Be forewarned: Mike Tyson wants to show off his sensitive side.
“Mike Tyson: Undisputed Truth” hits the Orpheum Theatre for three nights beginning Feb. 28. The one-man show chronicles the 46-year-old former undisputed heavyweight-boxing champion’s headline-filled life, from his rise to fame in and out of the boxing ring since the 1980s to his lesser-known personal transformations.
Director Spike Lee has called the outing a tale of “redemption.”
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Director Roman Coppola doesn’t deny that his second feature film, “A Glimpse Inside the Mind of Charles Swan III,” is a personal movie that may not have mainstream appeal. The film, which opens today, is a kind of comical, hallucinogenic dreamscape about a 1970s-era artist (Charlie Sheen) who designs record covers and is suffering as a result of a terrible breakup.Recently in town to promote the movie, Coppola, who went through a bad breakup himself “many years ago,” says he tried to capture the specific state of mind of someone in such turmoil.
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It’s that time again — the “Up” series is back — and both the kids and the series are going strong. The latest installment, “56 Up,” is another worthy addition to this documentary catalog that illustrates the modern human experience through the stories of 13 Brits who, every seven years, share their lives in front of the movie camera.Falling somewhere between anthropology and melodrama, the “Up” series began in 1964 with “7 Up,” a TV experiment designed to assess the impact of class on British schoolkids. Fourteen 7-year-old children were interviewed.
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Director Steven Soderbergh and screenwriter Scott Z. Burns called in an expert when making “Side Effects,” their new twisty, puzzle-box thriller about a depressed young woman and her relationship with two psychiatrists.
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At the beginning of San Francisco-based playwright Octavio Solis’ riveting new drama, “Se Llama Cristina,” premiering at Magic Theatre, a couple is slumped in a drug-induced stupor at a Formica table in a bare, seedy room.
Surfacing, they’re so wrecked they don’t even know their own names, let alone where they are and why, and who the other person is. The man is horrified to see a needle sticking out of his own arm and drug paraphernalia on the table.
“I never shoot up!” he declares.
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While no one expects a film titled “Bullet to the Head” to be a long-lost sequel to “Brief Encounter,” fans of action-flick biggies Walter Hill and Sylvester Stallone might figure the debut collaboration by the director and actor to offer personality and verve.
Yet the beef-and-blam drama is a cliched, lackluster attempt to re-create the spirit of former glory.
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“Warm Bodies” is a new kind of zombie movie — the hero actually is a zombie. And he’s not just any hero. He’s a romantic lead who falls in love with a human girl.
Writer-director Jonathan Levine (“50/50”) and actors Dave Franco and Analeigh Tipton recently visited The City to chat about the movie, opening today, which is based on a young-adult novel by Isaac Marion.
For Levine, zombie movies are about collective vs. individual consciousness.
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Like last year’s Snow White movies, “Mirror Mirror” and “Snow White and the Huntsman,” the new “Hansel & Gretel: Witch Hunters” comes from the Brothers Grimm, although in this case, the Grimms merely recorded a German tale that, before 1812, was an oral tradition.
But unlike 2012’s movies, “Hansel & Gretel: Witch Hunters” bravely gets a little crazy.
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Like last year’s Snow White movies, “Mirror Mirror” and “Snow White and the Huntsman,” the new “Hansel & Gretel: Witch Hunters” comes from the Brothers Grimm, although in this case, the Grimms merely recorded a German tale that, before 1812, was an oral tradition.
But unlike 2012’s movies, “Hansel & Gretel: Witch Hunters” bravely gets a little crazy.
It begins with a simple idea: After young Hansel and Gretel kill the witch in the cottage made of gingerbread and candy, they continue on their path, killing more witches and rescuing more kidnapped kids.
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“Broken City” offers little to brighten the cockles of moviegoers’ hearts during this month that’s typically a vacuum for film lovers. While the actors make it watchable, it’s bogged down by cliches and predictable plot turns, and it is ultimately a familiar and forgettable political drama.
Director Allen Hughes — whose collaborations with his twin brother, Albert, include “Menace II Society,” “Dead Presidents” and “In Hell,” — continues to depict humans’ baser aspects in this solo effort, written by playwright Brian Tucker.
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