Rob Reiner directs Woody Harrelson in the title role as legendary and controversial Texas politician Lyndon B. Johnson, who succeeded the assassinated John F. Kennedy as President of the United States and unexpectedly helped usher in a new era of civil rights — while plunging the country into the inferno of Vietnam.
Sutter Keely lives in the now. It’s a good place for him. A high school senior, charming and self-possessed, he’s the life of the party, loves his job at a men’s clothing store, and has no plans for the future. A budding alcoholic, he’s never far from his supersized, whisky-fortified 7UP cup. But after being dumped by his girlfriend, Sutter gets drunk and wakes up on a lawn with Aimee Finicky hovering over him. Not a member of the cool crowd, she’s different: the “nice girl” who reads science fiction and doesn’t have a boyfriend. She does have dreams, while Sutter lives in a world of impressive self-delusion. And yet they’re drawn to each other.
Belle, her little sister, and her comatose twin brother move into a new house with their single mother Joan in order to save money to help pay for her brother’s expensive healthcare. But when strange phenomena begin to occur in the house including the miraculous recovery of her brother, Belle begins to suspect her Mother isn’t telling her everything and soon realizes they just moved into the infamous Amityville house.
In THE HATEFUL EIGHT, set six or eight or twelve years after the Civil War, a stagecoach hurtles through the wintry Wyoming landscape. The passengers, bounty hunter John Ruth (Russell) and his fugitive Daisy Domergue (Leigh), race towards the town of Red Rock where Ruth, known in these parts as “The Hangman,” will bring Domergue to justice. Along the road, they encounter two strangers: Major Marquis Warren (Jackson), a black former union soldier turned infamous bounty hunter, and Chris Mannix (Goggins), a southern renegade who claims to be the town’s new Sheriff. Losing their lead on the blizzard, Ruth, Domergue, Warren and Mannix seek refuge at Minnie’s Haberdashery, a stagecoach stopover on a mountain pass. When they arrive at Minnie’s, they are greeted not by the proprietor but by four unfamiliar faces…
A woman with Borderline Personality Disorder wins the Megamillions lottery, quits her meds and buys herself a talk show on an infomercial channel where she talks and creates segments exclusively about herself. This movie is a dark comedic look at our obsession with celebrity and narcissism. [Synopsis courtesy of Toronto International Film Festival]
Jake Klein, 50, sets out to make a movie. He hires an actor to play himself and throws a big party. His idea is to shoot the heck out of it and see what he gets. But, everything spins out of control as different, unexpected people show up. Old loves are there. New loves are there. His dead father, his mother when she was young, his kids, his ex-wife. Even his younger selves, Jake at 40, Jake at 30 and Jake at 17, are there, too! And every one of them has tons of advice on how to fix his screwed up life. Jake’s head reels as he staggers through what’s either a mystical experience, a nervous breakdown… or both!
Johanna Parry (Kristen Wiig) is a profoundly shy, unadorned woman who is hired by Mr. McCauley (Nick Nolte) as a housekeeper and a primary caregiver to his granddaughter Sabitha (Hailee Steinfeld). Despite her outgoing nature, Sabitha carries wounds from the death of her mother years before, complicated by the circumstances of that death for which her grandfather still blames her father, Ken (Guy Pearce), a hapless recovering drug addict with a certain ragged charm. In an act of mean-spirited rebellion, Sabitha uses technology to foster a pseudo-relationship between Johanna and her father, never dreaming of the potential harm to either party. Sabitha doesn’t understand that Johanna is not a demure cut-out, but rather a woman for whom the phrase “still waters run deep” could have been coined. The young girl’s interference provokes Johanna to indulge in something long missing from her life: the dream of a future and a home of her own. [Synopsis courtesy of TIFF]
A theater director struggles with his work, and the women in his life, as he attempts to create a life-size replica of New York inside a warehouse as part of his new play.