Aspiring rock star Joby Taylor (Paul Dano) has wanted nothing more than to "make it", having flirted with fame but never crossed over into true success. In the midst of a low period in his life, he agrees to sign divorce papers with his estranged wife (Margarita Levieva) in order to see money from the sale of their home, only to discover that by signing the papers, he will forfeit all custody of his six-year-old daughter, Ellen (Shaylena Mandigo). With a good-natured lawyer (Jon Heder) unable to make headway in reversing the decision, and a girlfriend (Jena Malone) that represents an era of his life that he might be ready to graduate from, Joby negotiates a visit with his daughter to explore whether he is able to walk away from his child, and whether it might be too late for reconciliation. -- (C) TribecaRelease Date For Ellen Sep 5, 2012 Limited
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Actors For For Ellen
Paul Dano,Jon Heder,Jena Malone,Margarita Levieva,Shaylena Mandigo,Julian Gamble,Dakota Johnson ,Peter Roberts,William Roberts,Ronald Walter Mandigo,Mara Pelifan,Michael Almond,Gabrielle Bergeron,Bonnie Lucia,Robert "R.J." Jordan,Shannon Jordan,Alycia Kassian,Andrew Kassian,Heather Anne Schwendner,David ZwyghuizenGenres For Ellen : Drama
Visitor Ranting & Critics For For Ellen
User Ranting For Ellen : 3.2User Percentage For For Ellen : %
User Count Like for For Ellen : 2,231
All Critics Ranting For For Ellen : 6.2
All Critics Count For For Ellen : 35
All Critics Percentage For For Ellen : 66 %
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Movie Overview For For Ellen
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Review For For Ellen
It's uncomfortably funny, achingly true - and the work of an absolutely genuine artist.Trevor Johnston-Time Out
"For Ellen" is a small but exquisite film, beautifully observed and impeccably executed.
Kenneth Turan-Los Angeles Times
his quiet indie drama distinguishes itself most when writer-director So Yong Kim gets the rocker alone with his daughter for a brief visit that will probably be their last.
J. R. Jones-Chicago Reader
This performance, unlike anything Paul Dano has ever done, must have required some courage.
Roger Ebert-Chicago Sun-Times
"For Ellen" tries one's patience, but what works, works for keeps.
Ty Burr-Boston Globe
Its anemic plot is almost nonexistent, and there's not enough substance to support Kim's languid style, resulting in a too-relaxed, 93-minute feature ...
Jeff Shannon-Seattle Times
This low-key but shrewdly observed US indie movie from Korean-American writer-director So Yong Kim pointedly opens with a man at a crossroads, unsure of which direction to take. Decision made, he soon afterwards skids into a snowdrift.
Jason Best-Movie Talk
Mumblecore stuff with touching, truthful moments ...
Philip French-Observer [UK]
It's almost as though we're working toward an inverted, non-humorous riposte to John Goodman's line in The Big Lebowski: Say what you like about nihilism, at least it's an ethos.
Tara Brady-Irish Times
One of those mopey independent dramas that drifts through a mere hint of a plot, this film is worth a look for its unusual setting and a superb central performance from Paul Dano (last seen in Looper).
Rich Cline-Contactmusic.com
Paul Dano makes So Yong Kim's story of a deadbeat rocker with marriage problems his own.
Andrew Pulver-Guardian [UK]
It's a challenging watch - Yong Kim allows plenty of time for the scenes to breathe - but it's genuinely touching, ending on a note that says all too much about the nature of the ultimate commitment-phobe.
Tim Evans-Sky Movies
A tender and engaging drama with a handful of touching scenes and a stellar performance from Paul Dano ...
Jennifer Tate-ViewLondon
Awkward, spartan storytelling from Korean director So Yong Kim that captures the tender heart of family bonds.
David Parkinson-Empire Magazine
Although little is explicitly stated, the characters' back-story is effectively communicated - yet it's difficult to truly care.
Emma Simmonds-The List
Writer-director So Yong Kim's mastery of tone and elements turns For Ellen into a thing of tender, forlorn beauty.
Brent Simon-Shockya.com
[A] glacially paced indie from Treeless Mountain director So Yong Kim, a Sundance special whose muted emotions take a while to access.
Neil Smith-Total Film
To make a short story long ...
Matt Pais-RedEye
Mandingo's so good, it's a shame that Dano is his typically mannered self.
Brett Michel-Boston Phoenix
It is the sensitively crafted, difficult struggle of father and daughter to connect, that forms the tender and awkward anchor of this tale. And that is the real romance here, a delicately nuanced unusual love story that is the heart of this movie.
Prairie Miller-Long Island Press
Movie Images For Ellen
After exploring the worlds of toys and bugs in the two Toy Story films and A Bug's Life, the award-winning computer animation company Pixar delves into the realm of monsters with its fourth feature. Hulking, blue-furred behemoth James P. "Sully" Sullivan (John Goodman) and his one-eyed assistant Mike Wazowski (Billy Crystal) are employed by Monsters, Inc., a scream processing factory. It seems that the denizens of their realm thrive on the screams of kids spooked by monsters lurking under their beds and in their closets. It's the job of Sully, Mike, and their co-workers, including sarcastic Randall Boggs (Steve Buscemi), crab-like CEO Henry J. Waternoose (James Coburn), and lovely snake-headed receptionist Celia (Jennifer Tilly) to keep the frights flowing. When Sully and Mike are followed back into the monster world by a very unafraid little human girl named Boo (Mary Gibbs), they are exiled to her universe, where they discover that such a modern-day mythological specimen as the Abominable Snowman is a fellow refugee. ~ Karl Williams, Rovi
Matthew Fox (WORLD WAR Z, I, ALEX CROSS, "Lost") joins with Academy Award (R) winner Tommy Lee Jones (LINCOLN, NO COUNTRY FOR OLD MEN, THE FUGITIVE, HOPE SPRINGS), newcomer Eriko Hatsune and award-winning Japanese star Toshiyuki Nishida (GET UP!, TSURIBAKA NISSHI 14, TSURIBAKA NISSHI 6, GAKKO, DUN-HUANG) to bring to life the American occupation of Japan in the perilous and unpredictable days just after Emperor Hirohito's World War II surrender. As General Douglas MacArthur (Jones) suddenly finds himself the de facto ruler of a foreign nation, he assigns an expert in Japanese culture - and psychological warfare - General Bonner Fellers (Fox), to covertly investigate the looming question hanging over the country: should the Japanese Emperor, worshiped by his people but accused of war crimes, be punished or saved? Caught between the high-wire political intrigue of his urgent mission and his own impassioned search for the mysterious school teacher (Hatsune) who first drew him to Japan, Fellers can be certain only that the tricky subterfuge about to play out will forever change the history of two nations and his heart. (c) Roadside Attractions
In 1994, the British Film Institute commissioned a set of films to mark the centenary of the movies. They would trace the history of several national cinemas, and the BFI's choice for interpreting the history of American film fell to director Martin Scorsese, a longtime champion of film history and preservation. Scorsese's approach to his subject is director-centered, as he examines the tension inherent in the struggle of an artist wishing to make a personal statement against the collaborative nature of films and the commercial pressures of the Hollywood moviemaking factory. Segments of this series are devoted to the director as storyteller (examining narrative devices in the Western, gangster film, and musical), illusionist (technical tricks), smuggler (imbedding personal messages), and iconoclast (bucking the system to make films his own way). The series is replete with telling clips, not just snippets or shots, but entire scenes which illustrate Scorsese and co-director Michael Henry Wilson's points. Other filmmakers, including John Ford, Francis Ford Coppola, Billy Wilder, and Orson Welles, are seen in archival footage or interviews created for the series, offering their own take on the art of filmmaking. Scorsese doesn't discriminate between filmmakers with glossy reputations and those who always worked on the fringe of public awareness. If anything, he goes out of his way to champion mavericks like Samuel Fuller whose "visceral cinema" never enjoyed box-office success or awards. Personal Journey was first shown on British TV, released in limited fashion to theaters in the United States, and shown here on TV as well. A tie-in book was published in 1997 by Miramax Books; it contains the entire script for the series, excellent black-and-white stills, and dialogue from some of the clips. ~ Tom Wiener, Rovi
During the 1960s, Bugis Street was one of Singapore's most notorious avenues in that it is was the favorite hotspot of the island's infamous transsexuals. This soft-core Singapore drama tells the story of a busty 16-year old virgin from Malacca who goes there to work as a chambermaid and desk clerk at the Sin Sin hotel, one of the better-known brothels. It takes innocent Lian a long time to realize that most of the "working women," who have become her advisors and friends are actually men. Among them are Drag-O, who dreams of going to Paris, and the beautiful Lola, whose handsome boy friend Lian develops a crush on. ~ Sandra Brennan, Rovi
Brendan King is a foster kid who grew up on the wrong side of the law, graduating from five-finger discounts and fights on the playground to drug-dealing and gun-running as a member of the multi-racial gang called Avenue D. Arrested in a federal raid when he was fifteen and imprisoned for three years until his parole at eighteen, Brendan has found a relationship with God, and with it he has turned his life around. Upon his release, he moves in with a new foster family, Mike and Vanessa Stubbs, and starts attending high school in a suburb near the city where he grew up. (c) Official Site
