Would you rather?

Our dumb celebrity-gawking game to get your week off to a silly start. Would you rather...

... have a whiskey at a poetry reading with Martha Plimpton?
... wander the Universal sound stages with Jeff Goldblum?
... snake charm with Anya Taylor Joy?
... take in an art exhibit with Carla Gugino?
... play shadow games with Glenn Close?
... get piggy with Billy Magnussen?
... shop for tasty pastries with Kim Cattrall?
... wear mythological creatures with Juliette Binoche?
... take a drive to Sundance with Olivia Colman, Kaitlyn Dever, Alice Englert, and Thomas Mann?
... pose on the red carpet with Gal Gadot, Chris Pine, and Patty Jenkins? 

Pictures are after the jump to help you decide!

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Stage Door: "Dead Poet's Society"

Andy Warhol's prescient statement 'in the future, everyone will be famous for 15 minutes' has been requoted to death. If he had been even more specific in his prophesies he could have added '...and every movie made in the 80s and 90s movie will become a stage play.' The latest film to make the jump is Peter Weir's boy's school drama Dead Poet's Society which was a big hit with the public and Oscar in 1989. For those who've never seen it (I'm sure you're out there somewhere) Robin Williams plays an unconventional teacher who convinces high school boys to "carpe diem / seize the day!" but this inspirational message has unintended tragic consequences when one boy's dream (Robert Sean Leonard) clashes with his reality in the form of a disapproving father. In the new play film actors Jason Sudeikis and Thomas Mann (Me and Earl and the Dying Girl, The Stanford Prison Experiment) get those two marquee roles...

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Sundance: Me and Earl and the Dying Girl

Michael C here with some thoughts on the newly minted Sundance award winner

Trying to pull off the tone of the disease movie is a tricky proposition. Not only is there the risk of crossing into a bullying sappiness that all but demands the viewer fill a quota of tear-filled buckets, there is also the opposite risk, where the film's insistence that it doesn't want your tears becomes its own kind of pandering, a persistent nudging that we should be moved by the characters' bravery. 

The most impressive thing about Alfonso Gomez-Rejon's Me and Earl and the Dying Girl is how well it walks that line. It isn't afraid of tears, but it makes the journey to the emotional climax count as much as the destination, building towards subtler, wiser epiphanies than the "life can be painful" for which a lesser film would settle. [More...]

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