Keith takes a nostalgic trip with Argento’s GIALLO at EIFF!
The title Giallo refers, generically, to a distinctive kind of Italian horror-thriller film, of which writer-director Dario Argento has been a leading exponent since his…
All Time Domestic Figures (07.01.01)
12. Spider-Man $373,585, 825
13. The Passion of the Christ $370,782,930
14. Avatar $367,536,685.
15. Jurassic Park $357,067,947
16. LOTR: Two Towers $341,786,758
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Public Enemies
Up in the Air
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The Hurt Locker
Up
A Serious Man
Broken Embraces
Funny People
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BEST DIRECTOR
Mann (Public Enemies)
Reitman (Up in the Air)
Tarantino (Inglourious Basterds)
Bigelow (Hurt Locker)
Coens (A Serious Man)
BEST ACTOR
Clooney (Up in the Air)
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Rockwell (Moon)
Stuhlberg (A Serious Man)
BEST ACTRESS
Mulligan (An Education)
Cruz (Broken Embraces)
Ronan (Lovely Bones)
BEST SUPPORTING ACTOR
Waltz (Inglourious Basterds)
Capaldi (In the Loop)
Molina (An Education)
Gandolfini (In the Loop)
Tucci (Lovely Bones)
BEST SUPPORTING ACTRESS
Farmiga (Up in the Air)
Weisz (Lovely Bones)
Laurent (Inglourious Basterds)
The title Giallo refers, generically, to a distinctive kind of Italian horror-thriller film, of which writer-director Dario Argento has been a leading exponent since his…
THE BROTHERS BLOOM is on the move again, the unfortunate victim of being an unusual genre movie a studio doesn't quite know what to do…
This poster & trailer combination went up a few days ago, we were a little late picking it up. Sorry folks (full poster, after the…
Matt here... this is our second review of THE BROTHERS BLOOM. Our first was conducted by Daniel Faulkner, out at the Toronto International Film Festival.…
Loses it's wide October opening & changes to a limited December release.
Caper comedy starring Adrien Brody, Rachel Weisz & Mark Ruffalo!
Dario Argento's homage to the 70's movement of the "Giallo" cinema.
I guess he looks a little Italian. I think he can pull it off!
I knew it was too good to be true when I reported in October that the often wasted talent of Matt Dillon had actually find…
Wes Anderson is back, and he brings with him the usual rag-tag of dysfunctional relations played by his favoured actors, in the usual kooky colour schemes and with familiar visual stylings.