The first minarets in Murfreesboro, Tenn., are about to be placed atop a new mosque. But when construction is complete on the new Islamic Center of Murfreesboro, located about 30 miles southeast of Nashville, no one will get to move in.
An ongoing court battle has stalled the project, one of several Islamic centers around the country that, like the so-called ground zero mosque, have encountered resistance from local communities.
Credit Philippe Antonello / Sony Pictures Classics
Antonio the newlywed (Alessandro Tiberi, left), Uncle Paolo (Roberto Della Casa) and Anna the prostitute (Penelope Cruz) in one of To Rome With Love's four independent stories. This one features Anna attempting to teach Antonio something about love.
For four decades, Woody Allen's been churning out movies at a rate of almost exactly one film per year, a phenomenon that I'd describe as being "like clockwork" if my whole sense of time hadn't been scrambled by his latest comedy, To Rome With Love.
For little girls, princesses hold roughly the same value that tulips did for the Dutch back in the 1500s, and that princess mania is sure to get a boost with the new Pixar movie Brave,which stars a Scottish princess named Merida.
For a keyhole glimpse into the pink and glittery world of pre-K princess culture, consider the scene at a recent princess-themed birthday party in a suburb of Washington, D.C.
Woody Allen's slack new movie, To Rome with Love, comes fortified with a fine bit of nonsense involving a shower, a loofah and a nervous Italian tenor who's terrified of performing in public.
Allen repeats the joke at well-spaced intervals, and he's right to: It represents what's best in his comedy, a goofball grace note in which he invites us to join in his delight in the sublime absurdity of artistic endeavor. Around my local screening room, it seemed that just about everyone obliged.
Like the romance it portrays, Seeking a Friend for the End of the World is brief, sweet, funny and sad. It's also tonally uncertain and occasionally foolish, but somehow these flaws never derail the story's wistful pleasures, not the least of which — if we ignore an unpleasant speech by Patton Oswalt — is its pleasing lack of the frat-boy vulgarity that has come to define so much of the genre.
Not since Walt Disney's heyday has an animation company enjoyed a creative — and technically innovative — run like Pixar, now on a two-decade stretch that started with Toy Story in 1995 and continued with modern classics like Finding Nemo, Monsters Inc., The Incredibles, WALL-E, Ratatouille and two Toy Story sequels that took on improbable depth and complexity. Over the years, the only persistent knock against Pixar is its lack of one thing Disney movies had in spades: female heroines.
Abraham Lincoln (Benjamin Walker) and Will Johnson (Anthony Mackie) in one of the slick action sequences from Abraham Lincoln: Vampire Hunter. Lincoln's weapon of choice in the film is a silver-plated ax.
Two films into his English-language directing career, and already Timur Bekmambetov is spinning his wheels. But at least when the Kazakh director does so, the wheels have glistening silver rims and spin in hyperdetailed, superslow motion, all while the car is spinning through the air in a graceful, arcing corkscrew.
Lovely people, beautiful places, a suicide attempt and echoes of a French New Wave classic — these ingredients seem to promise lots of passion in A Burning Hot Summer. But this existential-romantic roundelay barely simmers, and certainly doesn't scorch.
Veteran director Philippe Garrel's latest film opens with apparently parallel events: a woman reclines naked, alone in a room, as a man guns his car, heading straight for a tree.
The Last Ride recounts the final days of country-music legend Hank Williams, but it's strangely short on actual information about the singer. We only sparingly hear snippets of his music on the radio, and we learn almost nothing of his past. In fact, no one ever refers to the man by his proper name.