- Obama: Hole U.S. ‘digging out of’ requires billions more in unemployment benefits
- Obama’s regulatory agenda will cost U.S. economy $143B next year: report
- Patriot Act author on James Clapper: Fire, prosecute him
- Russia P.M. Medvedev: No amnesty for political prisoners
- Michigan GOP Senate hopeful reminds government is the ‘servant’
- Christmas, by Congress: Members mull a 15-cent tax on trees
- U.S. unemployment falls to five-year low of 7 percent; 203K jobs added
- World mourns Nelson Mandela and celebrates his life; burial set for Dec. 15
- Bill O’Reilly reminds: Nelson Mandela ‘was a communist’
- John Boehner says GOP should support gay candidates: ‘I do’
Latest Lee Daniels Items
Hollywood's liberal establishment often claims that freedom of expression creates a more vivid landscape for motion pictures. The desire for artistic liberty in popular films such as "Lincoln," "Argo" and "Zero Dark Thirty" is said to trump the need for historical accuracy.
Award-winning director Lee Daniels, best known for "Precious" and "The Butler," said that Americans are showing their true racist colors now that a black man is in the White House.
“The Butler” examines the history of the American civil rights movement from the unlikely perspective of a White House butler. It’s an ambitious project that encapsulates its epic sweep inside a personal journey. While the film doesn’t reach the heights it seeks, it doesn’t fall on its face either.
With her deep fried food empire lying in charred scraps around her, fallen Southern cooking queen Paula Deen may have been thrown a lifeline by an unlikely savior — Lee Daniels, director of “The Butler.”
The Hollywood Foreign Press Association is known for what you could call a certain quirkiness in its selection process. Any group that would see fit to nominate "Patch Adams" and "The Tourist" for best picture certainly marches to its own beat.
Soaked in sweat and reeking of cigarettes, Southern-fried and smothered in cheese, "The Paperboy" is, quite literally, a hot mess.
"Frankenweenie" _ Tim Burton reminds us of why we love Tim Burton with this feature-length version of the 1984 short that revealed early glimmers of the veteran director's darkly humorous style. Beautifully detailed and painstakingly rendered in 3-D, black-and-white, stop-motion animation, "Frankenweenie" is a visual and thematic return to the best Burton has offered in his earliest films, such as "Edward Scissorhands" and "Beetlejuice." And it is a welcome return, given the reheated, unfocused nature of some of his more recent films like "Dark Shadows." Burton has said he'd always intended for "Frankenweenie" to be a full-length, stop-motion-animation feature, but he didn't have the means; instead, he made a 30-minute, live-action short. Both films are about the powerful bond between a boy and his dog, one that goes on even after death _ a heartrending subject, to be sure, but one that Burton infuses with his trademark mix of lively energy and macabre laughs. Even then, you could see Burton's sympathetic, protective portrayal of an outsider, an affectionate skewering of the sanctity of suburbia and a deep love of monster movies. Charlie Tahan provides the voice of Victor, a 10-year-old loner who's understandably devastated when his only friend _ his bull terrier, Sparky _ gets hit by a car. But a lesson from his science teacher (a wonderfully melodramatic Martin Landau) inspires Victor (whose last name happens to be Frankenstein) to try and bring Sparky back to life. Catherine O'Hara, Martin Short and Winona Ryder are among the Burton veterans in the strong voice cast. PG for thematic elements, scary images and action. 88 minutes. Three stars out of four.
Colman Domingo is finishing a new play that he also stars in. That might be enough work for some. But not Colman Domingo.
When the playwright Tony Kushner recently grabbed a microphone and sat down for a post-screening Q&A with a filmmaker and the film's cast, he mumbled that he felt like Richard Pena.