Helen Hunt directs herself in this story of a brittle New York book editor who begins healing old wounds by learning how to surf.
Hello, I'm Omar Moore. I was born and raised in London, where I grew up before moving to New York City with my parents. After branching out in the Big Apple on my own for a number of years, I moved west to San Francisco. I love America and its promise. We all need to do our small part to make this great country even better for all. Where a film is concerned, it is never "only a movie." Images mean something. They have unyielding power and influence, whether in "Birth of A Nation," "Un Chien Andalou," "Night Of The Hunter," "Killer Of Sheep," "Persona," "Psycho," "A Clockwork Orange," "Blazing Saddles," "Straw Dogs," "Soul Man," "Chameleon Street," "Do The Right Thing," "Bamboozled" or "Irreversible." A filmmaker generally doesn't put images in a film if they are meaningless.
My love affair with film -- with cinema -- has endured for decades now, and my girlfriend shares the same passion for movies. I am awestruck by the brilliance of Alfred Hitchcock's "Vertigo" - the essence of perception and recollection. I love the haunting quality of Fellini's "La Dolce Vita." I adore the visions of Kubricki n the great "2001: A Space Odyssey" and the beauty of "Eyes Wide Shut."
Omar Moore's website is popcornreel.com.
This message came to me from a reader named Peter Svensland. He and a fr...
An essay on John Glen's 1985 Bond film, "A View to a Kill," in honor of its thirtieth anniversary.
Scout Tafoya's video series continues with a look at Mary Harron's "The Moth Diaries".
Captain's log: eight fifth graders, one adult, one James Cameron movie.