Nicole Kidman is spotted for a fleeting moment as she prepares for her next scene.
For a sneak Scenes of the City we crashed the set of Hemingway & Gellhorn with a few glimpes of stars Clive Owen and Nicole Kidman today in SF's Chinatown. If you're quick you can still catch them on Grant St. and Jackson St.
Tabitha Soren was a fixture of many a teenage past, serving as a news reporter (alongside Kurt Loder) of MTV's early-'90s golden years (golden, meaning they still played music videos). Her interview with Tupac Shakur was famously included in the 2003 documentary film Tupac: Resurrection, and at the age of 23, she was the face of 1992's Choose or Lose campaign, setting out on the presidential campaign trail to rock 20 million Gen-Xers into the vote. These days, Soren lives in Berkeley, has three children and is married to author Michael Lewis (Moneyball, The Blind Side).
“If you want to have your situation fixed, you have to start dating,” a girlfriend tells Jane, setting the mechanics of her story in motion. “Anyone!”
Jane is a frustrated divorcée, played by the incomparable Meryl Streep, who warily watches her cheating ex Jake (Alec Baldwin) make off with his much-younger mistress turned wife (Lake Bell) as if going through some stereotypical midlife crisis. There’s still a spark between them – a family reunion leads them back to the bedroom after 10 years of separation – but is Jake still the one?
Thanks to Quentin Tarantino's Inglourious Basterds, the vicious political satire In the Loop and provocative documentaries like The Cove and Food, Inc., it's already been a terrific year for dedicated moviegoers. Based on the impressively strong selection of films on display at the 34th annual Toronto Film Festival, which drew to a close Sept. 19, there's plenty to look forward to in the months to come.
It would be easy to mock The International for its self-important approach to material that’s far too silly to be taken as a serious indictment of a banking system dominated by the interests of murder-minded powerbrokers. Yet I must resist that urge (for the most part, at least) because the movie is so cleverly crafted, unfolding at a dizzying pace before arriving at conclusions that defy logic as you watch them in real-time and make even less sense when you think about them afterward. In other words, it’s a solid little thriller, no more but definitely no less.