Set in contemporary Chicago, amid a time of turmoil, four women with nothing in common except a debt left behind by their dead husbands' criminal activities, take fate into their own hands, and conspire to forge a future on their own terms.
When Lee Israel falls out of step with current tastes, she turns her art form to deception. An adaptation of the memoir Can You Ever Forgive Me?, the true story of best-selling celebrity biographer Lee Israel.
Richard E. Grant,
Based on the best-selling pair of memoirs from father and son David and Nic Sheff, Beautiful Boy chronicles the heartbreaking and inspiring experience of survival, relapse, and recovery in a family coping with addiction over many years.
Felix van Groeningen
A darkness swirls at the center of a world-renowned dance company, one that will engulf the artistic director, an ambitious young dancer, and a grieving psychotherapist. Some will succumb to the nightmare. Others will finally wake up.
Based on the true story of Forrest Tucker (Robert Redford), from his audacious escape from San Quentin at the age of 70 to an unprecedented string of heists that confounded authorities and enchanted the public. Wrapped up in the pursuit are detective John Hunt (Casey Affleck), who becomes captivated with Forrest's commitment to his craft, and a woman (Sissy Spacek), who loves him in spite of his chosen profession.Written by
Fox Searchlight Pictures
one of the great and heart-warming crime films of the 2010's
"And so I ask him, 'you think this is any way to make a living?' And looks me in the eye and says: 'Brother, Im not making a living, Im living.'"
Not often you get a heart-warming masterpiece about an elderly bank robber, so run, don't walk, to this one (or you could casually stroll and be polite, you lame-o).
This is so seemingly calmly assured and confident while making it look so easy (sort of like Forrest Tucker) that it feels like a minor miracle. This is the kind of film where you spend 85-90% of the time grinning ear to ear. This is a filmmaker who loves crime cinema, but also loves how Redford as a full star AND as a great actor when given the opportunity appears on camera. Additionally, this is the kind of cat-and-mouse "thriller" where we genuinely like the cop as much as the robber (Affleck is quite good here), and the ending feels as though it'll be bittersweet until it comes back around to being fully sweet.
Lastly, while I know the thing right now is to engulf and/or create art that is fiery and angry and responding to the moment, a film like The Old Man and the Gun is necessary for the reason that you can go and turn off everything else in the world but not, as the saying goes, turn off your mind. Lowery, for me, has finally arrived with the genuine article (and his previous films have shown real talent already).
Also, I cant wait till I can do a double feature of this with The Hot Rock. Oh, and you get a solid 10-15 minutes of Tom Waits too!
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