Bekmambetov, Timur, film producer. Iwanyk, Basil, film producer. Cumberbatch, Benedict, actor. Gilbert ; written and directed by Josh Trank. Trank, Josh, film director, screenwriter, editor of moving image work. Ackerman, Russell, film producer. Schoenfelder, John Producer , film producer.
Bender, Lawrence, film producer. Junger, Gil, film director, screenwriter. Lazar, Andrew, film producer. Chen, Cory, film producer. Zhang, Linshu, film producer. Bateman, Gabriel, actor. Baumbach, Noah, film director, screenwriter, film producer. Heyman, David, film producer. Ryan, Robbie, director of photography. Lame, Jennifer Film editor , editor of moving image work. Newman, Randy, composer expression. Criterion collection ; Apatow, Judd, film director, film producer, screenwriter.
Mendel, Barry, film producer. Sirus, Dave, screenwriter. Davidson, Pete, actor, screenwriter. Animation presents ; producer, Amy McKenna ; written by J. DeMatteis ; produced and directed by Sam Liu. McKenna, Amy Producer , film producer. DeMatteis, J. Liu, Sam, film director, film producer. Isaacs, Jason, voice actor. Acker, Amy, voice actor. Buck, Chris, film director, screenwriter.
Smith, Marc E. Anderson-Lopez, Kristen, screenwriter, lyricist. Lopez, Robert, screenwriter, lyricist. Disney Blu-ray. Eubank, William, film director. Duffield, Brian, screenwriter. Cozad, Adam, screenwriter. Davis, Tonia, film producer. Stoff, Erwin, film producer. Mangold, James, film producer. Green, Michael Screenwriter screenwriter. Sanders, Chris Christopher Michael film director.
Hawley, Kate Costume designer , costume designer. Arbi, Adil El, film director. Fallah, Bilall, film director. Smith, Will, actor. Meghie, Stella, film director, screenwriter. Packer, Will, film producer. Lopez, James F. Langerman, Keri, costume designer. Weeks, Loren, production designer. Novakovic, Bojana, actor. Yan, Cathy, film director. Unkeless, Bryan, film producer. Kroll, Sue, film producer. Hodson, Christina, screenwriter. Coolidge, Jennifer, actor.
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Wilde, Autumn de, film director. Catton, Eleanor, screenwriter. Bevan, Tim, film producer. Fellner, Eric, film producer. Broadbent, Graham, film producer. Fowler, Jeff, director. Ascher, Toby, film producer. Nakahara, Toru, film producer. Ito, Takeshi film producer. Robbie, Margot, film producer, actor. Hooper, Tom, screenwriter, film producer, film director. Hall, Lee, screenwriter. Lloyd Webber, Andrew, composer.
Hayward, Debra, film producer. Rae, Kori, film producer. Scanlon, Dan, film director, screenwriter. Headley, Jason, screenwriter. Bunin, Keith screenwriter. Holland, Tom, voice actor. Jeffrey Jacob , film producer, screenwriter, film director. Connolly, Derek, screenwriter. Trevorrow, Colin, screenwriter. Pictures presentation. Cervone, Tony, film director. Abbate, Allison, film producer.
Coats, Pam, film producer. Sztykiel, Adam, screenwriter. Elliott, Derek, screenwriter. Cattaneo, Peter, film director. Tunnard, Rachel, screenwriter. Flynn, Rosanne, screenwriter. Tempest, Piers, film producer. Pugh, Ben Film producer , film producer. Smith ; directed by Giuseppe Capotondi. Capotondi, Giuseppe, film director.
Smith, Scott, July screenwriter. Zander, David, film producer. Horberg, William film producer. Lancaster, David, film producer. Griffiths, Rachel, film director, film producer. Knight, Andrew, screenwriter. McCredie, Elise, screenwriter. Keddie, Richard, film producer. Montague-Delaney, Susie, film producer. Finley, Cory, film director. Makowsky, Mike, screenwriter, film producer. Berger, Fred, film producer. Vaisman, Eddie, film producer. Lebedev, Julia, film producer. Koepp, David, film director, screenwriter.
Bacon, Kevin, film producer, actor. Seyfried, Amanda, actor. Essex, Avery, actor. Murphy, Shannon, film director. Murphy, Alex, film producer. Kalnejais, Rita, screenwriter. Brown, Amanda, composer. Gebler, Amelia, costume designer. Vietti, Brandon, film producer, film director. Greenwood, Bruce, actor. Martella, Vincent, actor. DiMaggio, John, actor. Fazal, Zehra, actor. Donaldson, Jack C. Pront, Robin, film director. Coster-Waldau, Nikolaj, actor. Wallis, Annabelle, actor. McClarnon, Zahn, actor.
Saban Films, publisher. Chong, Daniel, film producer, film director. Chang, Christina, screenwriter. Edelstein, Eric, voice actor. Moynihan, Bobby, voice actor. Martin, Demetri, voice actor. Dornelles, Juliano, film director, screenwriter. Lesclaux, Emilie, film producer. Merkt, Michel, film producer. Leytner, Nikolaus, film director, screenwriter.
Richter, Klaus Screenwriter , screenwriter. Pochlatko, Dieter, film producer. Pochlatko, Jakob, film producer. Zimmermann, Ralf Producer , film producer. Porumboiu, Corneliu, film director, screenwriter. Ivanov, Vlad, actor. Marlon, Catrinel, actor. Magnolia Home Entertainment Firm , publisher. Dano, Paul, film director, screenwriter, film producer. Kazan, Zoe, screenwriter. Duncan, Andrew Producer , film producer. Saks, Alex, film producer. Moverman, Oren, film producer. Timpson, Ant, film director.
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Egerickx, Dixie, actor. Adalsteins, Elfar, film director, film producer. Armbruster, Michael, screenwriter. Collins, David Producer , film producer. Hawkes, John, actor. Roddenberry, Gene, creator. Fuller, Bryan, creator. Kurtzman, Alex, creator, screenwriter.
Lumet, Jenny, screenwriter. Vrvilo, Maja, film director. Michell, Roger, film director. Torpe, Christian, screenwriter. Clark, Sherryl, film producer. Bernardi, David, film producer. Van Norden, Rob, film producer. Fischer, Eleanor Wilson. Fischer, Alex H. Wilson, Eleanor Motion picture producer and director , screenwriter, film director. Mani, Sunita, actor.
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Binnun, Oded, film director. Cohn, Arthur, film producer. McGowan, Michael, screenwriter. Kagan, Michal Lali, screenwriter. Ginnane production ; produced by Antony I. Lamprell, Mark, film director. Preston, Luke, screenwriter. Carter, Grant, screenwriter. Ginnane, Antony I. Lightfoot, David, film producer. Eskandari, Matt, film director. Emmett, Randall, film producer.
Russo, Joe, screenwriter. LaMont, Chris, screenwriter. Willis, Bruce, actor. Lesperance, Norman, screenwriter. Bussetil, Geoff, screenwriter. Hagen, John Einar, film producer. Reed, Jason, film producer. Bender, Chris, film producer. Weiner, Jake, film producer. Hynek, Lauren, screenwriter. Martin, Elizabeth, screenwriter. Lowthorpe, Philippa, film director. Frayn, Rebecca, screenwriter. Chappe, Gaby, screenwriter. Hinchliffe, Dickon, composer.
Knightley, Keira, actor. Caro, Niki, film director. Jaffa, Rick, screenwriter. Borte, Derrick, film director. Ellsworth, Carl, screenwriter. Ellzey, Lisa, film producer. Gill, Mark Film producer , film producer. Gunn, Andrew, film producer. Stewart, Jon, film director, screenwriter, film producer. Gardner, Dede, film producer. Kleiner, Jeremy, film producer. Yacoub, Lila, film producer. Carell, Steve, actor. Porter, Dawn Dawn Michele , film producer, film director. Alexander, Erika, film producer.
Arnon, Ben, film producer. Michalchyshyn, Laura, film producer. Lewis, John, , on-screen participant. Pontecorvo, Marco, film director, screenwriter, film producer. D'Annunzio, Valerio, screenwriter. Nicolosi, Barbara R. Volk, James T. Lyles, Richard I. Maine, Karen, film director, screenwriter. Cordeal, Katie, film producer. Hammond, Colleen, film producer.
Columbus, Eleanor, film producer. Teixeira, Rodrigo Motion picture producer , film producer. Graham, John K. Polnaszek, Andrea, film producer, screenwriter. Boylan, Alexandra, film producer, screenwriter. Richards, Denise, actor. Schneider, John, actor. Parisot, Dean, film director. Matheson, Chris, screenwriter.
Solomon, Ed, screenwriter, film producer. Kroopf, Scott, film producer. Lebovici, Alex, film producer. Swale, Jessica, film director, screenwriter. Heeley, Guy, film producer. Sturges, Adrian, film producer. Arterton, Gemma, actor.
Mbatha-Raw, Gugu, actor. Boone, Josh, screenwriter, film director. Lee, Knate, screenwriter. Rosenfelt, Karen, film producer. Kinberg, Simon, film producer. Shuler-Donner, Lauren, film producer. Heckler, Andrew, film director, screenwriter. Brenner, Robbie, film producer. Jincheng, film producer. Kenwright, Bill, film producer.
Hedlund, Garrett, actor. Olmos, Edward James, film director, film producer, actor. McEveety, Robert, screenwriter, film producer. Hibler, Patrick, film producer. McEveety, Steve, film producer. Strathairn, David, actor. Caple, Steven, Jr. Stallone, Sylvester actor, screenwriter, film producer. Taylor, Juel, screenwriter. Penn, Sascha, screenwriter.
Coker, Cheo Hodari, screenwriter. Hart, Kevin, film producer, screenwriter, actor. Ratchford, Harry, screenwriter. Wells, Joey, screenwriter. Kellard, Matthew, screenwriter. Fantastic beasts. Rowling ; directed by David Yates. Wigram, Lionel, film producer. Rowling, J. Kloves, Steven, film producer. Yates, David, film director. Lanthimos, Yorgos, film producer, film director. Dempsey, Ceci film producer. Guiney, Ed, film producer. Magiday, Lee film producer.
Davis, Deborah screenwriter. Hill, Jonah, film director, film producer, screenwriter. Kao, Ken Film producer , film producer. Koreeda, Hirokazu, film director, screenwriter, editor of moving image work. Matsuzaki, Kaoru, film producer. Yose, Akihiko, film producer. Taguchi, Hijiri, film producer. Close, Glenn, actor. Irons, Max, actor. McGovern, Elizabeth, actor.
Slater, Christian, actor. Mystery Road. Perkins, Rachel, television director. Simpkin, Greer, television producer. Jowsey, David Motion picture producer , television producer. Santo eventually getting a mullet does not help. His various whacking, loot-boosting, and general gangsterism has nothing to contribute to the ongoing dialogue each of the greats has advanced in their own way, not to mention the lesser-seen Italian productions bringing social consciousness and formal adventurousness to the genre as of late.
One hopes that top-flight choreography might pick up the slack left by cookie-cutter writing, but alas, these Scandinavian posers have already been served by their American cousins. Skam -heads aside, best moonwalk your way to Step Sisters instead. Daniel Calparsoro disregards all of this counsel on his way to dashing the aptitude he showed in The Warning , a genre piece that couched its twists in a story firm enough to sustain them. There seem to be fewer shits given all around in this case, as Calparsoro rushes through his watering-down of Thomas Harris so he can get to three successive bait-and-switches, each less meaningful than the last.
Until, of course, we figure out the game — at which point all that remains are some eye-catching diversions with pink, green, and yellow, along with a few practical effects shots not worth writing home about. There is only one Tyler Durden. Born as an obsessive Fincherian hunt-for-the-killer thriller, pupating into a head-on action chase, and finally bursting out of its cocoon as a hideously malformed time-travel travesty, this film has an entirely separate set of issues.
Walraven van Hall is no Oskar Schindler — though this biopic wants him to be so very badly — and star Barry Atsma does a commendable job of giving this real-life human being an identity of his own. His White Fang had teeth, speaking to a young-adult audience prepared to reckon with the hazards of the natural world, but this kiddie spin strips the woods of their formidable might.
A scene depicting dogfighting feels out of place in a film so mushy. The title pretty much translates to Lost Girl. What sounds like a weird cousin to Dear Zachary makes up a lot of ground in execution, as the characters buy into the absurdity enough that it starts to fold into the fabric of the universe. Flipping a middle finger to the grandfather paradox, the script even makes it through the easily blown second-act exposition without falling apart.
Amato works harder to earn his tears than most of the guys behind merciless melodramas such as this. The preceding weeks saw an influx of photo enthusiasts streaming in from across the country to get their exposures while they still could, and this drama follows once such road trip between cancer-stricken snapshotter Ben Ed Harris , his good-natured assistant—nurse Zoe Elizabeth Olsen , and his adult son Matt Jason Sudeikis. From the mm. A good villain could have made up for the scripting, but the trio of little undead girls only serves to add The Shining to the laundry list of superior films from which this one has leeched.
Free Pugh. Take the 10 For those viewers in search of a scattershot, fitfully funny crime caper in which Tony Revolori spends one long day scrambling around the outskirts of L. At least that one had a more charming leading man in Shameik Moore than this one gets in Josh Peck, playing a sleazebag with the pretty face of a former child TV star. That movie had some entry-level commentary on race, too, and a nifty soundtrack from Pharrell. All this dime-store knockoff has is a Pulp Fiction— lite nonchronological structure, a closeted coke baron, and one great Danny Brown needle drop it unloads in the first 15 minutes.
The most a critic can say is that its pop-culture references are very of-the-moment. Eli Paramount pawned this one off on Netflix after executives reasoned that figuring out how to market a film built around a remarkably stupid late-phase twist would be too much of a hassle. This made it a perfect fit for Netflix, and a business model that subsists on word-of-mouth over marketing. Even the premise sounds like it was reverse-engineered from mined data: a boy quarantined from the world around him Charlie Shotwell, whose last name does not describe this film lands in a haunted house containment facility, but is his sickness real?
The script has been, at most, a quarter thought-through. Evil , about a pair of convivial rednecks who, through a series of unfortunate accidents and coincidences, present as bloodthirsty lunatics to a gaggle of nubile vacationers. Anne Hathaway. Dee Rees. In any case, Didion will be fine. She goes missing and law enforcement suspects Lucy may be the guilty party, her interrogations interspersed with flashbacks to her doomed love triangle. Noah Centineo, a name doodled in diaries worldwide, plays a lower-middle-class high-school senior putting together cash for college by posing as an escort for girls in need of some arm candy.
Handsome From the opening narration in which the culprit introduces himself and confesses to his crime, this comedy purports to be a different breed of murder mystery. A cursory web search provides clarity on how a charlatan could have landed such an adulatory portrayal, as well as the equally confounding question of why a French-set film about a Frenchman ended up as a Portuguese-language Brazilian production: the last modern-day stronghold of Spiritism is in Brazil.
This is by them, for them, but offered up to all of us due to the globalist business ethic of Netflix. Sahara In the abattoir of lowest-common-denominator kiddie entertainment, a viewer can sometimes read between the lines and see the grown-up writers starting to crack under their own madness.
I credit this cut-rate French-Canadian co-production with offering the most glimpses into the frustration that comes alongside making a cartoon about the desert adventures of a scorpion and a cobra. Lucid Dream Among the curiously large backlog of East Asian sci-fi projects that Netflix has imported, this does not rank among the more memorable.
Yeh Ballet In , Sooni Taraporevala directed a fifteen-minute documentary short about Manish Chauhan and Amiruddin Shah, two Mumbai kids scooped out of their chawls and deposited into a top-of-the-line ballet academy. In elongating to nearly two hours and going the narrative route, Taraporevala bathes his subjects in a phoniness that only exaggerates the distance from its own reality.
Coming from India gives the film a few chances to say something worth hearing, much of it about the casual racism of the ballet world; the white instructor is quick to tell his new pupil to shear his luscious locks in order to conform to Western performance standards. The few scenes articulating this concept get closest to recapturing the observational spirit of its source. She then squandered part of that goodwill on limp-noodle biopic Mary Shelley , and now threatens to completely deplete it on this rom-com lacking both volume and a lustrous aesthetic shine.
Uptight advertising exec Violet Sanaa Lathan keeps her life as rigorously controlled as her elaborately treated do, but she must forsake the picture-perfect fakery to go natural up top and find herself. Sunanda Usha Jadhav is precisely the sort of character that Chopra and other outspoken advocates for women in the entertainment industry have called for.
A lawyer ardently arguing for abused women against their alcoholic husbands, she has a feminist yen for justice at war with an inner turmoil that still haunts her. Take a wild guess at what happened in her past to make her pursue this particular line of work. For a while, the character is more fully-developed than the film around her, until the final twenty minutes take some shall-we-say-unanticipated turns that seriously undercut its progressive messaging. Slightly coercive sex and cuckolding: the cure to a flagging marriage?
Revenger The seventh art started going downhill the day that CGI blood was ruled more cost-effective than squib packs and karo syrup. Hopefully, powerhouse star Bruce Khan will find more sure-handed tutelage elsewhere, and soon. This film, a Polish rush job in the English language, makes that faux pas into its main event. Even if the visual profile looks more like an HBO prestige movie.
Conflict-averse academic Paul Adama Niane finds this for himself as his family returns from vacation in their RV, greeted by housesitters exploiting a loophole to squat on the property. Paul calls the cops, and because all they see is a Black man trying to break into a big house, they arrest him instead of the offenders. Holiday Rush The politics of poptimism figure prominently into yet another fish-out-of-water class reversal, this time starring Romany Malco as a radio personality suddenly out of a job when his pride and joy station gets bought by a bloodsucking megacorp.
While he and his bratty children move back in with family auntie Darlene Love! The racial subtext of that divide also makes this film more watchable in theory than in practice, a counterweight against writing so dedicated to being unfunny that it actually drops the record-scratch what-just-happened moment without a trace of irony.
For some, the minute-by-minute predictability will be a bug, but others, a feature. The most costly production in Malay film history often feels like an extended recruitment video, showing how PASKAL soldiers save lives and assist the U. Leader of men Commander Anwar Hairul Azreen entertains the notion that he may not be able to serve his country and his family at the same time, a nagging doubt typical of the war film, but the film settles that with the conclusion that country and family are one and the same.
Though the three tactical operations around which the script has been molded are executed with the precision and efficiency expected of the military, the shut-up-and-put-up thinking leaves its topic only half-covered. The battle for the future of the banlieue takes human shape in Mali-French teen Noumouke Bakary Diombera , torn between his older brothers.
Soulaymaan Jammeh Diangana is on track to be a lawyer and Demba polymath James, pulling double duty runs the local drug game, embodying the two paths facing Noumouke in rather plain fashion. With such a natural feel for the banlieue, any falseness within it jumps right out. As a cultural presence, sure, I get the appeal. The online Keanumania sparked by the episode in the middle featuring Reeves as a funhouse-mirror version of himself, however, has been well-founded.
The aspiration? For camera-ready Rumi Prit Kamani , the Bollywood big time. The obstacle? You can take it from there, the only divergence from what the previous sentences would lead a viewer to expect being the cultural import of the bun maska. We learn that the combo of buttery bread and strong chai tea carries a plank of their selfhood, as the signature dish of the Iranian-style eateries set up by immigrants going east to India.
This sturdy concept gets left behind, however, as the ghost of Rustom buries Rumi under reams of voiceover as his living son goes about his shitty little adventure. Nowhere outside Pinterest have canned aphorisms ever carried this much clout.
If only it was funnier. On the other hand, there is something slightly risky and revisionist about placing a half-Korean character in a role so historically steeped in whiteness. If nothing else, the specter of Long Duk Dong will have been forever dispelled. He hoists the whole of this cloistered comedy as a neurotic enjoying a tight sort of comfort in a closed-off home where he can keep everything just-so. From a city-block bombing to a shooting spree at a campground, Greengrass treats discretion like weakness as he shows and shows and shows.
Benji The Great Louisiana Tax Break Production Boom has attracted many stars to the oak-lined streets of New Orleans over the past decade, and the latest addition to the list is the hottest star on four legs, wonder dog Benji. The best that can be said for this neutered reboot of the musty mutt franchise is that it makes active use of its surroundings where so many have attempted to obscure them.
And yet nu-Benji lacks a certain canine charisma present in his doggy forebears, and weirder still, this film plays up the element of Christian dogma — thank you, thank you — traditionally constrained to the subtextual level. The Influence Spanish novice Denis Rovira enrolls at the Guillermo Del Toro School of High Gothic Revivalism for a story of wicked enchantment and familial discord, and he only barely passes the final. Rebirth The first rule of this anti-corporate psychological thriller is do not talk about Fight Club.
Goldberg breaks his pal out of a funk by inviting him to join a new movement of self-actualization he recently discovered, where instead of therapeutically punching the bologna out of one another, members chant creepy affirmations about accessing inner truth.
Ugarte slowly comes undone as a nurse capable of communicating via haunted VHS tape with a boy who died 25 years earlier. Paulo has a week-one-freshman grasp on chaos theory, and succeeds only in dumbing the concepts down while falling into the same grandfather paradox facing any time-travel movie.
Not even the broad shoulders of Ugarte can carry a film so poorly thought-through. Eye for an Eye In this morality play shipped over from Spain, a wheelchair-bound gang lord Xan Cejudo wastes away in a nursing home, left with nothing to do but face the guilt from his checkered past — or lack thereof. It might sound like a lesser sibling of The Irishman The Spanishman! Plaza bends over backwards to maintain these stakes, resorting to several cheap writerly tricks of coincidence that weaken the story instead of enriching it.
How else to account for the absolute absence of any signs of life whatsoever in each and every performance? As a mother grieving her young son recently nabbed by wolves, Riley Keough never breaks her heart-monitor monotone, and Jeffrey Wright matches her mumble-for-mumble as the nature expert who comes to find the missing boy. Director David E. Talbert uses this pressure cooker as a breeding ground for a black comedy of schemers and bumblers, brought to life by a cast seemingly picked at random from a hat.
Tim Allen! Jessica Alba! A viewer gets the impression that nobody in this motley troupe was in contact with one another during shooting. The cartoonishly inept lawmen plotting to resolve the situation have a Keystone Kops thing going on, the news team broadcasting the events occupy a more cynical atmosphere, and on the scene indoors, the shooter and his bargaining chips are doing Coen brothers cosplay.
Been So Long I am of the steadfast belief that any bad movie can be improved at least slightly with the addition of musical numbers, a principle supported by this adaptation of a London stage smash. Without the occasional ditty to spice things up, this would be a standard-issue guy-meets-gal romance about a single mother trying to get back out there. While the music suffers from Repo! Burning Sands Yet another clone movie, this one retreading the stomach-churning account of hazing gone too far undertaken by Goat the previous year.
But instead of tiptoeing around the jocks, prevailing attitudes of mandated prudence mean that our boys must tiptoe around their parents, their nation, and their own guilt. Schoolgirl Hatsuni Miona Hori gets her first taste of womanhood with three crushes, each more ill-suited to her affections than the last. What might scan as retrograde is in practice nakedly human, though it leads to some overdone comic setups that are anything but. Our chronically single gal Ana Cassandra Ciangherotti goes to a professional love coach Gabriela de la Garza to get her out of the lonely hearts club, and a few montages later, what do you know!
The architect with the well-manicured beard has swept Ana off her feet. The sword of Damocles finally drops when his partners turn against him, his wife sends a messenger boy to announce her request for a divorce, and his substance-based hobbies threaten to worsen into habits, all on the same Monday. In America, it feels like the Sundance-industrial complex gives us another one of these every couple of years.
He casts a bold silhouette as the image of gallantry, oftentimes to disbelief-testing extents. Did he really wait to deflower his teen bride, played by a poorly utilized Florence Pugh, until she was ready to give her consent?
Mackenzie wants us to gawp at his lengthy tracking shots and flaming catapult, but the bouquet of loose screw-ups has a way of holding the attention. Close Enemies You know movie cops, always torn between their responsibility to uphold the law and their allegiance to where they come from. Driss Reda Kateb has long since left behind his lawless French neighborhood to pursue work as one of the boys in blue, but he must get back to his roots after his boyhood friend and informant gets bumped off.
Nothing all that revelatory here, but reheated genre exercises like this can be improved by cut-above acting and writing; this one has the former in spades, as Kateb and Schoenaerts fume and snort with bullish machismo they have the cojones to actually sell. The resulting uproar destroyed treasured relationships and put him through a great test of faith in line with Christian lore, and director Joshua Marston chooses to relate this with all the dramatic nuance of a Lifetime Original Movie.
Not even a sensitive turn as an AIDS-positive organist from the unerring Lakeith Stanfield can earn this film salvation. The Killer And now for something completely different: a Western by way of Brazil, where a scar-faced killer those excited for a film about Spanish bullfighters are in for a rude awakening plays the cowboy liberating a dusty village from a ruthless capitalist.
Diogo Morgado cuts a commanding figure as our man Shaggy, a couple notches closer to feral than the usual gunslinger. The Warning Spanish filmmaker Daniel Calparsoro could have a long career ahead of him in Hollywood, where they crank out ambitious but imperfect conceptual thrillers like this one by the bushel.
Better yet, mechanic-to-the-pros Lino Alban Lenoir specializes in tricking out otherwise unimpressive models, making these m. To work off his debt, Gudio joins the shadowy league of collectors and rapidly learns the ropes of a dishonest yet highly seductive profession where all rules have a bit of wiggle room.
Like Cube , this puzzle-box of horror places a handful of poor bastards in high-concept confinement, as a pregnant young woman Laysla De Oliveira and her possibly incestuous brother Avery Whitted scramble through evasive maneuvers from a pursuer Patrick Wilson hunting them across a mutating labyrinth of grass. I Am Jonas We spend our adulthoods nursing the psychosexual wounds still lingering from those hard teen years, no matter what may have transpired.
In the case of Jonas Felix Meritaud, he of wiry build and pretty face , day-in-day-out bullying from homophobic classmates made his tentative first encounter with plump-lipped classmate Nathan Tommy-Lee Baik an experience of high highs and low lows back when he was a student played by Nicolas Bauwens. The painterly photography has been supplanted by the flatness of prestige TV, and the long, pensive gaps in which viewers were once free to appreciate the rustling of tree branches or distant chiming of bells are now filled with meaningless exposition.
Formulaic as his handiwork may be, director Julien Leclerq has his head on straighter than his characters, moving his minute run time at a swift clip with a few Mannly action sequences. But what the film lacks in cohesion, it makes up for with moment-to-moment entertainment. A national cinema once limited by censorship and old-fashioned ideas about propriety is now exploring new sexual frontiers, this romantic anthology being a bracingly blunt case in point.
Behold, the first onscreen appearance of a vibrator in the history of Indian film! Four separate stories revolve around women in various states of dissatisfaction — carnal, sure, but more frequently emotional.
A lot of the comedy errs on the side of the sophomoric, with one randy set piece taking cues from the risible The Ugly Truth , but what this effort represents still counts for quite a bit. Co-directors Junichi Sato and Tomotaka Shibayama cater to teens and the teen-at-heart alike with the story of Miyo Sasaki, a middle-schooler moony over the uninterested Kento Hinode.
Her edge in the plan to get a foot in the door of his heart? She can turn into a cat by putting on a noh mask, allowing her to do reconnaissance while he unwittingly cuddles the kitty he dubs Taro. Though in practice, this mostly serves to allegorize the worn-out romcom lesson about not changing yourself to suit the one you want, at least that plot device permits us entry to the wondrous Isle of Cats.
That all-feline Xanadu gives a lick of the humor and imagination somewhat lacking in the rest of the film. Witnessing one such distressing occurrence claim the life of his sister stays with August Khalil Everage permanently, afflicting him with agoraphobia well-suited to his fledgling career as a bedroom beatmaker.
Imperial Dreams A curious specimen, this film was made and released in two dramatically different worlds. When the picture first premiered at Sundance in , John Boyega was another handsome young Brit with a lot of promise and a stare capable of cutting metal.
By the time Netflix unveiled it in , he was an A-lister with a leading role in the biggest blockbuster franchise on the planet. Not an easy sit by any measure, but director Sudabeh Mortezai maximizes the pain to unclear ends, drawing all the dread out from an upsetting rape scene early on until it feels like horror cinema and not in the good way.
The Angel By , tensions along the Egyptian-Israeli border had escalated to powder-keg levels, and a violent engagement was all but imminent. This true-to-life thriller contemplates the answer and settles somewhere between the two in a conflicted character study that resists simple heroism. If only director Ariel Vromen had put a little more oomph in the scenes where things happen and sunk less time into scenes in which people talk about things happening.
What could have been an amoral romp in the vein of American Made lands in a more subdued, inert mode, never quite reveling in its own misdeeds. Solo All right, cards on the table, Netflix. Two days later, this Spanish tribute to real-life perseverance popped up under a nearly identical title. Kidnapping Stella Sometimes, the less said in a movie, the better. Striking all dialogue can force a plateauing filmmaker to get back to basics and relearn how to convey information visually, through camerawork, editing, and the choices of the actors.
Director Thomas Sieben applies a zero-fat, economical style to the Stockholm Syndrome thriller, until the perpetrators get talking and turn from wraithlike presences into regular guys. The retelling of one Irish U. That results in a weird dissonance, where the film works as a discrete whole but fails on a scene-by-scene basis.
Those plugged in to the joys of wrestling may get more out of the rise of little Leo Seth Carr , who discovers a luchador mask granting him the speed, strength, and agility to enter the ring with grown-ups thrice his size. That, and a weirdly deep Billy Dee Williams voice.
Like Mike did this with a magic pair of Air Jordans, but this film piledrives the competition by foregrounding the agreed-upon lie known as kayfabe that makes wrestling unique. Leo creates his own persona and buys into the act until it becomes real, the bedrock of the sweaty, muscular form of public theatre that is WWE.
In this spirit, watching hulking adults pretend to be pummeled by a kid turns from hokey stuntwork into the upkeep of a proud tradition of make-believe. The ensuing dash to get the sinewy hellion back in his container drably shuffles through its action sequences and has a, shall we say, utilitarian relationship to language. Tallulah Former Orange Is the New Black writer Sian Heder tries her hand behind the camera for this study in contrasts about three women all chafing under the demands of motherhood in their own way.
In the title role, Ellen Page is a street urchin feeling lost after her good-for-nothing boyfriend abandons her, but finds new meaning in life when fate puts a helpless infant in her custody. Well-measured restraint improves the acting across the board, which in turn keeps this film away from the treacly sentiment that occasionally rears its weepy head.
Janney takes it in a walk, naturally. Targarona has a perceptible admiration for Boix and the bravery required to surreptitiously document some of the most heinous crimes against humanity that history has ever seen. Targarona, a veteran of the Spanish film industry, has earned the right to have a little more faith in herself. The Titan Sam Worthington is one of those actors whose blank expression and generically handsome features make him the perfect candidate to portray a robot.
See also: Emily Ratajkowski, Jamie Dornan. Forestalling the inevitable, this sci-fi thought exercise gets near the mark by casting Worthington as something other than human — in this case, the next stage in evolution. The film lacks focus, however, glancing past a number of thoughtful paths in an effort to simultaneously take all of them. Pickpockets Those small-time hoodlums rationalizing theft as a victimless crime often tend to not realize that after long enough, they will become the real victims.
A sense of coiled-spring energy and an emphasis on the fascinating nuts and bolts of ripping strangers off can make a hundred-dollar job feel as exciting as a bank heist, both for us and the purloiners onscreen, who steal for the sheer rush as much as the money. Director Peter Webber is never better than when exalting in the kinetic glory of petty larceny, his camera as weightless and carefree as its subjects, but the need to impose an arc on their lifestyle mucks up the merrymaking.
The arrival of an elder mentor in misdemeanors steers the younger leads to betrayal, jealousy, and internal conflict, all of which makes for adequate drama at the price of the poetry-in-motion exhilaration of their earlier cooperation. A nurse looks after a foul-smelling and possibly already-deceased woman, an expecting mother loses touch with herself and her humanity, a roamer enters a small village with strict rules for surviving the parable at play, and a pair of newlyweds seek the blessing of a late grandmother.
Emmet Walsh could be altogether bad. Still, the script arrives at the same inevitable endpoint as any other movie about someone avenging a loved one. You know the old saying — before you embark upon a journey of revenge, dig two graves. Jezebel As Netflix-endorsed depictions of the camgirl industry go, this one has more in common with the nonjudgemental professionalism of Cam than the prurient scaremongering of documentary Hot Girls Wanted. Hard up for cash, Tiffany Tiffany Tenille gets into the business at the urging of her big sister Sabrina Perrier , but her effortless aptitude for the work creates a rivalry between them.
She must also deal with a client Brett Gelman hoping to take things to the next level, the stronger strand of plot for how it opens up the conversation about the intersection between race and sex work. The hole acts as a statement bangle for the film, a pop of difference standing out from the sameness. Terron leaves his fellow middle-schoolers in the dust on the basketball court, and before long, a coach Josh Charles from an elite private academy headhunts him for their team.
Koo misses the three, but sinks the layup. Dragon Quest: Your Story Many video-game adaptations go to great pains to obscure their integral video-game-ness, but not so with this movie-fication of a long-running RPG fantasy series from Japan. Having not played the games, I can only presume that their mechanics come to bear on the film, which centers well-crafted problem-solving.
Our hero uses a pulley to reveal a hidden staircase at one point, complete with a congratulatory musical riff surely imported from the games. Later, he realizes that he can only defeat a boss by slashing it in its weak-point eyeball. The grainy mm. He gives a much better showing than the rest of the movie deserves, the room-temperature casserole of saccharine little-kid antics and uncanny-valley-plumbing CGI elves that it is. The Italian case of Stefano Cucchi, dramatized in this work of righteous outrage by Alessio Cremonini, sounds all too familiar: After getting apprehended by the feared martial peacekeeping force known as the Carabinieri on a minor drug-possession charge and held in custody, the young infrastructure worker was winnowed down to a malnourished husk of himself, beaten, and ultimately killed.
I sincerely wish the best of luck to open-minded viewers making heads or tails of this, but anyone put off by obtuseness may wind up wanting their minutes back. The King Timmy does Shakespeare — what could go wrong?
Quite a few things, as fate would have it. It is a stack of blunders without any core of purpose to hold it together. Steel Rain Japanese anxiety over the devastation of the atomic bomb gave us Godzilla, and now the ongoing nuclear tensions between North and South Korea have yielded this jittery, paranoid missile thriller.
The Discovery In the vast gulf between conception and execution, we have this down-tempo thought experiment from Charlie McDowell. In a world where Robert Redford has conclusively proven the existence of an idyllic afterlife, the suicide rate has mushroomed. Jason Segel and Rooney Mara are strangers with a mysterious attraction and conflicting opinions about what to do with this frightening new frontier.
Director Anne Fletcher and screenwriter Kristin Hahn placed themselves in an advantageous position by building their adaptation of a YA smash around the music and philosophy of Her Dollyness, an idol to plus-size Willowdean Danielle MacDonald. She wants to teach her negligent mother Jennifer Aniston, bringing it a lesson by winning the beauty pageant that occupies her every waking moment, and the baldly stated moral of body acceptance is all well and good.
This is not a love story but a hate story, a series of painful, no-holds-barred screaming matches between two people expertly equipped to hurt one another. See also: Blue Valentine and Revolutionary Road. But the acrimony between them has some real venom to it, and director Aadish Keluskar knows when to pull back and when to uncork the rage.
The Laws of Thermodynamics Screenwriters are always trying to impose reason on the thorny tangle of contradictions that is love, but Spanish genre tinkerer Mateo Gil does so with more studied rigor. His script proposes that the laws of physics governing the chaotic movement of subatomic particles and the delicate space-time continuum can also be applied to the bonds between people.
Gil brings a zingy, Gondry-esque energy to his experiment in bridging the gap between the mind and the soul, but his characters nonetheless possess all the pathos of a textbook word problem. It starts with mommy dearest Marisa Paredes dying, and her four daughters convening for the first time in a long time.
Their late mom informs the adult sisters that the man they know as father did not personally sire them, setting off a search for the five men responsible for their conceptions. The family that divulges hair-curlingly frank erotic specifics together, stays together.
In this daft laugher from across the pond, Julian Barratt plays the washed-up Thorncroft in the present day, as he shills his way through middle-age in humbling commercial spots. He gets a shot at redemption when a homicidal maniac demands the police put him in contact with the real Mindhorn, and much to the displeasure of his real-cop partners, Thorncroft gets back into character. Barry Barack Obama is the coolest commander-in-chief to have ever graced the Oval Office — this is fact. Remember back when those were qualities the president had?
A Kickstarter campaign to drum up a budget outlined a daring plan to shoot guerrilla-style inside of real moments as they unfold: a bustling EDM music festival, protests and riots in the wake of the Parisian terrorist attacks on Charlie Hebdo and the Bataclan. This two-hander drama is situated at the inevitable point where sickness bleeds over into the more meaningfully personal — friends, romantic relationships, family.
Over the course of one evening, grueling even at a brief 71 minutes, she goes from tough-love counselor to enabler as she helps Seth score to keep him from dying of withdrawal. Both Jacobson and Franco are up to the task, never coming off as tourists in the genre like so many comedic actors stretching their range, and the ending is a lot darker than they play it. All the more frustrating, then, that the script would hamstring their work with such missteps as easy symbolism, voice-over overload, and crucial lines that ring false.
Bespectacled young C. Virtuous intent can only get a film so far, however, and the hoary kinks in the plot along with feigned naturalism of the patter between the kids stop the film dead in its tracks. That development presents a key plot point for this class comedy from Anurag Kashyap, and a sticky wicket for protagonist Sarita Saiyami Kher , who has found that her clogged sink spits up a nightly allowance of soon-to-be-unusable bills stashed in the pipes by a mystery man. Anyone over the age of 60 will most likely be charmed by this softly told romance between seniors-who-still-got-it Robert Redford and Jane Fonda, but everyone can share in the warmth this sweet-natured, if mild, film radiates.
Adult children Judy Greer and Matthias Schoenaerts bring trouble into their geriatric Eden, but the prevailing tone is that of comfort. Even so, he still needs to formulate a sense of artistic self in terms of both originality and control before he can join the ranks of the proud troublemakers he so clearly idolizes. The Package For a movie about a kid who cuts his own dick off while drinking and camping, it could be a lot worse! Not a high bar to clear, admittedly, but Geraldine Viswanathan makes it look easy.
Brassy and quick with a cutting aside, the Blockers scene-stealer acts circles around the rest of the cast particularly lead Daniel Doheny, as forgettably handsome here as in Alex Strangelove as they go on a mad dash through the woods to return the recovered member to its owner after their pal gets airlifted to the nearest hospital.
The movie formerly known as Eggplant Emoji does a bang-up job of stretching this thin premise to feature length, throwing obstacles at the characters and mining laughs from the solutions they have to gin up on the fly. That much is true, at least, until the film can no longer watch as he goes about the work of reformation and must scuttle him into a third-act resolution that stinks of screenwriting textbooks.
In the future metropolis of Grainland creators Kevin R. Her mom Molly Constance Wu spends all her time fiddling with the family bots, leading Mai Su to wander off on an adventure where she becomes acquainted with a one-of-a-kind, state-of-the-art model labeled Her assignment to have him eliminate his mechanical brethren is only the first unexpected move in a series of zags-over-zigs, culminating in poignant scenes featuring the inspired concept of artificial amnesia.
Step Sisters The Bring It On series, the clear antecedent to this dance flick which is, mercifully, far superior to Dance Flick , kept considerations of class and race in the mix through its many installments. Note: A supporting performance from Matt McGorry as a semi-self-aware, even more intolerable version of his already intolerable self instantly validates the casting. The later years, in which things get a little Elephant Man as the public and then a global TV viewership comes to gape at this more-than-human being, deliver the highest highs and lowest lows.
Batman has grounds to sue! He gives us someone to cheer for in Nirma Mithila Palkar , a motivational-tape-listening eager beaver out to get hers. She wants more for herself than lying to Chinese tourist groups about taking them through Slumdog Millionaire shooting locations — Danny Boyle gets dissed in one of the pointier wisecracks — and gets a new lease on life after a conman absconds with her car. Calibre The forbidding Scottish highlands provide a spooky backdrop for a back-to-basics horror movie — of sorts.
A pair of lads working the classic yin and yang of manliness one rips lines of coke and chases skirt, the other is a dutiful husband to a pregnant wife go out for a hunting holiday in the untamed U. Shame runs both men through a wringer of remorse, accentuated by the disconnect between their city manners and the decency of their country-folk hosts. In the opening moments, a scientist wakes up beside his ex-lover. Masked men storm into their room a moment later, drag them into the basement, demand a huge payoff, and kill our man when he tries to escape.
He then reawakens and begins the cycle anew, setting off a twisty logic puzzle tricked out with killer robots, glowing insignia tattoos, and a perpetual-motion machine capable of resetting time. But only within highly specific parameters. It is a Groundhog Day — Primer bastardization full of sound and fury, signifying nothing.
It has its fun with the sound and fury, though. This bitter fact of life shapes the formative years of Memo played as a taciturn adult by Jorge Garcia, once of Lost fame , a slightly portly songbird barred from success by his look.
In flashbacks, we see how his vocals were synced to another kid more easy on the eyes, leading him to the hard-hided present in which we spend most of the film. Garcia shows his best side as he lets the walls around him crack, allowing entry to a sweet woman Millaray Lobos on his paradisiacal Chilean island. Alex Strangelove The Skeleton Twins director Craig Johnson summons the ghost of John Hughes for this sweet if anodyne lark about a high-schooler grappling with big questions about his sexual identity.
Everyone ends up right where they belong, a millennial happily-ever-after of free tolerance and self-discovery without torment. Whether a viewer finds this a pleasing change of pace from a queer cinema steeped in the tragic or an overly slight sanitizing of an emotionally intense process will be a matter of personal preference. Sturgill Simpson has broken away from the country-music pack by wedding the dirt-road imagery and somber-faced dejection of his cowboy cohort with improbable influences: Jim Jarmusch, DMT, and now anime.
NiNo Kuni Heartiest congratulations to the furry community, whose interests get represented proudly and often with this video game adaptation hand-drawn by ex-Ghibli artists. More than one character transforms into a swollen spider when provoked, little pink Koosh balls titter like hedgehogs, and it all ends by dealing our wheelchair-bound boy the incongruously cruel choice to abandon his life and friends forever or give up autonomous mobility.
Bean Boyfriend. Within the first fifteen minutes, Washington gets a tearful monologue notifying the racist white cop Jeremy Jordan handling her case that for his information, her large black son is no gangbanger and still gets misty at Puff the Magic Dragon. Mowgli: Legend of the Jungle To employ an age-old critical parlance: a lot going on here. But somewhere in post-production, Serkis must have clicked the wrong buttons, because all of the animals have the disquietingly humanoid faces of an anthropomorphized furry.
No matter — that does little to deter enjoyment of the undeniable pull between cautious Mi-soo Kim Go-eun and aloof Hyun-woo Jung Hae-in , an on-again off-again couple with great chemistry and crap timing. But because this critic had zero outside knowledge going in, he was largely pleased to find an off-the-wall pre-viz extravaganza of inspired computerized nonsense. Boi There are two kinds of movies in which a guy just drives around the whole time: self-contained action pulp in line with Wheelman and Locke , which use their limited space to suspenseful effect, and more meditative, abstract works heavy with symbolism, perfected by Iranian masters like Abbas Kiarostami and Jafar Panahi.
Jorge M. His instincts to do right by his dear aunt, obsess over his pregnant girlfriend, and sell his first novel make enough sense; their arrangement, along with the newborn that materialized out of nowhere and the Blue Velvet —y jazz club, flummoxes on purpose. Brace for hijinks! Triple Frontier Alas, J.
Chandor showed such promise. A crack team of veterans — a lineup of heavyweights including Ben Affleck, Oscar Isaac, Garett Hedlund, Charlie Hunnam, and Pedro Pascal — set a course for South America to nab a fortune in dirty money from a drug lord. Some convenient dovetail-shaped plotting and pushy hot-pursuit sequences only partially obstruct a document of hardship largely unknown in the States. Nikolaj Coster-Waldau mounts a convincing argument for himself as a bona fide movie star with his turn as former corrupt policeman Joe Denton, struggling to stay on the straight and narrow while reentering society following a prison stint.
But where those films were well served by simple, leaner scripts, this one spirals out in its many knots of plot. Odenkirk skillfully navigates through an obstacle course of genres and tones, as his Garden State —ish melancholia mercifully gives way to a noir-inflected mystery that links skinheads, Stacy Keach, a ring of jailhouse murders, and a newly contrived holiday with suitable ridiculousness.
His welcome to the Netflix family, a true match made in the Hallmark neighborhood of straight-to-video hell, starts with a woman-in-peril scenario oddly common in titles marketed to black audiences: a decent Christian Crystal Fox finds a seemingly perfect man Mehcad Brooks who then werewolfs into a vow-breaking heathen.
It requires vision and dedication. The town of Telleria sits in Basque territory, and its denizens want nothing more than for their sovereignty to be recognized by the Castilian officials. The townwide overhaul of yodeling and lederhosen that then ensues is at most sporadically funny, and yet never painfully unfunny.
Like so many other musical-genius biopics, the story of singer Rodrigo Rodrigo Romero takes us through an early period of finding himself, the fast track to FM radio, a giddy plunge into vice, and a premature death. The good news is that the rest of it is smart enough that we can fairly expect more. So when a train all but rolls up and begs to be plundered, what are Deirdra and Laney supposed to do? It is, first and foremost, an empathetic film. By now, Adams would be slated for a Marvel movie in and an Oscar nomination by But even though she took the gig in part as a free vacation, both Bell and Grammer refrain from phoning it in, spitting some real vitriol in the screaming matches that punctuate interludes of flatteringly photographed island leisure.
The mythos has never been so dense, and while that may come at the expense of palatability for the general public making these releases into hits on American soil, those fluent in this particular dialect of technobabble will be in heaven. The Polka King In , a Polish immigrant by the name of Jan Lewan was arrested for masterminding a Ponzi scheme with receipts that ran into the millions.
The bizarre account of his road to that moment lays a strong foundation for this zippy comedy about a lunge at the American dream that ends in a belly flop. Jack Black sinks his incisors into the role of the perpetually upbeat Lewan as an opportunity to do what he does best — namely, a funny voice and rock star-lite strutting during the whirlwind polka numbers. The boxing great fled his home of Mexico after a punch left his opponent down for much more than the count; stunned by his own capacity to do harm, he resolved to live a monastic life of humble pacifism among the Finns.
His reluctant emergence from retirement fails to land a blow, but the film takes on a second life as a close examination of emigration and assimilation. Kim signals plans for so much while seeing so little of it through to completion, wantonly picking up subplots and casting them aside before anything can be done with them. Pachamama Just the sort of out-of-the-way treat that Netflix has zero interest in promoting, preferring instead to leave it buried under a never-ending avalanche of new content, this animated curio carries toddlers-and-older away to the ancient Andes.
There, the villagers worship Earth goddess Pachamama, much to the disapproval of the hawkish neighboring Inca culture and the even more menacing conquistadors coming up behind them. Maktub A brush with death has a way of putting the zap on a guy. Partners-in-crime Chuma and Steve Israeli comedy duo Guy Amir and Hanan Savyon resolve to change their gangster ways after pure coincidence leaves them the sole survivors of a terrorist attack at a restaurant, but getting out of the game is never that simple.
Their associates, naturally, have other notions. Amir and Savyon get away with their dicier hot-button writing on merit of their well-honed rapport, keeping everyone too busy laughing to tell whether or not the film is blithely problematic. Rajma Chawal Widower Raj the great Hindi cinema idol Rishi Kapoor wants to reconnect to his closed-off son Kabir Anirudh Tanwar , so he does the only rational thing and catfishes the fruit of his loins.
Director Leena Yadav has no shortage of rather conventional complications up her sleeve, as the woman Amyra Dastur whose selfie Raj used for his faux -profile shows up and the truth inexorably comes out.
Call it the Yadav touch. Manhunt John Woo, he of the doves and indoor sunglasses and brain-melting gun fu spectaculars, came to Netflix to peddle his latest bullet-strewn dance of death. He brings his usual hyperkinetic style to the pursuit between a fugitive and the monomaniacally driven man on his trail, the action sequences as likely to inspire whiplash as the wild, out-of-nowhere vacillations to comedy and romance. Sometimes even with parental consent! Updating Clueless for the age of normalized vaping, the girls handle the hurdles of boys, parental units, and their inevitable separation with a distinctly modern candor.
On a few different occasions, this film actually puts the horniness-money of Blockers where its mouth is. But whatever its origin, somewhere along the way, it mutated into a brainy jab at both metafiction and found-fiction. A Futile and Stupid Gesture Having already turned the tired tropes of the summer camp flick and the rom-com inside out, it looked like virtuoso parodist David Wain was set to lay waste to the biopic with his treatment of the life and times of National Lampoon co-founder Doug Kenney Will Forte.
Forte plays Kenney as a figure of self-destructive tragedy and Domhnall Gleeson provides the superego to his id as co-founder Henry Beard, but the script forces both men to be stock figures in a hidebound rise-and-fall routine. The butcher whose shop sets the scene for one particularly excruciating mano-a-mano would describe this as 80 percent lean and 20 percent fat, almost all good stuff — to the point of getting stultifying.
The film rushes through some tossed-off horse pucky about Triad gangs and an innocent little girl caught in their crossfire, but so quickly and carelessly that the punches eventually lose all meaning, like a physical version of semantic satiation. For those who see the onscreen lancing of guts as a challenge in the same way that leather-mouthed mavericks take on punishing hot sauces, this poses a demanding test of endurance.
Lady J Americans love to watch the frocks-and-petticoats set behaving badly, so the same costume-drama fetishists that made The Favourite an unlikely hit may flock to this salacious retelling of an 18th-century French novel from Denis Diderot. Eager to get back at him, Pommeraye enlists the help of a bewitching brothel worker Alice Isaaz to give the Marquis a taste of his own sour medicine, remaking her as the well-bred Lady J.
Rarely has sin been so delicious. Little ones send letters to Santa all because of a ruse cooked up by a coddled layabout voiced by Jason Schwartzman sent to the furthest reaches of the north to work as a postman. While the pronounced probosces of the character designs and the Scandinavian setting both recall Frozen , this is no downmarket substitute.
Our hero is the all-powerful Pastor Park Lee Jung-jae , a specialist known for detecting and disbanding pseudo-Buddhist orders fronting for more odious enterprises. It all congeals into a thick, sludgy, and yet commendably out-there oddity. Untrained actor Mei Kayama herself an actual cerebral palsy patient portrays Yuma Takada, who fancies herself the next great erotic manga artist.
Director Zak Hilditch puts the text he has through its paces, but a viewer still walks away with that haute cuisine dissatisfaction: It was great and everything, but such small portions! With the marked exception of one outstanding gag that involves Christine Teigen breaking down the premise of J. Tigertail Good on Alan Yang, already a success story in the TV world for his work on Parks and Recreation and Master of None , for taking a real swing on his first go at feature directing.
A story spanning generations and continents shows us how decades of sacrifice and regret have built an emotional partition between Pin-Jui Tzi Ma, so good in the recent The Farewell and his American-born daughter Angela Christine Ko. Paddleton Alex Lehmann has managed the impossible, and found a new variant to the fatalist romance of The Fault in Our Stars.
The men may not smooch or anything, but because the kindred loners only feel fully understood by one another, they need each other as desperately as any husband needs their wife. Though he only wrote the script, some of the Duplassian glibness endemic to his directorial projects seeps through. The Legacy of a Whitetail Deer Hunter From psycho mall cops to deluded martial arts instructors, director Jody Hill has an unending fascination with men imprisoned by their own fragile masculinity.
Hill fans may be disappointed to find that his latest feature lacks the maniacal edge of Observe and Report and his small-screen work, but neophytes may appreciate the down-the-middle palatability in the father-son bond. He played in this dramatization by Antonio de la Torre and eight other guerrillas known as the Tupamaros lived for over a decade in abject captivity, holding fast to their tenets even as they were used as bargaining chips in the conflict raging outside.
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He holds a B. Vanessa Gil serves as Vice President in the Capital Markets Group, where she focuses on marketing, product development, capital raising activities and supporting strategic initiatives across the firm. Vanessa holds a B.
She is also fluent in Spanish. Andrew serves as an Associate on the Capital Markets Group. Prior to joining Bridge in , Andrew was an Associate on the acquisition team at Berkeley Partners, a fully integrated industrial real estate firm focused on multi-tenant value add and core properties across the U.
His background includes financial modeling, running due diligence efforts, and asset management. Andrew holds a B. Prior to joining Bridge in , Catherine was an associate in the Merchant Banking and Loan Syndicate groups at BNP Paribas, where she originated, structured, syndicated and executed loan financings including LBOs, recapitalizations, add-on acquisitions and mergers for middle market financial sponsors and their portfolio companies across a broad spectrum of industries.
Catherine holds a B. She is responsible for being a trusted resource for both existing and prospective investors by coordinating with internal teams at Bridge to manage investor relationships. She also works closely with Director of Marketing and Investor Relations in events, marketing materials, and media relations. Imani received her B. Prior to joining Bridge Investment Group in , Matt worked as an Analyst at Workforce Partners, a private equity real estate owner-operator specializing in workforce housing and hospitality assets in Connecticut.
Zack holds a B. Prior to joining Bridge in , Ben completed a summer internship with the firm in the previous year. He has completed prior internships in value-add acquisitions and investment sales. While at Denver, he oversaw the implementation of a new ERP platform, which served over 13K employees and 23 lines of business. In addition, Denver also implemented a new CRM platform that interfaced with over K residents, which improved overall communication and engagement.
Over his career, Scott has worked globally implementing enterprise solutions to drive innovation, business efficiency and standardization. He has invested time and resources to engage and activate apprentices and internships for STEM programs with high school students. Louis Klein serves as Director of Business Strategy for Bridge, with responsibilities including the evaluation of new areas for investment, special situations and business development.
Prior to joining Bridge, Louis was a Partner at RBL Real Estate, where he pursued redevelopment opportunities in distressed and underperforming retail properties guided by proprietary predictive analytics, with a primary focus on outpatient medical offices and other health and wellness uses.
Louis began his career at Secured Capital and then worked for Colony Capital, where he was involved in making and managing investments in the US, Europe and Asia that included development properties, distressed assets and portfolios, and operating businesses with a strategic dependence on real estate. Louis has a B. Patrick came to Bridge in with the charge to establish an Internal Audit Department.
The Internal Audit department is responsible for auditing and opining on the design and operating effectiveness of processes, internal controls, and policies. Prior to joining Bridge, Isela worked at Brevan Howard in Investor Relations, managing corporate and public pension, endowment, foundation, private wealth, and investment consultant relationships. Isela received her dual Bachelor of Arts degrees in International Relations and Spanish from Stanford University, graduating with honors distinctions.
She is fluent in Spanish and has competed in Ironman, endurance cycling, and marathon competitions. In this role, he is responsible for overseeing market research and analytics across Bridge verticals. He brings to Bridge depth of experience in the built environment professions and the social impact and impact investing fields. He has advised on strategic planning, infrastructure and capital projects planning, regional economic development, and measurement systems for impact and sustainability for government, private equity, and institutional clients in the United States, Europe, South Asia, and the Middle East.
In this role, she is responsible for financial reporting and accounting policy matters for Bridge Investment Group LLC. She was responsible for overseeing the execution of audits, along with focusing on technical accounting, real estate valuations, internal controls and SEC reporting. Katie received a Bachelor of Science with Special Attainment in Commerce with a double major in business administration and accounting and history from Washington and Lee University and is a Certified Public Accountant in the State of Utah.
Her expertise has been influential in expanding the corporate treasury function for all Bridge strategies and related affiliates. Riley holds a M. Jones School of Business at Rice University. Prior to joining Morgan Stanley from to , Deepak operated Dorado Capital, a private debt placement company. Debt originated during this time included whole loans, floating rate bridge and mezzanine loans, as well as Freddie Mac, FHA and Fannie Mae agency originations.
Prior to joining Bridge in March , Krishna served as Director and Senior Director at Fannie Mae from where he was primarily responsible for the balance sheet hedging and market risk management, as well as supporting the funding and liquidity management activities. Krishna earned his Master of Business Administration from the University of Chicago Booth School of Business with honors and a concentration in analytical finance.
Scott holds a B. Matthew A. Prior to joining Bridge in , Misong was a Vice President at Morgan Stanley where she worked from to and to Prior to joining Morgan Stanley, Misong was an analyst at Nomura Asset Capital Corporation from to in the commercial mortgage securitization group. Misong received her Bachelor of Arts from Dartmouth College. In addition, Patrick was responsible for coordinating the negotiating, underwriting and diligence process for each loan, as well as preparing and presenting detailed credit memos to the internal Credit Committee for loan approval.
He has experience in real estate, securitization and financial services since Stephen worked at Morgan Stanley from to , most recently as a transaction manager in the Commercial Real Estate Lending group within the Fixed Income Division. During his tenure at Morgan Stanley, Stephen worked closely with the securitization and underwriting teams as well as with outside counsel, with responsibilities including drafting term sheets, reviewing all legal loan documentation, negotiating with clients and managing all aspects of closing and risk management of first mortgage and mezzanine loans.
Stephen received his Bachelor of Arts, from Fordham University. She was also responsible for actively managing and restructuring a portfolio of unsold loans from until She has experience in all aspects of due diligence relating to structuring and underwriting of loans targeted for securitization and has prepared market analysis and feasibility studies, valuations, and merger and acquisition due diligence.
Michael J. Michael has originated and serviced loans for all property types and a variety of investors including CMBS, life insurance companies, pension funds and the agencies. Kristina Cavin serves as Director of Human Resources.
She is an accomplished HR professional with over 19 years of leadership and operational experience in the government, public and private sectors. Krissy is responsible for implementing human resource management strategies that enable Bridge Investment Group to recruit, train, and retain a high performing and motivated workforce. Krissy specializes in compensation management, employee relations, employee benefits and manages the day to day operations of each area.
She is passionate about creating an inclusive and diverse culture and helping others succeed. Through active membership in these organizations, she keeps current on human resources trends and issues. Krissy has presented at national conferences on topics such as compensation, succession planning and employee retention.
In addition to providing talent insights and developing the people of Bridge, the team is also responsible for employee engagement and recognition, performance reviews and ongoing feedback, talent reviews and career and succession planning, as well as internal communications like the company-wide All Hands meetings and the BridgeCast company podcast.
Talent Branding is responsible for the BIG IDEA monthly newsletter, regular social media engagement, as well as many other internal and external brand building and engagement initiatives. Zach has been helping individuals, teams and organizations perform at their best for over 20 years.
From there, she worked with the number one manufacturer and distributor of silencers and suppressors. As the controller with Silencerco, she oversaw the full functions of accounting including payroll for employees. At Bridge, Carolyn heads a team to process payroll for Bridge employees nationwide. Katrina serves as the Vice President of Talent Acquisitions at Bridge with experience recruiting skilled professionals since Before coming to Bridge in , she recruited physicians from around the world to work in New Zealand, Australian, Caribbean, and Middle Eastern hospitals.
She has also recruited real estate professionals and worked with a nonprofit assisting unemployed, homeless, or disabled senior citizens obtain the necessary basic skills to reenter the workforce. Previously, Tim ran the Revenue Management department for Bridge. Prior to his time with Bridge, Tim spawned Tailgate Sports from a studio apartment in Santa Monica, CA to a multi-facility, multi-million dollar retail business.
Tailgate Sports was a retail pioneer in the early days of online sales. Tim holds a B. He has experience in asset management of multifamily real estate beginning in Prior to his role as Managing Director of Asset Management at Bridge, he served as an Asset Manager with the Wolff company where he supervised the operations of multifamily properties across 5 states. His responsibilities included cash management, monitoring the progress of the business plan, quarterly valuations, and recommending distributions.
Prior to Wolff, he served as Regional Vice President for ConAm Management, where he was responsible for the oversight of the Las Vegas Region, a portfolio ranging between 8,—10, units comprising approximately 30 multifamily communities. Previous to ConAM, Alan was a Regional and District Manager with Camden Property Trust, where he was responsible for oversight of operations for a portfolio of 27 properties with over 6, units.
Alan developed and implemented strategic objectives to maximize property performance and shareholders value throughout his career. He has experience in acquisitions, dispositions and asset management of real estate assets beginning in Rick joined Bridge in Prior to his role as Managing Director of Dispositions at Bridge, Rick served as a Portfolio Manager, where he was responsible for overseeing numerous multifamily properties across 4 states including major rehabilitation projects, and as a Director of Acquisitions and Dispositions, where he underwrote and analyzed numerous multifamily and office building acquisition opportunities.
Prior to joining Bridge, Rick served as Vice-President for Cal America Savings where he led the commercial loan resolution group responsible for the restructuring and work-out of their non-performing loan portfolio. As Director of Operations, Dylan helps Bridge Property Mangement onboard thousands of units through management, while enacting policies and procedures in to help Bridge scale in size.
Dylan, who has over 20 years of experience in property management, started his property management career with REIT Archstone in the late s, working onsite at local properties owned in Salt Lake City. In the early s, he was offered a managing job with Wasatch Property Management, where he spent the next four years managing their largest property in Utah while overseeing a complete interior and exterior renovation.
In , he moved into the Bridge Corporate office to handle special projects for the company, mainly supporting systems and auditing properties, including the successful roll out of new websites, resident portals, and payment portals at all properties.
Holden has been with Bridge for seven years and during that time has been primarily involved with multifamily acquisitions, asset management, and dispositions. His responsibilities include sourcing new transactions, underwriting, contract negotiations, structuring financing, due diligence, and general transaction oversight. During that time, he originated and managed construction and bridge financing on more than 50 projects distributed across 16 states.
John is also responsible for the asset management of more than 9, units in 26 assets across four states. Parker has been directly involved with multifamily acquisitions, asset management, and dispositions. His responsibilities include originating new transactions, structuring financing, underwriting, due diligence, and closing. Concurrent with acquisitions, Parker is responsible for asset management and dispositions. Her specialty lies in turning around troubled assets and building successful teams.
Rachel combines a data-driven approach with operational experience to drive exceptional results. Cynthia Hernandez Adams serves as Vice President of Bridge Property Management, bringing over 30 years of multifamily property management experience to the team.
As Vice President of Operations, she managed all departments including operations, HR, accounting, acquisitions, dispositions and construction. Cynthia began her career as a leasing agent working Trammell Crow Residential and Gables Residential, quickly rising through the ranks. She has been instrumental in dispositions, acquisitions and value-add improvements. Heather Hattaway serves as Vice President of Special Projects for Bridge Property Management, bringing over two decades of experience in property management to the team.
Over the span of her career, Heather has developed a passion for identifying opportunities to improve outcomes by implementing systems and processes which improve both the resident, onsite team, and corporate experiences. In her role, Heather works closely with properties by assisting the onsite teams to improve occupancy and streamline their current processes and procedures.
She looks for new ways to build cohesiveness within the Bridge team, and encourages all team members to have the same goal in mind. Jennifer joined Bridge Property Management in February as a Portfolio Manager for the Colorado portfolio, where she was responsible for all aspects of property management including personnel, budgeting, revenue growth, expense control, administration, occupancy control, and resident relations.
She was promoted to Vice President in January , and now oversees both Bridge-owned communities and third-party partnerships. Jennifer works closely with her Regional Manager team and onsite teams to ensure that they are successful in executing the business plan. He has over 35 years of multifamily property management, business development, asset management, and accounting experience. As Vice President and Director of Business Development, Tom oversees the Bridge teams and third-party assets located in Colorado, Idaho, Kansas, Mississippi, Missouri, Nebraska and Oklahoma, and is responsible for generating the growth of third-party multifamily clients and assets throughout the United States for the Bridge Property Management portfolio.
Brian has extensive experience in commercial office real estate operations, development, finance, acquisitions and dispositions. At Hines, Brian was responsible for all aspects of financial management, reporting, and internal controls for the Southeast region.
This included over 12 million square feet of assets under management including office, retail, multi-family, and mixed-use projects in various stages of development or operations. In addition to overseeing the accounting and finance functions at Hines, Brian partnered with senior leadership and provided support in acquisition due diligence, underwriting, and debt financing.
Brian received his B. He has extensive experience in commercial office real estate operations, asset management, landlord leasing, development, and construction. Mark was also responsible for the operational and asset management of over 6. Mark has a proven track record of success in the repositioning and stabilization of assets while meeting or exceeding investor financial goals. Mark received his B.
Lawrence University. From January through September , Steve was an equity partner at two smaller regional law firms, where his practice focused solely on commercial real estate. Prior to this time, Steve was an associate at the law firms of Mahoney Adams, then one of the oldest law firms in the State of Florida, and McGuire Woods, a large national law firm, where he focused on both litigation and commercial real estate.
Steve graduated from the University of Central Florida in with a degree in Business Administration. After serving 7 years in the Army and obtaining the rank of Captain, Steve attended law school at the University of Florida where he obtained his juris doctorate in With industry experience across a variety of property types since , Brian is highly adept in investor relations management, as well as lending and equity financing. In this role, he was responsible for originating and underwriting investment opportunities.
Through a hybrid strategy of value-add, opportunistic debt and equity transactions throughout the U. He is a member of the Massachusetts Bar. Kevin Lott serves as Managing Director of National Leasing at Bridge Commercial Real Estate, where he provides leadership and executive oversight for the leasing of more than 14 million square feet of office space. Kevin oversees the procurement process of third-party leasing partners and the management of approximately 30 office leasing teams.
Playing a key role in the development and implementation of marketing plans and budgets for Bridge properties, Kevin and his team are responsible for rebranding and repositioning, budget development, and guidance of brand design. He also is responsible for monitoring local market indicators, analyzing current and future tenant needs, and creating strategies and tactics to meet the evolving requirements of office space users. Kevin provides negotiation leadership on significant lease transactions, providing direct interaction with existing tenants as well as companies seeking office space in a Bridge asset.
These interpersonal relationships with decision makers and leaders in the office brokerage industry are critical in a business that is built on mutual trust. A proven problem-solver and leader, Tina is highly experienced in asset management, leasing, capital markets and portfolio management. She hired and directed asset management analysts, brokers, property managers, administrative staff and engineers to implement marketing and management strategies, and she successfully completed more than lease transactions over a four-year period.
Tina also served as Vice President of Asset Management for Columbia Property Trust, where she directed the financial performance of 20 assets totaling more than seven million square feet in major U. Tina significantly enhanced the value of real estate assets while maintaining an average occupancy rate of 95 percent.
During her time as Investment Officer at Wells Real Estate Funds, Tina completed more than , square feet of new and renewed leases, helped with a strategic portfolio disposition totaling 1. Greg Walters serves as Senior Director of Engineering at Bridge Commercial Real Estate, where he provides leadership, guidance, and oversight for the engineering department on more than 14 million square feet of office space.
Brenden has been involved in the management of commercial office real estate since , following seven years in the multifamily and retail sectors. He has extensive experience in executing transformative capital improvement projects as part of managing a variety of asset classes. Brenden joined Bridge in October from Cousins Properties, where he was responsible for a 1. Brenden earned a B. Over the last six years with Bridge, David has been involved with commercial office and multifamily acquisitions, asset management, fund analytics, and capital raising support.
His responsibilities include originating new transactions, structuring transactions with joint venture sponsors, financing, underwriting, due diligence, and closing. Concurrent with acquisitions, David is responsible for asset management of over 5. Jennifer has over 18 years of experience in commercial real estate management and currently manages 2. Julie Moyers serves as Director of Property Accounting at Bridge Commercial Real Estate, where she provides leadership and executive oversight for the property accounting processing and reporting for more than 14 million square feet of office space.
Julie manages a member team and oversees the reporting and analysis of monthly, quarterly and annual financial statements. She manages and maintains funds by forecasting cash requirements, obligations and directs payment processing. At Bridge, Julie has improved accuracy and quality of all reporting as well as productivity by streamlining processes. She has also developed policies and procedures to ensure and maintain internal controls.
She supports the preparation of all property budgets and forecasts. Julie recently led the implementation of software automation for common area maintenance reconciliations. As a manager, Julie develops leadership and management skills and mentors all levels of her staff.
Prior to joining Bridge in , Julie worked at Hines, responsible for the accounting operations of a large commercial office portfolio in Atlanta. She enjoys playing tennis, paddle boarding and snow skiing. She also loves to read and volunteer in her community. She was also responsible for the quarterly valuations on 4.
Kelly began her career in public accounting where she spent four years in the real estate group at Deloitte, providing tax consulting and compliance services to large publicly traded REITs as well as private investors and developers. In his role, Todd provides operational and financial leadership to the property management teams throughout the portfolio.
A seasoned commercial real estate executive, he also assists with the development of strategic priorities and objectives for the property management team. Prior to joining Bridge Commercial Real Estate in , Todd was Director of National Property Management for Columbia Property Trust, and Vice President and General Manager, Atlanta, for Wells Real Estate where he led various aspects of property management from corporate implementations to communications, supply chain initiatives, vendor relationships and asset management support.
In , Todd founded IssaMAX, a real estate development company with a focus on mixed use developments. He received his B. In his role, Tom oversees the Bridge flex office initiative across the office portfolio. Prior to this role, Tom oversaw operational functions of over 16 properties, consisting of 5. Prior to joining Bridge, Tom spent 14 years with Hines, overseeing property management, construction and leasing initiatives at office and retail properties in the Southeast U.
Prior to Hines, Tom served seven years as an infantry officer in the United States Army, holding several leadership positions at various foreign and domestic locations. He has overseen development and construction of over six million square feet of space in private and publicly owned facilities. Prior to joining Bridge, David advised a Fortune 50 real estate investment firm on international real estate development projects, and he worked with multifamily private equity funds and development firms to identify, assess and negotiate land acquisition opportunities for development of multifamily, independent living, and student housing projects.
Todd Castagna serves as Managing Director of Acquisitions for Bridge Development Manager LLC, and is in charge of sourcing and underwriting both direct and joint venture development opportunities throughout the United States. Prior to joining the Bridge team, Todd was Vice President of Acquisitions at Peak Capital Partners where he oversaw the acquisition and performance of multifamily assets in various markets throughout the country.
Brian K. Brian joined Bridge from Clarion Partners in Los Angeles where he focused on core, value-add, and development office assets primarily within the Western United States. Nicholas joined Bridge from Clarion Partners in Los Angeles where he was focused on core, value-add, and development acquisitions across all property types within the Western United States. During her tenure, the portfolio grew from 12 owned assets to 40 owned and 21 operated senior residences.
Caryl was Regional Vice President of Operations at Sunrise from , developing effective senior and front-line leaders and aligning teams across the portfolio to improve standards of care. A senior operations executive in the senior care industry, Caryl also held the positions of Vice President of Operations, Area Manager of Operations and Executive Director at Sunrise, where she worked for 13 years.
Prior to Sunrise, Caryl served in hospital administration and community services for 12 years. He was responsible for managing all accounting functions for the firms seven operating companies and affiliated franchisor. Matt worked previously as a tax accountant for a regional accounting firm.
He holds bachelor degrees in accounting and finance from Florida State University. She is a member of the Florida Bar Association. Before joining Northbridge, Stephen was a senior investment analyst with Nordblom Company where he worked on acquisitions, development, asset management, and capitalizations for office, multifamily, senior housing, and retail asset classes. Prior to Nordblom, he was an analyst with a national multifamily brokerage company.
Angela is responsible for directly overseeing a portfolio of Bridge Seniors communities and working with various management partners to drive operational results. Angela has over 20 years of leadership experience within the seniors housing industry. Prior to joining Bridge, she served as District Director of Operations for Brookdale from and during her 8 years with Sunrise Seniors Living, she held several Regional executive positions.
Bill is a licensed real estate broker in the state of Florida and has received the Certified Commercial Investment Member designation. Jacob is responsible for analyzing investment opportunities and preparing investment overviews for review by the investment team. He maintains certain databases and management status reporting for the assets and strategy. Prior, Jacob was with KPMG in New York, NY where he performed due diligence on buy and sell side transaction including detailed financial statement analysis, identified quality of earnings adjustments as well as assisted in deal structuring including closing working capital requirement, minimum cash requirements and treatment of debt like terms.
He has experience in construction and development industries beginning in , with a focus on seniors housing and medical office properties since Rob is responsible for contributing to the due diligence requirements during the acquisition phase, capital expenditures review and approval, construction budget and scope of work approval as well as new development, including permitting, contractor selection, project management, and procurement.
Prior to Sonata, Rob held the same title and developed three projects averaging plus acres and units, including independent living, assisted living, memory care and wellness for senior living communities based in Charlotte, North Carolina. He also plays an integral role in supporting the ongoing portfolio management, including investment strategy, valuation, budgeting, and reporting.
He is also a licensed real estate sales associate in the State of Florida. He focuses on the placement and management of debt for the Seniors Housing and Medical Properties strategy. Before joining Bridge Investment Group, Mr. Campbell sourced, underwrote, and closed debt for one of the largest mortgage banking firms in the country. Conor Andrus serves as Director of Structured Finance for Bridge Investment Group, with a specialization in financing commercial real estate acquisitions and development projects.
She spent over four years tending patients in the oncology unit at St. Take a look at our current openings. Our team welcomes your interest. Our closeness to our assets differentiates us from other alternative asset managers and allows us to create , rather than seek, alpha, delivering financial results and current income for our investors while creating lasting, vibrant communities all across the US for over two decades.
Robert Morse. Dean Allara. Remember that call I took in Ireland? This founder was not alone in using profitability as a metric for bridge rounds. Investors often look to metrics that are easily attainable in a short time period in order to ensure more capital can be raised. Profitability is a unique metric that is easily understandable, achievable and provides options to the company. And yet, you may be asking about the founders who may not be able to achieve profitability but still require a bridge round.
What should they do? Instead, these founders should focus on other quantifiable and verifiable business metrics with clear and unambiguous goals that can be achieved in a short period of time. Just two months ago, I was speaking with another founder at a coffee shop when he bemoaned the valuation of a previous bridge round and how he gave up too much of the company.
We did not really need the money. As the above story indicates, one of the most important things to keep in mind when raising bridge capital is the risk of over-dilution. Roughly defined as giving up more of your company to investors than is necessary during any financing, over-dilution is an acute risk in bridge rounds because of the position that investors believe a company is in, which has historically been mere weeks or months away from going to zero.
And yet, if founders present quantifiable metrics like profitability and a timeline in which to achieve them, investors are more likely to treat the company as a market-oriented investment rather than a soon-to-be -asset. Bridge rounds were once the exclusive province of companies on the precipice that needed a crucial capital injection in order to survive. Increasingly, founders are using bridge rounds not to survive, but to thrive and maintain their independence by achieving specific business objectives with quantifiable metrics like profitability in a short period of time.
What was formerly a last resort is now a means of achieving independence and profitability. Next Article -- shares link Add to Queue. Image credit: sorbetto Getty Images. Free Book Preview Money-Smart Solopreneur This book gives you the essential guide for easy-to-follow tips and strategies to create more financial success.
Alex Gold. Entrepreneur Leadership Network Writer. November 1, 6 min read.
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