Garret Dillahunt

Any Day Now Trailer

Every once in a while a movie gets made that’s quite clearly designed for the express purpose of making everyone who watches it bawl their eyes out. Any Day Now is one of those movies. The first few seconds of its new trailer make it look like it might be a fun, ’70s-set romance about a newly out of the closet gay man learning something about life and love thanks to a new relationship with a free spirit – a manic pixie dreamboy movie, if you will – but once it introduces the drama, it goes full bore with it and just refuses to stop. More than being a simple tearjerker, this one looks like it’s going to leave your tear ducts sore and feeling violated. The basic story is that Alan Cumming and Garret Dillahunt are a gay couple trying to navigate the murky and prejudiced waters of the ’70s court system so that they can adopt a mentally challenged boy who lives down the hall from them and is being neglected by his crappy, awful mother. I know, right?


Dillahunt, Giamatti, and Paulsen

Seemingly not content to follow up his critically lauded Shame with a cast that only includes such names as Chiwitel Ejifior, Brad Pitt, Michael Fassbender, Paul Dano, Taran Killam, Scoot McNairy, Benedict Cumberbatch, Ruth Negga, and Adepero Oduye, filmmaker Steve McQueen has just gone ahead and thrown another batch of incredible talent into the giant amazing stew that is Twelve Years a Slave. This time around, he’s mixed in no less than Paul Giamatti, Garret Dillahunt, and Sarah Paulson, a wealth of talent that would stand alone just fine, but the addition of which makes Twelve Years the most skill-laden cast of the year. I never say this about a film I’ve yet to see (much less one that’s not even been filmed yet), but – all of the Oscars. All of the Oscars. Based on the true story of Solomon Northrup, Ejifior will play a free man who is sold into slavery and who remains a slave for twelve years (yes, the title of the film should have clued you into that).



Inspired by an moving true story, Travis Fine‘s Any Day Now may be set in the ’70s, but the story’s elements feel like a story ripped from today’s headlines. The film stars Alan Cumming and Garret Dillahunt as Rudy and Paul, a happy (though closeted) couple who discover something truly unexpected in their neighbor’s apartment – teen Marco (Isaac Leyva), abandoned by his drug-addicted mother and left to his own devices. Even worse? Marco has Down syndrome, and no one else in his life is able or equipped to handle his needs. Except Rudy and Paul. The pair eventually take in Marco and begin to form a happy and stable family together. But when their arrangement is discovered, and Rudy and Paul’s relationship is outed, it kicks of a legal battle that will decide just who Marco really belongs with. With a compelling story and an extremely talented cast (that also includes Frances Fisher), Any Day Now should emerge as one of the highlights of this year’s Tribeca Film Festival. After the break, check out the exclusive poster debut for Any Day Now, along with a batch of new stills from the film.



For his 17th feature film, writer/director John Sayles performs one of his periodic 180 degree shifts. Throughout his 33-year directing career, the gifted chronicler of the histories and familial legacies of small-town Americana (in films such as Lone Star and Honeydripper) has occasionally ventured outside that comfort zone. The Irish-set Secret of Roan Inish and the Spanish language, Latin American-set Men with Guns are among Sayles’s best-reviewed works. In Amigo, his most ambitious film yet, the filmmaker heads to the Philippines, circa 1900, for an old-fashioned yet all-too-resonant portrait of U.S. imperialism run amok. There’s an aesthetic stiffness to certain elements of Sayles’s picture, which concerns the drama that plays out in a fictional village during the Philippine-American war. The camerawork is stately and largely of the front-and-center medium shot variety, while the limited, spare jungle setting exudes a sort of abstract theatricality. It’s not always the most vibrant enterprise as it charts the ups-and-(mostly) downs of the American occupation of that village. The cross-cutting between the activities of the soldiers and the Filipino rebels is at times rather heavy-handed, following a pattern that appears to have been determined by Sayles’s desire to give them equal air time, so to speak, rather than the natural flow of the narrative.



One can see why the people of Sundance loved Winter’s Bone enough to give it the Grand Jury Prize and the Waldo Salt Screenwriting Award. Upon initial appearance it’s exactly the type of independent film beloved at the festival in Utah that later goes unnoticed by the rest of the world.



Sarah is in jail, facing FBI prosecution. John and Cameron are holed up in a seedy motel, waiting for things to blow over.



John discovers that Savannah Weaver is a target of a Terminator. John Henry detects the threat and tries to lead Savannah to safety. When the Garbage Terminator learns her daughter has been kidnapped, she enlists the help of both John Henry and Agent Ellison to track her down.



Kevin Carr reviews this week’s new movies: Race to Witch Mountain, Last House on the Left and Miss March.



Sarah finds herself in the hospital with a gunshot wound from her shoot-out at the Skynet warehouse. She escapes the hospital and kidnaps a doctor to help take the bullet out, all the time hallucinating a visit with Kyle Reese. The retrofitted Terminator John Henry is learning about himself and the operation while the Garbage Terminator takes matters into her own hands… literally.



Sarah is continuing her research on the three dot symbol that has been haunting her visions. This leads her to a UFO convention and a conspiracy theorist in hiding who might have a connection to the manufacturing of the Machines.



Sarah and Cameron are hot on the track of the people they believe have The Turk. Meanwhile, John is still pining over Riley, who receives a visitor that explains some secrets. And Agent Ellison works with the Garbage Terminator to interview a growing artificial intelligence.



In the grand style of Vantage Point, The Sarah Connor Chronicles tells this episode’s story from multiple points of view. John (Thomas Dekker) runs off for the weekend with Riley (Leven Rambin) and ends up in a Mexican jail.

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published: 01.25.2015
published: 01.25.2015
published: 01.25.2015

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