmed.

For Nietzsche — , freedom was taking responsibility for oneself—the most severe individuality. An ethical individuality was the ideal for Rudolf Steiner — , who considered independent thought and actions as a yearly, daily, hourly goal—considering the free spirit the best of human nature; and Steiner wrote The Philosophy of Freedom DuBois — , whose principles were humane and thoughtful, had one of the busiest and most respectable of lives, and, though he was freer than most, DuBois thought of the limits of freedom as he thought often of African-Americans—and still DuBois said it was cowardly not to know.

Alain Locke — celebrated cultural diversity and saw aesthetics as a realm that could express and expand freedom. John Dewey — thought of freedom as being able to participate in an ethical society. Ludwig Wittgenstein — , a philosopher of logic and language, and a critic of traditional philosophy, articulated ideas about thinking itself, declaring that a thought is a proposition with sense; and in Philosophical Investigations , Wittgenstein seemed to indicate that freedom is part of reflection, deliberation—an experience of the mind.

James — wrote about Caribbean and American Negroes who rebelled against oppressors to achieve freedom—sometimes thinking their struggle might be part of a larger fight, such as the American revolution or the civil war to an extent, the latter proved true. Freedom for Hannah Arendt — was individuality, originality and Arendt saw a lack of intellectual freedom in the abdication of responsibility that led to the Jewish holocaust. Maurice Merleau-Ponty — made the world, perception, and consciousness his complex subject; and for Merleau-Ponty we, humans, are body and mind, and freedom is comparable to alternatives, implying character, choice, and commitment.

Men and women are not alone, according to Simone de Beauvoir — , and in relating to each other, in their various combinations, through conscious choice and ethical acts they fulfill their freedom. Aime Cesaire — found clarity and power in the knowledge that poetry held, and wanted to renew the radical implications of old ideals such as freedom and justice as something that the widest range of people could partake in, supported by the state, and reaching beyond national demarcations.

Albert Camus — was aware of freedom as being a flag that truth-tellers as well as liars could wave. Noam Chomsky born has been quoted as saying that freedom, such as freedom of speech, is not just for ourselves and those we love, but for those we do not love. Richard Rorty — , a philosopher and political commentator on democracy and labor rights, said that freedom is the recognition of contingency.

Freedom is political, according to Angela Davis b. What is freedom for someone else may not be freedom for me, of course—and what is freedom for me may mean nothing to someone else. Sometimes people agree, and unite—but that does not mean that their agreement, even if it is the agreement of the many, is the agreement of all.

Some people want balm, not brilliance; mercy, not meditation—they confuse self with wounds of the self, and want only missionary, nurse, and therapist, an endless pity party. Which is the most intelligent and useful: to focus on the pains and problems of the past, or the prospects and practices of the present and the future? What knowledge, skills, practices, and manners would help secure civic participation, professional competence and mastery, personal fulfillment and political power?

Intelligent people feel affection and desire for people, places, and things that are good, wanting to protect and sustain them: intelligent people love. Ignorant people hate. Progressive people love. Reactionaries hate. Strong people love. Weak people hate. Log In. First Name. Last Name. By signing up, you agree to receiving newsletters from Rotten Tomatoes.

You may later unsubscribe. Create your account Already have an account? Email Address. Real Quick. We want to hear what you have to say but need to verify your email. Please click the link below to receive your verification email. Cancel Resend Email. Watch trailer. You might also like. Rate And Review Submit review Want to see. Super Reviewer. Rate this movie Oof, that was Rotten. What did you think of the movie? Step 2 of 2 How did you buy your ticket? Let's get your review verified.

Fandango AMCTheatres. More Info. Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie. How did you buy your ticket? View All Videos 1. View All Photos Movie Info. Lee Israel is a frustrated, hard-drinking author who can barely afford to pay her rent or bills in s New York.

Desperate for money, Israel soon hatches a scheme to forge letters by famous writers and sell them to bookstores and collectors. When the dealers start to catch on, Lee recruits a dubious friend to help her continue her self-destructive cycle of trickery and deceit. Marielle Heller. Nicole Holofcener , Jeff Whitty. Oct 19, limited. Feb 5, Fox Searchlight. Melissa McCarthy Lee Israel. Richard E.

Grant Jack Hock. Dolly Wells Anna. Ben Falcone Alan Schmidt. Gregory Korostishevsky Andrei. Jane Curtin Marjorie. Stephen Spinella Paul. Christian Navarro Kurt. Pun Bandhu Agent Doyle. Marc Evan Jackson Lloyd. Brandon Scott Jones Glen. Shae D'Lyn Nell. Rosal Colon Rachel. Anna Deavere Smith Elaine. Marielle Heller Director.

Nicole Holofcener Screenwriter. Jeff Whitty Screenwriter. Anne Carey Producer. Amy Nauiokas Producer. David Yarnell Producer. Jawal Nga Executive Producer. Pamela Hirsch Executive Producer. Bob Balaban Executive Producer. Brandon Trost Cinematographer. Anne McCabe Film Editing. Nate Heller Original Music. Stephen H. Carter Production Design. Marci Mudd Art Director. Sarah E. McMillan Set Decoration. Arjun Bhasin Costume Design. Jennifer Euston Casting.

View All Critic Reviews Mar 03, Melissa McCarthy and Richard E. Grant as terribly witty rejects who find each other moping in the dregs of self-medication in the bowels of New York City. As effective a personality study as you are ever to see, this work resonates long after the credits roll as an American Masterpiece Theater, an answer to the question: what happens to wasted talent in the Land Of Opportunity? Must see, and proof that New York City still has something to say.

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