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J.D. Salinger didn’t write to be read – or seen. The author of The Catcher in the Rye stopped publishing in 1965 – but continued writing until his death 45 years later –, and long before that he had made up his mind to refuse to allow film adaptations of his work (a non-acceptance that has miraculously survived him). As a result, the lazy and the uncreative have had to find alternative avenues for profiting from Salinger's work. The most recent example of this is My Salinger Year, a drama written and directed by Philippe Falardeau, based on Joanna Rakoff's memoir of the same name. In 1995, Joanna (Margaret Qualley), an aspiring writer and poet, moves to New York, where she gets a job at one of New York's oldest literary agencies. Unbeknownst to Joanna, the agency looks after the interests of notoriously reclusive writer J. D. Salinger (additionally, she moves into an apartment with her new boyfriend, who is writing a novel, which, when finished, fits perfectly inside a thin manila envelope; I’d venture that perhaps the envelope contains a flash drive with the book in it, but this is the mid-90s, after all). Joanna's duties include responding to Salinger's voluminous fan mail. According to agency policy, Joanna replies with a generic formula explaining that Salinger does not read fan letters (and if the letters were anything like the ones in the movie, he wasn't missing much – and neither were we). She, however, becomes tempted to write back something with a little more substance to certain Salinger fans – though not having read any of his work (not even Catcher), it’s hard to tell what led her to believe she was qualified to become Salinger’s self-appointed mouthpiece. The only reason the writer's last name appears in the title of this movie is to lure unsuspecting viewers into watching it in hopes of learning something valuable about Salinger. As it turns out, though, the plot has little or nothing to do with the author (and it isn’t even clever enough to be a pastiche like Igby Goes Down) except a perverse eagerness to pry into and exploit his two most valued possessions: his privacy and his art. Consider this: in May 1986, Salinger discovered that British writer Ian Hamilton intended to publish a biography that made extensive use of letters Salinger had written to other authors and friends. Salinger sued to stop publication of the book, and in Salinger v. Random House, the court ruled that Hamilton's extensive use of the letters, including quoting and paraphrasing, was not acceptable as the author's right to control publication overrode the right of fair use. It doesn't take a genius to conclude that Salinger wouldn't be much happier with a book and film based on correspondence that he didn't read – let alone replied to –, starring a character who has deliberately avoided the author’s oeuvre, because she wants to be “provoked,” not “entertained.” All things considered, My Salinger Year is neither provocative nor entertaining.
Tine, a college student, wants to get rid of a gay admirer and his friends recommend that he find a fake boyfriend: Sarawat. But Sarawat is hard to come by. Until he finally accepts. The two become close and intense emotions soon erupt. As Tine and Sarawat enter the second year of their relationship, they also begin to take on greater responsibilities in college with the former as the new president of the cheerleading club and the other as the new president of the music club.
A pastor's faith turns upside down when a meteorite lands in his small Finnish town, its impact stirring up chaos and criminal intentions.
After the funeral of one of their own, a criminal family decides to embark on an emotionally unnerving journey in an attempt to exact bloody revenge.
A young drifter, struggling to makes ends meet, accepts a job to kill a prominent accountant. When he isn't paid for the hit, revenge is now his path.
Bobby Griffith was his mother's favorite son, the perfect all-American boy growing up under deeply religious influences in Walnut Creek, California. Bobby was also gay. Struggling with a conflict no one knew of, much less understood, Bobby finally came out to his family.
Taking over Leeds United, Brian Clough's abrasive approach and his clear dislike of the players' dirty style of play make it certain there is going to be friction. Glimpses of his earlier career help explain both his hostility to previous manager Don Revie and how much he is missing right-hand man Peter Taylor.
When 12-year-old Ton transfers to an all-boys boarding school, he's taunted by his peers and terrified by their tales about the ghosts that inhabit the school. Ton is utterly miserable until he befriends a mysterious fellow pupil.
A group of tenants facing eviction due to a city renovation unite to fight back, but as they clash with the landlord and his ruthless attorney, they each transform into the opposite of who they once were.
Honey Daniels dreams of making a name for herself as a hip-hop choreographer. When she's not busy hitting downtown clubs with her friends, she teaches dance classes at a nearby community center in Harlem, N.Y., as a way to keep kids off the streets. Honey thinks she's hit the jackpot when she meets a hotshot director casts her in one of his music videos. But, when he starts demanding sexual favors from her, Honey makes a decision that will change her life.
Davey Gordon, a New York City boxer at the end of his career, falls for dancer Gloria Price. However, their budding relationship is interrupted by Gloria's violent boss, Vincent Rapallo, who has eyes for Gloria. The two decide to skip town, but before they can, Vincent and his thugs abduct Gloria, and Davey is forced to search for her among the most squalid corners of the city, with his enemy hiding in the shadows.
In the troubled city of Edison, a young journalist, his jaded editor, and an honest investigator from the district attorney's office join forces to gather evidence against corrupt members of an elite police unit.
