Directed by Damien Chazelle Starring Ryan Gosling, Emma Stone, John Legend, Rosemarie DeWitt
In LA, a series of chance encounters bring struggling actress Mia (Stone) and struggling Jazz pianist Seb (Gosling) into a relationship of towering love and passion. He introduces her to jazz and drives her to follow her dreams. She tries to convince him that his dream is in reach, if he can only let of of its trappings, and inadvertently drives him to compromise his artistic integrity by joining a band led by the non-specifically shady Keith (Legend).
Directed by Eric Summer, Éric Warin Starring Elle Fanning, Dane DeHaan, Maddie Ziegler, Carly Rae Jepsen
The year is 1887 (or 1888; I’m working from how complete the Eiffel Tower is,) and plucky Bretton orphan Felicie (Fanning) dreams of being a dancer in the Parisian ballet. Running away from the orphanage in the company of fellow orphan, inventor and creepy nice guy Victor (DeHaan), she is promptly separated from her stalker, finds the opera and stumbles into a) helping the academy’s cleaner, Odette (Jepsen), and b) a place in the training class, the latter by stealing the identity of standard issue horrible rich brat Camille (Ziegler).
* The poster with a tagline was quite small and hard to read – it seemed to spell this ‘furor’, so I guess it was intended as a play on ‘fuhrer’.
Directed by Susan Stroman Starring Nathan Lane, Matthew Broderick, Uma Thurman, Will Ferrell, Gary Beach, Roger Bart
A failing producer and an accountant team up to produce a deliberate flop, realising that they can make more money by overselling the show and failing than by having a hit which needs to repay its investors in the first and arguably the greatest film of Mel Brooks’ directorial career. When their deliriously tasteless bomb arrives, however, it crosses the line twice and becomes a runaway success, bringing about their downfall.
Before the new film version, the musical adaptation played on Broadway with much of the same cast.
Max Bialystock (Lane) is the falling star of Broadway, producer of flop after flop reduced to romancing little old ladies for funding. When public accountant Leo Bloom (Broderick) looks over his books, he realises that it should be possible to make more money with an oversold flop than a tightly funded hit.