Having just this morning seen the premiere of Antoine Fuqua’s latest film Brooklyn’s Finest, I can now officially confirm that this is one director that knows what to do to keep me coming back for more.

Kevin Carr sits his chubbiness down and sees if Daybreakers, Leap Year and The Imaginarium of Doctor Parnassus can make the grade.

If there is one thing movie-going audiences have been saturated with of late it is vampire films. Luckily, some of them have turned out to be pretty damn good…

Those who are like me will note that the first trailer for Daybreakers, the bleak apocalyptic vampire flick from the resourceful and über-talented Spierig brothers, was brilliant. This second one on the other hand…

As we get closer to its January release, we know that you are salivating for some more looks at a real vampire movie, The Sperig Brothers’ Daybreakers. With that in mind, we dug up a few cool stills, a poster and a new TV spot.

The world is facing a massive food shortage. Because they’re running out of human blood.

Richard Gere seems to have been making superb career choices lately. Now he plans to keep it up by signing on for two films we should start anticipating as he will be working with some great talents.

After at least a decade, if not much more, of lackluster films from Sidney Lumet, the fading titan has strikingly returned to form with a fiery, blustering crash. Before the Devil Knows You’re Dead is easily the best-acted film of the year, but what’s more is that it’s a sharp piece of cultural criticism about late capitalism and the depths of tragedy it’s capable of producing. Nearly three-quarters of the way into the film, Marisa Tomei asks her husband, played by Philip Seymour Hoffman, for car fare to her mother’s house; “I could really use some money,” she says, and she might as well be speaking for every character in the film. Before the Devil Knows You’re Dead is about money, pure and anything but simple: its role as America’s driving force, main object of desire and the one thing of which no one seems to have enough. Hoffman is introduced in a position of dominance, retrocopulating with his wife Tomei (it’s surprisingly graphic, despite being filmed in a non-revealing long shot), a dominance he’ll resume, though not in a porously-penetrative way, throughout the rest of the film in regards to his little brother, played by Ethan Hawke. Hoffman pushes him into a robbery he doesn’t want, nor have the brains, to commit but both, to their undoing, are in desperate need of the cash they assure themselves that they’ll score. (And Hoffman, the cokeheaded corporate exec, is too much the coward to do it himself.) Hoffman is obsessed with

Before the Devil Knows You’re Dead is as good of a film as Sidney Lumet has ever made and that is really saying something considering he’s been at it for over half-a-century.