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The Playlist

Watch: U.S. Trailer For Mark Webber's 'The End Of Love' Co-Starring Shannyn Sossaman, Amanda Seyfried & More

  • By Edward Davis
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  • January 14, 2013 6:07 PM
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  • 3 Comments
Mark Webber is not only a solid actor traversing both indie and mainstream worlds ("Broken Flowers," "The Hottest State," "Dear Wendy," "Scott Pilgrim Vs. The World"), but he has also found his own voice and bloomed into a interesting writer/director in recent years. He released his debut "Explicit Ills" in 2009, and his sophomore directorial effort, "The End of Love" feels like another personal and intimate work. It also features a meta aspect at its core: he stars as an actor named Mark alongside his real-life, then-two-year-old son Issac

Paul Schrader's 'The Jesuit' Moves Ahead With Alfonso Pineda Ulloa Directing, Shannyn Sossamon To Star

  • By Kevin Jagernauth
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  • October 24, 2012 4:30 PM
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  • 1 Comment
Originally slated to shoot in March 2011, with a promising cast including Paz Vega, Willem Dafoe and Michelle Rodriguez, Paul Schrader's long brewing "The Jesuit" never got off the ground. Instead, he moved to the micro-indie world and shot "The Canyons" with porn star James Deen and Lindsay Lohan, which is currently in post, and while we had hoped he might get back to "The Jesuit," it looks like he has passed the job on to someone else.

Review: 'The Day' Presents Post-Apocalypse From The A La Carte Menu

  • By Gabe Toro
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  • August 28, 2012 10:01 AM
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  • 1 Comment
"The Day" runs about eighty-seven minutes in length. It features a number of recognizable actors. There's violence at the beginning, middle and end, and many characters die, mostly with an explosion of blood. The story takes place over the course of one day, and though the image is saturated, we see the sun go down, and eventually come back up again. There is an orchestral score of grinding guitars as well. Some further detective work will conclude that yes, this is a movie.

Review: Dense And Oblique, Monte Hellman's 'Road To Nowhere' A Welcome Return

  • By Christopher Bell
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  • June 10, 2011 8:53 AM
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  • 0 Comments
The reemergence of a well-respected filmmaker will always draw the eyes of cinephiles everywhere; these once-master auteurs come out of hiding, hoping to recapture the energy and attention they once had. "The Godfather" auteur Francis Ford Coppola is currently enjoying a second career in film, and though he isn't making serious bank ("Youth Without Youth" couldn't even muster up $250,000 domestically), his latest output is some of his best work since the early 1980s. Few are as successful critically as that, and though we all have our dream lists (this writer can't be the only one hoping for a new Nagisa Oshima), some filmmakers can't restart the fire they once had -- often it feels like they're trying too hard to either keep up with current stylistic trends or forcing out a passion that they no longer have. Either way, these artistic resuscitations are often only ever seen as complete travesty or modern masterpiece, regardless of how detrimental those extremist labels truly are. Which brings us to this unfortunate question: which camp does "Road to Nowhere" by Monte Hellman (director of the great "Two-Lane Blacktop," absent from features since 1989) fall into? Depending on your affinity for David Lynch/Claire Denis-type narrative puzzles, it could go either way.

'Scott Pilgrim' Star Mark Webber Directing Drama Starring His Two-Year-Old Son

  • By Oliver Lyttelton
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  • January 26, 2011 1:58 AM
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  • 3 Comments
Michael Cera, Shannyn Sossamon, Amanda Seyfried, Jason Ritter Also In Cast A year ago, it looked like indie veteran Mark Webber might be about to take a major leap in his career, as one of the more left-field choices among the top-notch ensemble of Edgar Wright's "Scott Pilgrim Vs. The World." While Webber was terrific as the neurotic, fame-hungry Sex Bob-omb frontman Stephen Stills in the picture, the disappointing box office haul of the film meant that the actor hasn't quite cracked the mainstream yet, even if it's gone some way to helping things along.

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