In 1950s Baltimore, a bad-boy with a heart of gold wins the love of a good-girl, whose boyfriend sets out for revenge.
When Tracy Turnblad (Ricki Lake), an overweight teen, auditions for a spot on a popular teen dance show, she beats out the spiteful Amber von Tussle (Colleen Fitzpatrick), winning over Amber's boyfriend (Michael St. Gerard) in the process. After meeting some black students at her school, Tracy begins to push for more racial integration on the dance show. This gets her into trouble on many sides, especially with Amber's pushy parents (Sonny Bono, Deborah Harry).
Madeline (newcomer Helena Howard) has become an integral part of a prestigious physical theater troupe. When the workshop's ambitious director (Molly Parker) pushes the teenager to weave her rich interior world and troubled history with her mother (Miranda July) into their collective art, the lines between performance and reality begin to blur. The resulting battle between imagination and appropriation rips out of the rehearsal space and through all three women’s lives.
Writer/director Josephine Decker has long been an independent filmmaker to admire, utilizing a welcome expressionistic approach that imbues her subjects with a vibrant sense of urgency. Anchored by a virtuoso performance from newcomer Helena Howard, whose powerful screen presence commands attention, Decker’s film displays a rare sensitivity for capturing the messy struggles of discovering a sense of one's self that defies easy narrative categorization.
RDrug use, language, and some sexuality.
The film centers on the final two years of Nico’s life in 1987 and 1988, approaching 50 and living a solitary life in Manchester. Her manager Richard convinces her to hit the road again and tour Europe to promote her latest album. Struggling with her demons and the consequences of a muddled life, she longs to rebuild a relationship with her son, whose custody she lost long ago.
Two Oregon environmentalists (Jesse Eisenberg, Dakota Fanning) and a former Marine (Peter Sarsgaard) hatch a plan to blow up a hydroelectric dam.
After accidentally electrocuting a writer, a mousy copy editor proceeds to systematically murder his co-workers. Directed by Cindy Sherman.
A 17th-century Hungarian countess believes that bathing in the blood of virgins will keep her young.
From writer/director Desiree Akhavan and based on the celebrated novel by Emily M. Danforth, The Miseducation of Cameron Post follows Cameron (Chloë Grace Moretz) as she is sent to a gay conversion therapy center after getting caught with another girl in the back seat of a car on prom night. Run by the strict and severe Dr. Lydia Marsh (Jennifer Ehle) and her brother, Reverend Rick (John Gallagher Jr.)—himself an example of how those in the program can be “cured”—the center is built upon repenting for “same sex attraction.” In the face of intolerance and denial, Cameron meets a group of fellow sinners including the amputee stoner Jane (Sasha Lane), and her friend, the Lakota Two-Spirit, Adam (Forrest Goodluck). Together, this group of teenagers form an unlikely family as they fight to survive.
Christine (Sandy McLeod) takes a job selling tickets at a porno theater near Times Square. Instead of distancing herself from the dark and erotic nature of this milieu, she develops an obsession that begins to consume her life. Few films deal honestly with a female sexual pointof-view, controversial and highly personal, Variety does just this.
PG-13For some thematic elements and language.
Fred Rogers led a singular life. He was a puppeteer. A minister. A musician. An educator. A father, a husband, and a neighbor. Fred Rogers spent 50 years on children’s television beseeching us to love and to allow ourselves to be loved. With television as his pulpit, he helped transform the very concept of childhood. He used puppets and play to explore the most complicated issues of the day—race, disability, equality and tragedy. He spoke directly to children and they responded by forging a lifelong bond with him—by the millions. And yet today his impact is unclear. WON’T YOU BE MY NEIGHBOR? explores the question of whether or not we have lived up to Fred's ideal. Are we all good neighbors?