Aloha feels like several films at once, crammed together and sped up, with results that are emotionally hollow and narratively confusing.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Marie writes: Allow me to introduce you to Bill and Cheryl. I went to Art school with Bill and met his significant other Cheryl while attending the graduation party; we've been pals ever since. None of which is even remotely interesting until you see where they live and their remarkable and eclectic collection of finds. (click to enlarge images.)
Q. A blogger named Brian at takes issue with your remarks about Paul Greengrass' long takes in "The Bourne Ultimatum," writing: "I don't recall a single take in this movie that was more than about three seconds long. Either Greengrass really does a spectacular job of not 'calling attention' to those long takes, or Ebert saw a different movie. But it's very strange, no matter what." (From goneelsewhere.wordpress.com:) Who's right?
Terrence Howard is having a good year. He's given two performances that are, by general agreement, of Oscar caliber. In "Crash," which opened in May, he played a TV producer who finds himself in an impossible situation when his wife is assaulted by a white cop; he knows that if he protests, he'll be charged with resisting arrest, or worse. Currently, in "Hustle & Flow," he plays a Memphis pimp named Djay who dreams of becoming a rap artist; as he works with new friends to make a demo record, the joy of creation changes the nature of his life. And in the new film "Four Brothers,," he plays a cop, so this year he's been on both sides of the law and in the middle.