Movie MemorabiliaMovie Memorabilia And Movie Reviews

22-year-old Aura returns home to her artist mother's TriBeCa loft with the following: a useless film theory degree, 357 hits on her Youtube page, a boyfriend who's left her to find himself at Burning Man, a dying hamster, and her tail between her legs. Luckily, her trainwreck childhood best friend never left home, the restaurant down the block is hiring, and ill-advised romantic possibilities lurk around every corner. Aura quickly throws away her liberal-arts clogs and careens into her old/new life: a dead-end hostess job, parties on chilly East Village fire escapes, stealing twenties out of her mother's Prada purse, pathetic Brooklyn “art shows,” prison-style tattoos done out of sheer boredom, drinking all the wine in her mother's neatly organized cabinets, competing with her prodigious teenage sister, and desperate sex in a giant metal pipe. Surrounded on all sides by what she could become, Aura just wants someone to tell her who she is.

Let's face it: mumblecore films are all very similar. They feature characters who are recent college graduates (usually jobless), living in a big city (usually New York), and have a “complicated” love life (usually newly single).

Lena Dunham's semi-autobiographical tale of post-college malaise has all of these components. So, in many ways the movie follows in the genre's over-tread footsteps. That being said,Tiny Furniture is still a witty take on the messiness of growing up and the difficulties of coming back home again.

Dunham stars as Aura, who graduated from college in Ohio only to return to New York jobless and confused. Dunman's real-life sister and mother also star in the film, playing essentially themselves (her sister as a high-school senior and her mother as a successful artist who makes a living taking pictures of miniature furniture).

Throughout this entirely DIY production (Dunham shot the movie in her family's home) we follow Aura as she deals with family issues, douchey guys, and her wild childhood “best friend” who she actually hasn't seen for years.

And while none of these everyday events are totally groundbreaking, they are a welcome break from all the drama we see every week on Gossip Girl. Tiny Furniture definitely isn't a “chick flick,” but this is one movie we'd recommend checking out with your best friend.

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He said on Tuesday that 'Cool It,' to be released in the United States and Canada on November 12, offered solutions after former U.S. Vice President Al Gore's 'An Inconvenient Truth' in 2006 publicized the risks of global warming.

'Al Gore pointed it out as a problem and now let's talk about the solutions,' Lomborg told the Reuters Global Climate and Alternative Energy Summit of the movie by U.S. filmmaker Ondi Timoner.

'It has definite potential to get out and hopefully do what Al Gore did for the climate debate…taking it further,' he said. The movie was shown at this year's Toronto film festival.

Lomborg, a statistician, said there was a need for 'pragmatic and sensible' alternatives to deadlocked U.N. climate talks where he said there were 'a lot of promises and very little action.'

Last year's U.N. climate summit in Copenhagen fell short of a binding treaty. A U.N. session last week in China was dominated by recriminations between China and the United States, the top greenhouse gas emitters, about blame for global warming.

WIND, SOLAR

Lomborg said the movie explores his calls for $100 billion a year to be spent on research and development of technologies ranging from wind and solar power to 'geo-engineering' that could, for instance, be used to reflect sunlight into space.

'It would be much cheaper than the (U.N.'s) Kyoto Protocol and much, much cheaper than any of the other arrangements that are under consideration,' he said.

He denied media reports that he had abruptly converted to belief in global warming, noting he had long viewed it as a problem. Lomborg's 1998 book 'The Skeptical Environmentalist' said the severity of climate change had been widely exaggerated.

'A fundamental problem of climate change is that we seem to be stuck in two positions — it's either the end of the world or it's not a problem at all,' he said.

'That makes it very hard to have a pragmatic or sensible middle that says 'yes, there's a problem but we need to fix it tomorrow',' he said.

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Inspired by actual events, “Unstoppable” is an adrenaline rush fueled by director Tony Scott's signature mark of propulsive action rooted in the reality of ordinary people placed in extraordinary circumstances. A veteran train engineer (Denzel Washington) and a young conductor (Chris Pine) race the clock to stop an unmanned runaway train – effectively a missile the size of a skyscraper — and prevent disaster in a heavily populated area.

Chris Pine got his big break when he starred as Captain James T. Kirk in 2009's “Star Trek”. Unfortunately, it seems as though that Chris Pine has not really capitalized on that opportunity. Yeah, he got some films after that gig but no one would consider those as blockbuster films. “Unstoppable” is probably the next big opportunity Chris Pine has been waiting for – this could show the world that he is more than James T. Kirk and a glimpse of what he is truly capable of as an actor. Well, did he do it? Catch our review of “Unstoppable” after the jump.

A massive locomotive train goes unmanned when a train worker inadvertently leaves it on full throttle while leaving the train. Worse, the train is loaded with highly toxic and highly combustible material that could literally level a small town eight times over. Little by little, everyone hatches different plans to stop the train but to no avail, the locomotive vaporizes everything at its path. Will Colson (Chris Pine), a newly hired conductor, and Frank Barnes (Denzel Washington), a veteran train engineer, start their day normally. When the two are suddenly put into the same track as the unmanned train, both decide that they have the best but incredible solution to stop it from careening off the track in a highly-populated area.

We never dreamed that a movie about a runaway train could be so thrilling and exciting. The makers of “Unstoppable” were able to capture the real life drama so well that the movie made us squeal and hold our breath countless times. The quality of the film came as a surprise to us as we did not know that they can actually shoot so many train scenes brilliantly. The dialogue was pretty witty too. This movie could have been perfect, were it not for the very slow start. However, the moment the train came rushing down the tracks, the action and the thrill literally became unstoppable. Up until now, we couldn’t understand why people like Chris Pine. He never made impact in any of his films (except his role in “Star Trek” because well, that’s “Star Trek”), including this one. Denzel Washington can act with whoever, maybe even a ten year old as a sidekick and this movie would still be good.

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But what if other people could literally invade our dreams, what if a technology existed that enabled interlopers to create and manipulate sleeping life with the goal of stealing our secret thoughts, or more unsettling still, implanting ideas in the deepest of subconscious states and making us believe they're our own?

Welcome to the world of “Inception,” written and directed by the masterful Christopher Nolan, a tremendously exciting science-fiction thriller that's as disturbing as it sounds. This is a popular entertainment with a knockout punch so intense and unnerving it'll have you worrying if it's safe to close your eyes at night.

Having come up with the idea when he was 16, Nolan wrote the first draft of “Inception” eight years ago and in the interim his great success with “Batman Begins” and “The Dark Knight,” not to mention the earlier “Memento,” put him in a position to cast Leonardo DiCaprio and six other Oscar-nominated actors and spend a reported $160 million in a most daring way.

For “Inception” is not only about the dream state, it often plays on screen in a dreamlike way, which means that it has the gift of being easier to follow than to explain. Specifics of the plot can be difficult to pin down, especially at first, and guessing moment to moment what will be happening next, or even if the characters are in a dream or in reality, is not always possible. But even while literal understanding can remain tantilizingly out of reach, you always intuitively understand what is going on and why.

Helping in that understanding, and one of the film's most satisfying aspects, are its roots in old-fashioned genre entertainment, albeit genre amped up to warp speed. Besides its science-fiction theme, “Inception” also has strong film noir ties, easily recognizable elements like the femme fatale, doomed love and the protagonist's fateful decision to take on “one last job.”

That would be DiCaprio's Dom Cobb, a thief who specializes in what's called extraction, in taking secrets from the subconscious. Aided by Arthur (a fine Joseph Gordon-Levitt), the trusted associate who is a whiz at the mechanics involved, Cobb is introduced in the middle of a dream involving Saito (Ken Watanabe), a wealthy Japanese businessman.

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It can be exhilarating to watch as clearly intelligent/talented people hold forth on the true objects of their obsessions. This is a simple pleasure, but, sadly, also a rare one, as so many interviews these days are so fraught with soundbites or agendas or pretenses of frivolity. The Practice of the Wild contains archive footage and a few appreciative interviews with scholars and friends, but the bulk of it consists of a series of walk and talks between the subject, poet/ecological activist Gary Snyder, and longtime friend, novelist Jim Harrison.

The title is taken from one of Snyder's books, and writer-director John Healey is interested in more than a tribute: He's after a purifying simplicity that echoes Snyder's poetry. The film's score is taken from The Thin Red Line, a move that the subject earns: We hear Snyder read his work throughout, and we're struck by the eloquence of the author's performance as well as the precise passion of the writing. The poems we hear, from the collections The Practice of the Wild and Turtle Island among others, are concerned with the gulfs between humans and the remainder of the world, and they reach us for what they don't say. Contemporary society has grown accustomed to a stereotype of the global activist as an impassioned flake bellowing in your ear at your every indulgence (a generality I admit to entertaining more than once), but Snyder's poetry is fleet, beautiful, mysteriously sad, and it occurs to you that he's speaking from a place of common sense that most of us should be able to access.

Snyder's work, of course, haunts The Practice of the Wild. He makes for a wonderful screen presence, Snyder clearly knowing the part of the “revered author” quite well; he projects a restless intelligence along with a humility that's a little disconcerting. Snyder and Harrison have an unusual chemistry that charges the picture with a benign tension. You expect to watch as two brilliant men wax on the state of the world, and, in a roundabout way, you get just that. But the discussions mirror the elusive plainspoken quality of Snyder's books. Harrison has a confidence with Snyder that probably only comes from long friendship, he doesn't attempt flattery or over-empathize. Harrison will say something that somehow associates with a prominent event in Snyder's past—such as his presence at Ginsberg's first reading of “Howl,” or his decade of study in Japan—and Snyder will say something brief and casually profound, and Harrison will let it hang. Harrison doesn't pound a point into the ground with needless sentiment to feed his own need for presence opposite this legend, and the film, to its credit, doesn't either.

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