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The Playlist

Sundance: Exclusive Clip From The Engaging & Provocative Documentary 'The Imposter'

  • By Kevin Jagernauth
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  • January 23, 2012 11:02 AM
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  • 4 Comments
What if your teenage son disappeared? What if he was found again, three years later, halfway around the world? Would you recognize him? Would your desire for a family to be reunited trump any doubts or inconsistencies about who this person might really be? Those are the questions are the heart of director Bart Layton's "The Imposter," a documentary that is sure to make waves when it premieres today at the Sundance Film Festival.

Kiefer Sutherland Says '24' Movie Set 6 Months After The Series Finale, A "Direct Continuation" Of The Show

  • By Gabe Toro
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  • January 23, 2012 10:38 AM
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  • 2 Comments
While the movie adaptation of "24" won't borrow the show's main conceit of taking place in real time -- the title would have to lose a number, for one -- it looks like there won't be a huge difference with the subject material. When asked by Collider about the Mark Bomback-penned script for the "24" movie (hopefully retitled "The Jack Bauer Power Hour"), star Kiefer Sutherland took a break from promoting his new Fox series "Touch" to she some light on the plot developments that will trouble Bauer's CTU agency on the big screen in 2013.

'Very Good Girls' Starring Elizabeth Olsen & Dakota Fanning Back On, Anton Yelchin Set To Join

  • By Simon Dang
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  • January 23, 2012 10:24 AM
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  • 0 Comments
It's somewhat hard to imagine considering how far she's come but it was only this time last year one Elizabeth Olsen was introduced to movie-goers with her Sundance double of "Martha Marcy May Marlene" and the upcoming horror remake "Silent House." During her year, the actress has managed to fit in projects like Rodrigo Cortes' "Red Lights" and Josh Radnor's "Liberal Arts" (both of which have already been hot topics at Park City this year) but through it all mentioned that one project she attached herself to soon post-Sundance, Naomi Foner's "Very Good Girls," was struggling to find its feet.

Sundance: Stephen Frears Confirms He's Considering An American Remake Of 'The Hit,' But It's Not Quite Ready To Roll Just Yet

  • By Todd Gilchrist
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  • January 23, 2012 10:04 AM
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Stephen Frears, director of the upcoming film “Lay the Favorite,” told The Playlist that one of his next projects may be a remake of his own film, the 1984 underworld thriller “The Hit,” with development of the film first surfacing late last year. “Well, if [the pieces come together,]” he said in an interview Sunday afternoon in Park City, Utah. “I’d like to do a remake of it, yeah. It’s such a good story, and I would happily do it again. I’d be curious to see if I could do it better, or maybe I’d do it worse.”

Review: 'Man On A Ledge' Steps Over The Edge Into B-Movie Ridiculousness

  • By Kevin Jagernauth
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  • January 23, 2012 9:32 AM
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  • 0 Comments
When Nick Cassidy (Sam Worthington) climbs out of a widow gets on the ledge of the Roosevelt Hotel, right in the middle of Manhattan, his life has so gone to shit you can believe he's ready to end it. Having recently escaped custody while attending his father's funeral, Nick has already spent two years in a jail for a crime he didn't commit, the theft of a valuable jewel. His appeals have run out and he's facing a considerable stretch at Sing Sing, narrowing his choices down to whiling in a cell block or splattered on a literal street block. But that suspension of disbelief only goes so far, because unless it's Gwyneth Paltrow lying on a gurney, few movies are gonna have the lead die this early on. So Nick's job is not to convince us, but the cops who have quickly flooded into the hotel and onto the street below, that he wants to kill himself. And so begins "Man On A Ledge," which starts off as a promising compact little thriller, but eventually unravels into something far more conventional and absurd.

Bret Easton Ellis Penning Microbudget Noir For Paul Schrader, Wants Porn Star James Deen To Star

  • By Gabe Toro
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  • January 23, 2012 9:19 AM
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  • 1 Comment
Could shock-novelist Bret Easton Ellis' next detour lead him down some dark alleyways with the writer of "Taxi Driver"? If Ellis' topsy-turvy Twitter account (via ONTD) is to be believed, he's working on an "L.A. noir micro budget Paul Schrader movie." And he's got an interesting, NSFW Google search lead in mind.

Reese Witherspoon & Ryan Reynolds To Star In Tim Burton-Produced Drama 'Big Eyes'

  • By Oliver Lyttelton
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  • January 23, 2012 9:04 AM
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  • 2 Comments
Next month will be an important one for Ryan Reynolds and Reese Witherspoon. The former is bruised after a pair of summer flops last year, "Green Lantern" and "The Change-Up," and will be hoping to cement his A-list status opposite Denzel Washington in "Safe House," while the latter hasn't had an unqualified hit since "Four Christmases" in 2008, and is hoping to turn that around by starring opposite Tom Hardy and Chris Pine in McG's "This Means War." But while they wait for their blockbuster drawing power to be tested, the pair are planning to team up for the first time for a project with more serious intent.

Sundance Review: 'Lay The Favorite' A Comedy That's An Empty Bet

  • By John Lichman
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  • January 23, 2012 8:11 AM
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  • 3 Comments
“You can't blame Stephen Frears for trying” seems to be the mantra for "Lay the Favorite," a mild romp through the T&A world of Las Vegas, gambling and literary adaptation. After all, "High Fidelity" is an iconic film to obsessive nerds (Need proof? See: every listicle on the Internet) and Frears is no slouch to crafting strong and/or sexy female characters (Tamara Drew, Cherí, The Queen). But what happens when he tries to mash them up and form the unholy love child of a stat geek and a bubbly idiot savant who used to be a stripper?

Sundance Review: 'Simon Killer' Loses That Lovin' Feeling On The Streets Of Paris

  • By William Goss
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  • January 23, 2012 7:32 AM
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  • 0 Comments
Simon (Brady Corbet) is lost. After being dumped by his high school sweetheart after a relationship that ran the length of their college years, the newly graduated, newly single American flees to Paris to get away from it all and find himself. Of course, the problem with undertaking such a journey of self-discovery is assuming that one will like what they find…

Sundance Review: Less 'Wrong' Than Bad, Quentin Dupieux's Followup To 'Rubber' Proves Him To Be A Half-Hit Wonder

  • By James Rocchi
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  • January 23, 2012 7:10 AM
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  • 3 Comments
Received at film fests and among cult cinema fans with the giddy glee of an inside joke, Quentin Dupieux's "Rubber" was a film more celebrated than ultimately worthy of celebration. Dupieux's piss-take on '70s killer-car horror (and, by extension, all cinema) as a psychic rubber tire self-motivated itself through the American West, sporadically killing people telekinetically, felt to me like a short film larded up with unrequired bulk -- or, as I may have tweeted at the time, " 'Rubber' rolls along for a while, starts wobbling, then goes flat." "Wrong," premiering at the 2012 Sundance Film Festival, was a chance to see what Dupieux could really do. And what he can really do is not direct.

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