- Unbeliebable: White House turns Bieber petition response into immigration screed
- Obama signs law denying Iran ambassador’s visa, but says law is ‘advisory’
- Mich. judge to laughing convicted killer: ‘I hope you die in prison’
- Man charged in Kansas City-area highway shootings
- Keystone XL pipeline still on hold after State Dept. decision
- Fla. man charged with killing 16-month-old son to play Xbox undisturbed
- Drones from the deep: Pentagon develops ocean-floor attack robots
- Michigan mayor slaps back atheists’ try to erect ‘reason station’ at city hall
- PHILLIPS: Where is the conservative establishment?
- 7.5-magnitude earthquake shakes southern Mexico
Women losing coverage under Obamacare, too
Topic - Alexander Payne
Catching up with Bob Nelson these days is a bit like trying to schedule a chat with Macklemore or Richard Sherman.
The black-and-white of Alexander Payne's masterful film "Nebraska" seems to depict a forgotten, bygone version of the Upper Midwest, with endless prairies, open skies and dying towns. The absence of color adds a touch of dignity to a story of a man who is clinging to one last, foolish hope to reclaim his honor as a man and as a father.
Woody Allen's romantic fantasy "Midnight in Paris" and Alexander Payne's family drama "The Descendants" have won top screenplay honors from the Writers Guild of America.
James Marsh won the documentary prize Saturday at the Directors Guild of America Awards for "Project Nim," his chronicle of the triumphs and trials of a chimpanzee that was raised like a human child.
Directors Guild of America Awards regular Martin Scorsese and first-timer Michel Hazanavicius are the favorites as Hollywood's top filmmaker group prepares to hand out prizes.
George Clooney's family drama "The Descendants" was chosen Sunday as the year's best film by the Los Angeles Film Critics Association, whose prizes are an early influence on the way to the Academy Awards.
Director Alexander Payne ("Election," "About Schmidt," "Sideways") is a master of capturing unmoored, neurotic men in moments of decision. His films are sly, novelistic and nuanced, and though they are often buoyed along by humor, they are not comedies. There is a general inwardness and melancholia to Mr. Payne's work that is belied by the hilarity of specific moments.
"The eight, 10, 12 good English-language films are all released in the last quarter of the year and expected to gird for battle for Oscars and Golden Globes and all that stuff," says Payne. "And they're just movies. They may be fragile movies, human movies. They just need to find an audience on their own without having comparative judgment made along with it."
Payne said it would be wrong to draw any conclusions about the state of a nation's cinema "based on one tiny snapshot."