Paula Jalfon Movies

The run-up to war makes for curious rivalries and uneasy alliances in this political satire from director and co-screenwriter Armando Iannucci. Simon Foster (Tom Hollander) is a minor minister of international development with the British government who, in the midst of a radio interview, casually tells a reporter "war is unforeseeable." However, the prime minister is being pressured to commit British troops to support American forces in the Middle East, and communications director Malcolm Tucker (Peter Capaldi) goes into a tirade when the press turns Foster's passing comment into a major news story. Foster becomes an unwitting media figure, and he and his personal communications director, Judy (Gina McKee), are joined by political damage control expert Toby (Chris Addison) as they're sent to Washington, D.C., to meet with American political and military leaders. Despite Judy's and Toby's help, Foster displays a stubborn inability to say what he's supposed to, and he finds himself caught in the middle between pro-war factions -- including diplomat Karen Clarke (Mimi Kennedy) and State Department official Linton Barwick (David Rasche) -- and those who oppose the conflict, including Pentagon attaché General Miller (James Gandolfini) and activist Liza (Anna Chlumsky). As if matters weren't already complicated enough, Liza used to date Toby when they were college students, and Gen. Miller was once involved with Clarke, adding bitter romantic history to an already rocky playing field. In the Loop received its North American premiere at the 2009 Sundance Film Festival. ~ Mark Deming, All Movie Guide

The efforts of an American ex-patriot living on a remote Mediterranean to establish himself as a serious musician are constantly thwarted by every inhabitant of his small village in director Francesca Joseph's ensemble comedy drama. Larry (Stanley Tucci) thought that by moving to the village that was once home to a celebrated European composer he would find inspiration, but instead he just spends his nights playing for peanuts in the local pubs. Eventually Larry becomes convinced that if he stages a gala tribute to the late composer the locals will finally take note of his talent. But organizing such a lavish event and convincing the late composer's widow (Marisa Paredes) to allow her esteemed late-husband's works to be played publicly by a famed pianist (Virgile Bramley) isn't going to be easy, especially when it begins to seem like everyone wants their say in the event. Now, with everyone from Larry's neurotic partner Miranda (Jessica Stevenson) to the late musician's lovely muse Helena (Emmanuelle Seigner), opportunistic Englishman Sebastian (Hugh Bonneville) and his capricious brother Dickie (Rhys Ifans), and even Larry's long lost daughter Frankie (Jena Malone) crawling out of the woodwork, the put upon pianist will have to balance out the chaos that swirls around him if he holds out any hope of delivering his true masterwork. ~ Jason Buchanan, All Movie Guide

British director Isaac Julien takes on the Blaxploitation era of the '70s in the hour-long documentary Baadasssss Cinema. With archive film clips and interviews, this brief look at a frequently overlooked historical period of filmmaking acts as an introduction rather than a complete record. Features interviews with some of the genre's biggest stars, like Fred Williamson, Pam Grier, and Richard Roundtree. Director Melvin Van Peebles discusses the historical importance of his landmark film Sweet Sweetback's Baad Asssss Song. For a contemporary perspective, the excitable Quentin Tarantino offers his spirited commentary and author/critic bell hooks provides some scholarly social analysis. The music of Blaxploitation movies is rightfully discussed, focusing on Curtis Mayfield's "Superfly" and Isaac Hayes' "Shaft." Also features interviews with writer/director Larry Cohen and film historian Armond White. Baadasssss Cinema was originally shown on the Independent Film Channel in August of 2002 as part of a week-long Blaxploitation film festival. ~ Andrea LeVasseur, All Movie Guide

In the late '60s, the tone of American horror films began to shift in the wake of the startling success of George A. Romero's Night of the Living Dead -- horror films became gorier, bleaker, and began to subtly reflect the political and social upheaval gripping the country. Through the '70s and '80s, films like Last House on the Left, The Texas Chainsaw Massacre, and Halloween held a distorted mirror up to American culture, reflecting its fear and chaos in the wake of Vietnam and Watergate. The American Nightmare is a documentary that looks at the transgressive horror films of the '60s and '70s and the people who made them. Directors Wes Craven, Tobe Hooper, and David Cronenberg, special effects man Tom Savini, and film critics Tom Gunning and Adam Lowenstein are among those interviewed by director Adam Simon. The American Nightmare was produced for the premium cable outlet The Independent Film Channel. ~ Mark Deming, All Movie Guide

The Typewriter, the Rifle, and the Movie Camera recounts the three stages of filmmaker Samuel Fuller's remarkable career -- from his beginnings as Arthur Brisbane's copy boy, to his experience as a rifleman in World War II, to his success as a "B" movie writer/director. Tim Robbins narrates the documentary and interviews the lively, articulate Fuller, while fans Martin Scorsese, Quentin Tarantino, and Jim Jarmusch provide commentary. The film is highlighted with clips from hard-to-find Fuller films and glimpses of the director's memorabilia, including Gene Evans' helmet from The Steel Helmet, a sword from The Crimson Kimono, and the famed portable camera that Fuller's mother sent to him while he was overseas. It also features Fuller's cartoons, his drawings, readings from his journal, and photographs from his personal collection. Yet, nothing is more prominent in the film than the eccentric, excited Fuller as he tells his own story. Produced only two years before the filmmaker's death in 1997, the documentary is one of his last onscreen appearances. Film critic Andrew Sarris declared that a Sam Fuller film cannot be explained, it must be seen. The same is true for Fuller himself, and this documentary is the closest today's fans will get to that experience. ~ Aubry Anne D'Arminio, All Movie Guide