This quite graphic trailer for Patrick Brice’s suburban sex comedy, has a lot of sex and a lot of foul language. With that warning out of the way, you can see Adam Scott, Taylor Schilling, and Jason Schwartzman behaving badly while their children are barely out of earshot, as a dinner party gets into some seriously weird, quite fast.
The Overnight is produced by the Duplass brothers, of which Mark Duplass was the title character in Brice’s previous underrated gem, Creep.
The film has been playing the festival circuit since Sundance and is getting a limited US release on June 26th.
Stephen Frears, director of The Hit, My Beautiful Laundrette, Dangerous Liasons, The Grifters, High Fidelity, Dirty Pretty Things, The Queen and so many more quietly great films, seems to get a pretty significant performance out of Ben Foster in his biopic about the myth, hubris and ultimate downfall of American cyclist Lance Armstrong.
We do not generally publish news items here in the third row, and this is not even fully confirmed news, and this isn’t even the first time for this news. But screw it. Amazon Streaming is funding Terry Gilliam’s often aborted The Man Who Killed Don Quixote (see: Lost in La Mancha for the well documented cluster-fuck of the project) a pseudo-adaptation of Miguel de Cervantes famous novel.
According to an interview with the director at indiewire, Amazon is funding the film to get a brief theatrical run before becoming a streaming-only Amazon Prime product. He has even tapped John Hurt to star as the famous man of chivalry who tilts at windmills for a 2016 shoot.
Time will tell if this actually happens, but god, we hope it does.
Iconic actor Christopher Lee has passed on at the age of 93. He leaves behind a fascinating career in which he specialized in intimidating figures of intelligence and power. For the UK’s Hammer studios, Lee made dozens of films (and 20 of those co-starring with Peter Cushing), where he played a very raw and masculine version of Dracula, often.
I will always have a fondness (and fear) of his Lord Summerisle in Robin Hardy’s The Wickerman, a cultured Scottish lord who presides over an island of pagans whose apple crop is dying and extra measures have to be taken to make the land fertile again. Lee sings, struts, dresses in drag and never once loses his authority or dignity in the role, right up to the harrowing ending.
Lee also played Scaramanga, the Bond villain in 1974’s Man With The Golden Gun. While quiet in the 1980s, he started to get small roles in the 1990s with his white hair, such as Richard Lester’s Return of the Musketeers, Joe Dante’s Gremlins and Tim Burton’s Sleepy Hollow before making a full career resurgence in the 2000s with The Lord of The Rings, where he played the fallen wizard, Saruman. After that, George Lucas used him extensively in the Star Wars Prequel trilogy (dovetailing nicely with Peter Cushing’s authoritative role in the original trilogy.) With his career back in full swing, top projects such as the remake of Charlie and The Chocolate Factory made fine use of his tall figure. Even Martin Scorsese found a nice against-type role for Lee in his tribute to all things cinema, the children’s adventure, Hugo.
With such a prolific career and legacy, an onscreen career that spans 8 decades, there is no other actor quite like Christopher Lee, a man of intelligence, taste and dignity, he was one of a kind and will be missed.
Outside of the lengthy “Game of Thrones” discussion this week (which covers the last two episodes), we manage to stay pretty spoiler free, despite a main review for part of the 2015 western resurgence in Slow West. Also, Andrew hits the theater for the latest Cameron Crowe joint from Hawaii and the Brian Wilson / Beach Boys biopic, Love & Mercy. On the “television” front, Netflix and Kurt hangout for about 12 hours in the compelling mess that is “Sense8″ and Andrew finds enough commuting time to follow-up with Adnan and friends in the “Undisclosed” podcast. It’s a jam packed show full of fire and Australia; yes all of it (copyright Mark Kermode).
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!
From inside the eye of a hurricane of screaming, recalcitrant youths, old and grumpy Mamo gathers to discuss their favourite subject: what’s going wrong with the movies these days. Weaponized anticipation! Mega-franchises-as-movies-as-TV! The death of cinema itself! Tune in and try to follow along. Would you like to know more…?
I’ve been a pretty bi fan of Zhang Yimou since Raise the Red Lantern (where my Criterion release!?). He smartly strayed from his signature style (symmetry and extraordinary bright color palette) after Curse of the Golden Flower and moved on to different fare with Coen Brother remakes and directing English-speaking Americans. But it’s been four years now and we’re due.
What equally exciting is that he’s pairing up again with his longtime muse, Gong Li, for this latest picture.
I do admit this trailer feels a little dreary and overly sentimental, but at the same time, there’s something emotionally sweet and hypnotic with what’s going on here and I for one am really looking forward to seeing what he’s bringing to the table this time around. With fairly positive reviews coming out of TIFF, Coming Home will be hitting The States and Canada early this fall.
Director: Paul Feig (Bridesmaids, The Heat) Writer: Paul Feig Producers: Paul Feig, Jessie Henderson, Peter Chernin, Jenno Topping Starring: Melissa McCarthy, Jason Statham, Rose Byrne, Miranda Hart, Bobby Cannavale, Allison Janney, Jude Law MPAA Rating: R Running time: 120 min.
My original posting of this review can be found HERE
Spy is the third straight collaboration between director Paul Feig and his leading lady Melissa McCarthy (with Ghostbusters already lined up as their fourth) and it’s easily their best yet. Continuing with the formula they’ve established of taking typically male-dominated genres (raunch comedy, buddy action movie) and inserting a dominance of women into the primary characters, this one sees McCarthy take on the role of Susan Cooper, a well-trained CIA agent who has spent her time in the agency as the desk-bound partner in the earpiece of well-groomed field agent Bradley Fine (Jude Law). However, when criminal Rayna Boyanov (Rose Byrne) learns the identities of Fine and all the other top agents, Cooper volunteers to head into the field to take Boyanov down and retrieve the nuclear weapon she is in possession of before she sells it off to someone who means to use it.
So far, so pedestrian and Feig’s script (taking sole writing credit after his last two films were written by others) doesn’t do much to deviate from the traditional norms of this rote procedure we’ve seen done many times before. As was the case with The Heat, Spy doesn’t distinguish itself in terms of plot or narrative structure, playing out similarly to others in the genre in a way that can become a bit tiresome, especially as it extends to a bloated 120 minutes. Sure, it’s a comedy on the surface but at the same time Feig is determined to play the spy angle as straight as possible, as if Spy were simply a spy movie with jokes rather than a satire on the genre. It’s a move that speaks to the bold and innovative way that Feig inserts McCarthy into the role traditionally played by an inordinately fit leading man, but at the same time it can diminish the level of energy and excitement present elsewhere in the film.