The Top 10 Las Vegas Movies

‘Enough Said,’ ‘Rush’ and other new movies, reviewed

11 Director: Carlo Carlei Stars: Hailee Steinfeld, Douglas Booth, Damian Lewis Plot: Shakespeare’s classic forbidden-love story comes to life in an adaptation by Downton Abbey’s Julian Fellowes with True Grit standout Steinfeld getting hot and heavy with Booth. Friday, Oct. 11 ‘I Will Follow You into the Dark’ Director: Mark Edwin Robinson Stars: Mischa Barton, Ryan Eggold, Leah Pipes Plot: A young woman (Barton) fights to find her beloved boyfriend (Eggold) who has been taken by paranormal forces. Friday, Oct. 11 Directors: Murray Wais, Steve Winter, Scott Gaffney, David Zieff, Rob Bruce Plot: The adventurous life of extreme skiier Shane McConkey is explored in a documentary. Friday, Oct. 11 Mike Osborne, The Weinstein Company ‘All the Boys Love Mandy Lane’ Director: Jonathan Levine Stars: Amber Heard, Michael Welch, Anson Mount Plot: The 2006 horror flick finally getting a release stars Heard as a shy outsider invited to spend the weekend at a secluded ranch house targeted by a killer stalker. Wednesday, Oct. 16 Director: John Krokidas Starring: Daniel Radcliffe, Dane DeHaan, Michael C. Hall Plot: Columbia University is the hot spot for up-and-coming poets Allen Ginsberg, Jack Kerouac, Lucien Carr and William Burroughs and a scandalous murder. The story is based on true events and characters. Friday, Oct. 18 Director: Mikael Hafstrom Stars: Sylvester Stallone, Arnold Schwarzenegger, Jim Caviezel Plot: Stallone and Schwarzenegger come together – for the first time as leading men – as inmates escaping from the most protected and fortified prisons ever built.

12 Movies That Are Just As Good As The Books They’re Based On

Sent! A link has been sent to your friend’s email address. Join the Nation’s Conversation To find out more about Facebook commenting please read the Conversation Guidelines and FAQs The top 10 Las Vegas movies The Best Vegas Films When it comes to movie locales, Las Vegas isn’t a bad bet. From its gangster roots to its embrace of vice and shotgun weddings, Sin City has become one of Hollywood’s favorite datelines. As Las Vegas unveils its “Vegas Enablers” campaign, a re-imagined take on the pop culture-entrenched slogan “What happens here, stays here,” USA TODAY film critic Scott Bowles lists his top 10 films to come from The Strip Paramount/The Kobal Collection #1 ‘The Godfather: Part II’ (1974) The payout: The story of the early life and career of Vito Corleone in the 1920s as he expanded his syndicate from Nevada to Cuba hit Hollywood’s ultimate jackpot. The film grossed a then-impressive $48 million and made Oscar an offer it couldn’t refuse, walking off with six Academy Awards, including best picture, best director for Francis Ford Coppola and best supporting actor for Robert De Niro. Frank Masi, Warner Bros. Pictures #2 ‘The Hangover’ (2009) The payout: The $35 million comedy about a band of drunken revelers was considered something of a long shot, with its B-level cast and an R rating, which once hampered summer films. By the end of its run, Hangover became the highest-grossing R-rated comedy with $277 million and spawned films like Bridesmaids and We’re the Millers. #5 ‘Casino’ (1995) The payout: Martin Scorsese’s mobster drama about greed, betrayal and a feud over a trophy wife ensconced Robert De Niro and Joe Pesce as gangster icons and earned Sharon Stone a best actress Oscar nomination. Castle Rock/New Line/The Kobal Collection #6 ‘Honeymoon in Vegas’ (1992) The payout: No actor has hit the jackpot in Vegas more often than Nicolas Cage, himself an avowed Elvis fan. He’s at his hound dog best here as a commitment-phobe who takes his fiancee (Sarah Jessica Parker) to Vegas to get hitched, only to have his plans undone by a dicey poker player (James Caan).

(Photo by Warner Brothers/Getty Images) | Getty Get Books Newsletters: Subscribe Follow: There are dozens of book adaptations coming out this fall , both promising and ridiculous (“12 Years a Slave” and “Adore,” respectively. How could they do that to Doris Lessing?). Book lovers may be wary of heading to the theatre unless they’ve already at least thumbed through the original work, but we think this sentiment unwise. You’ll have to forgive us. We’re about to go Benedict Arnold (or, you know, Fredo Corleone) on you: we have to admit that some movies are better than the books they’re based on. Don’t get us wrong. We’re not undermining the quality of these books. We’re just expressing our immense joy over movies that are as nuanced as the authors’ writing: Loading Slideshow “There Will Be Blood” Paul Thomas Anderon’s film is a very loose adaptation of Upton Sinclair’s “Oil!” While the former is a satire about green and the oil industry, the movie skirts the line between literal and absurd, making for a shocking watch. “Jurassic Park” The novel was a bestseller when it was published in 1990, but gained more acclaim after the movie came out. Spielberg’s adaptation was groundbreaking for the industry, in an “Avatar” sort of way, as it was a revolutionary use of CGI and animatronics. “American Psycho” Oh, Bret Easton Ellis. His books, not to mention his tweets, can be gratuitously graphic. But director Mary Harron managed to morph his story into a terrifically transgressive story, lauded by both critics and academics. We think the casting may be to thank for this one. “The Shining” This is an incredible book, with an equally incredible sequel (you can read an excerpt from “Doctor Sleep” here).

Divorced parents Albert (James Gandolfini) and Eva (Julia Louis-Dreyfus) explore middle-age romance in Enough Said. (Photo by Lacey Terrell/Fox Searchlight via Associated Press) Enough Said (PG-13) Like the best romantic comedies of Hollywoods Golden Age, Holofceners film zings and pops with hilarious dialogue (‘What the hell is chervil?’ Eva snorts after Marianne lovingly gives her fresh herbs from her perfectly un-manicured garden), but also gets to the heart of human nature: in this case, the lengths people go to in order to fill their empty spaces, and how lovable foibles become intolerable flaws. Ann Hornaday Rush (R) As much escapist fun as ‘Rush’ is as an adrenaline-juiced car-race movie, its most interesting as a rare depiction of male vanity, how physical attractiveness informs self-worth and potency, and the role beauty so often the sole purview of women on screen plays in mens relationships and personal insecurities. Ann Hornaday Inequality for All (PG) this film avoids the familiar impartial-arbiter mode of documentary filmmaking and adopts a single perspective as its own. (Viewers will not, in other words, hear from any Gordon Gekko types arguing that wealth belongs to those who can take it.) Both films pair bits of biographical color with footage of well-polished lectures, bringing in just enough outside material to make them feel like real movies. John DeFore Blue Caprice (R) As admirable as Moorss oblique style is, though, Blue Caprice doesnt offer the sense of catharsis or closure, let alone new information, that makes it more than a cold, if disciplined, directorial exercise. Muhammad, who was executed in 2009 , and Malvo, who is serving a series of consecutive life sentences , remain enigmatic, remorseless figures, their depravity never deeply examined past their emotional problems and psychological ills. Ann Hornaday Don Jon (R) The only real down side of Don Jon is the extreme vulgarity, especially early on. Its easy to imagine that some of Jons audacious admissions could alienate certain audience members, and it would be a shame if the outrageousness overshadowed the movies thoughtful revelations and surprisingly sweet heart. Stephanie Merry Baggage Claim (PG-13) Theres so much wrong with Baggage Claim from its outdated story line and similarities to the dreadful Whats Your Number to Talberts clumsy, flat-screen directing that its all the more surprising when things go right. But it would be unfair to deny that it doesnt provide its own modest, sometimes outright hilarious, pleasures. Ann Hornaday Cloudy With a Chance of Meatballs 2 (PG) But instead of upping the ante, as so many sequels do, Cloudy 2 merely gets the band back together including perky weather girl Sam Sparks (Anna Faris), immature bully Brent (Andy Samberg) and Flints level-headed father (James Caan) for a repetitive mission that calls to mind multiple beats from the first movie. Sean OConnell Metallica Through the Never (R) Thanks to wireless instruments, guitarists James Hetfield and Kirk Hammett and bassist Robert Trujillo are highly mobile, and even drummer Lars Ulrich moves around a lot. They interact with other performers in scenarios that appeal to some metalheads taste for carnage and destruction. The last staged catastrophe seems rather tasteless, but it turns out to be a clever setup for the back-to-basics finale. Mark Jenkins Haute Cuisine (PG-13) Frot manages the tough trick of playing someone whos both standoffish and likable. Hortense isnt easily amused or benevolently quirky, the way so many female characters can be. Shes serious, but her passion for recipes and fresh produce proves appealing. “Haute Cuisine” also strays from the typical formula because its devoid of a romantic subplot. Stephanie Merry The Trials of Muhammad Ali (Unrated) Bill Siegels The Trials of Muhammad Ali reminds us, though, that the boxer fought significant battles outside of the ring, as well. And in doing so, Trials educates casual boxing fans about the unexpected political, religious and social strife Ali encountered and largely brought upon himself during a tumultuous time in our nations racially divided past. Sean OConnell You Will Be My Son (R) It would be easy to make a movie pitting Paul, the deadbeat dad, against Martin, the long-suffering descendant who deserves his multimillion-dollar inheritance. But director Gilles Legrand, who co-wrote the script, opts for a more difficult and satisfying approach.