Reese Witherspoon and Sofia Vergara Team Up In HOT PURSUIT Trailer

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Reese Witherspoon is Cooper and Sofia Vergara is Daniella Riva in the first trailer for the upcoming comedy HOT PURSUIT.

An uptight and by-the-book cop (Witherspoon) tries to protect the sexy and outgoing widow (Vergara) of a drug boss as they race through Texas pursued by crooked cops and murderous gunmen.

Anne Fletcher directs from a screenplay written by David Feeney (TV’s “New Girl”) & John Quaintance (TV’s “Ben & Kate”) and Dana Fox (“What Happens in Vegas”) & Katherine Silberman (TV’s “Ben & Kate”).

John Carroll Lynch (“Crazy, Stupid, Love.”) and Rob Kazinsky (“Pacific Rim”) also star.

Warner Bros. Pictures will release the film on May 8, 2015.

hotpursuitmovie.com

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Lady Gaga To Make Special Tribute Performance At The Academy Awards

Six-time Grammy-winning singer and songwriter Lady Gaga will make a special tribute performance at the 87th Oscars, show producers Craig Zadan and Neil Meron announced today. The Oscars, hosted by Neil Patrick Harris, will air on Sunday, February 22, live on ABC.

“Lady Gaga is a once in a lifetime artist who’s musical evolution keeps growing. We are proud to have her perform on the Oscars for the very first time,” says Zadan and Meron.

Since breaking in 2008, Lady Gaga has sold over 27 million albums, 130 million singles, and over 4 million tickets globally to her award-winning live performances. Lady Gaga has won a total of 6 Grammy Awards – her most recent this week for Best Traditional Pop Vocal Album for Cheek To Cheek, her 2014 collaboration with Tony Bennett which debuted at #1 on the Billboard Hot 100.

The 87th Oscars will be held on Sunday, February 22, 2015, at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will be televised live on the ABC Television Network at 7 p.m. ET/4 p.m. PT. The Oscars, produced by Zadan and Meron, also will be televised live in more than 225 countries and territories worldwide.

Visit oscars.org

Follow the Academy on Twitter: https://twitter.com/theacademy

Follow the Academy on Facebook: https://www.facebook.com/TheAcademy

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KINGSMAN: THE SECRET SERVICE – The Review

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Although Winter’s in its deadly frozen final gasps, down at the ole’ multiplex it’s “spy time”. Not pining for kinky billionaires? Well, then the fine folks at Fox films have an arresting alternative. It’s not the gritty undercover antics of Jason Bourne or TINKER, TAILOR’s men, although a member of the latter group stars here. Nor is it quite as grim as the latest entries in 007’s long franchise. Oddly, you might say this is both light and dark Bond. Its sense of humor almost verges on satire and parody, but it is a dark, almost black sense of humor. After all, this new flick is rated R and goes out of its way to earn that letter, almost wearing it as a badge of honor. So, let’s leave reality and seriousness out in the parking lot. Suit up and join those dangerous dapper dudes and dames of KINGSMAN: THE SECRET SERVICE.

The mayhem commences seventeen years ago as a helicopter blasts its way into a desert fortress. A bungled interrogation takes the life of one of these black-clad agents aboard it. One of them, Harry Hart AKA “Galahad” (Colin Firth) consoles his late partner’s angry widow back in London. He tries to give her a special medallion with a phone number inscribed as part of a promise of future help from his old squad. The distraught woman will have none of it, so the coin-size memento is left with her six year-old son. Flash forward to now, as one of Galahad’s partners, Lancelot (Jack Davenport) attempts to rescue a kidnapped scientist, played by an actor sure to delight geeks of all galaxies, but is thwarted by a deadly assassin with razor-sharp scythes for legs, Gazelle (Sofia Boutella), an aide for billionaire (oops so it does have something in common with that other movie opening today!) communications kingpin Richmond Valentine (Samuel L. Jackson). Over in the tough part of London, that young lad has grown into ‘Eggsy’ Unwin (Taron Egerton), who despises Mum’s lowlife, bullying beau while adoring his baby sis. After a pub altercation, Eggsy is pinched. Out of panic, Eggsy calls the number on the medallion he wears around his neck, and soon he’s released thanks to impeccably attired Galahad. Returning to the pub, Eddsy is amazed when the older gent easily dispatches a local gang bent on revenge. Later the young man decides to take Galahad up on the offer to join his late father’s profession. Down, down below a posh tailor shop, Eggsy is welcomed to the secret HQ of the Kingsman, a private undercover group led by elder agent ‘Arthur’ (Michael Caine). Eggsy is placed in the recruit training program headed by tech expert/trainer ‘Merlin’ (Mark Strong). While he’s put through his paces, Galahad works on a way to stop Valentine’s radical solution to end global warming, a plan that could eliminate most of the planet’s populace.

The film’s sense of high spirits is led by the irksomely handsome and utterly charming Mr. Firth as the epitome of the gentleman spy. Looking like an off-spring of John Steed of TV’s “The Avengers” with stylish horn rim glasses replacing the bowler, Galahad is like his namesake, a knight not of shining armor, but of expertly woven cloth, which hides all manner of disabling doo-dads. Firth injects just the right tone of smooth sarcasm into every line. I’m hoping for a prequel that will show us how he attains his deadly elegance. Plus he has a lovely mentor/apprentice rapport with screen newcomer Egerton who possess a tough, focused swagger tinged with a bit of sweetness, reminding one of Michael J. Fox in his 80’s movie glory. The kid’s…compact, but his courage and heart more than make up for his stature. Caine adds some old school gravitas (can it really be half a century since he was Harry Palmer, bespectacled super-agent?) to the role of the big boss, while the always entertaining Mr.Strong scores great laughs as the gadget (many retro-inspired) guru and tough teacher coming off as  a bolder, balder take on Prof. Egon of the GHOSTBUSTERS. As for the baddies, Jackson puts an original spin on the secret megalomaniac with his odd, almost distracting, lisp (borrowed from a former boxing champ and current Cartoon Network star, no doubt) and an acute aversion to crimson (” I ‘thee blood, and I just hurl everywhere!”). He too is very funny, which makes his sudden deadly decisions more shocking. Much of his dirty work is accomplished by the exotic Boutella, who in her schoolgirl-like attire seems like a very distant cousin of “Go-Go” from KILL BILL. Kudos also to the energetic turn by Sophie Cookson as Eggsy’s training partner/best bud Roxy.

Director Matthew Vaughn, after a visit to the more gentile PG-13 Marvel universe in X-MEN: FIRST CLASS, returns to the more bloody, violent world of LAYER CAKE and the first KICK ASS. These knights leave a mark and a body count. But there’s a sense of style in the chaos, shifting expertly between ultra-slow motion to precise accelatered speed. A set piece set inside a Kentucky church, an obvious parody of an infamous group prone to funeral protests, is a masterpiece of choreographed mass mayhem. Later, a tech siege produces a hilarious visceral fireworks-like spectacle. But thanks to the witty script by Vaughn and Jane Goldman adapting the graphic novel by Mark Millar and Dave Gibbons (“The Watchmen”), the movie’s not just big bangs and broken bones. They take joy in flipping familiar spy flick tropes on their ears, often calling them out directly,  and in one instance to quite shocking effect. It’s full of unexpected twists and turns with a startlingly raunchy denouncement (thanks for not giving away the best jokes in the trailer, guys!). There’s superb art direction to match the fashions, lush location cinematography, and a rousing score from Henry Jackson and Matthew Margeson abetting some classics and pop standards. This is an engaging, entertaining tale of super-spies geared more for the adults. Here’s hoping for another adventurous lark with those sharp-dressed, often deadly, KINGSMEN.

4 Out of 5

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Win Run-Of-Engagement Passes To See TWO DAYS, ONE NIGHT In St. Louis

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Marion Cotillard is nominated for “Performance by an actress in a leading role” for her work in TWO DAYS, ONE NIGHT at the 87th Oscars.

For the first time, the Dardenne Brothers have teamed with the Academy Award winner and the result is another masterwork of humanism.

Sandra (Cotillard) has just returned to work after recovering from an illness. Realizing that the company can operate with one less employee, management tells Sandra she is to be let go while the remaining employees will each receive a bonus. Over the course of a weekend, Sandra, often with the help of her loving husband (Fabio Rongione), races against time to convince each of her fellow co-workers to sacrifice their much-needed bonuses in order for her to keep her job. With each encounter, Sandra is brought into a different world with unexpected results while her fate hangs in the balance. The Dardennes have brought an extremely relevant social inquiry and turned it into a powerful statement on community solidarity.

Two-time winners of the Palme D’Or at the Cannes Film Festival, Belgian brothers Jean-Pierre and Luc Dardenne are two of the most acclaimed and deeply admired filmmakers at work today. Their deliberate, naturalistic movies slowly constrict as they follow seemingly ordinary characters who live on the edges of society. Though they started their career working on documentaries, their best known films are ROSETTA and THE CHILD, which both won the Palme d’Or at Cannes as well as THE KID WITH A BIKE which was also released by Sundance Selects and was nominated for a Golden Globe and Independent Spirit Award, becoming their most successful box office success.

Read Jim Batts review HERE.

TWO DAYS, ONE NIGHT opens at the Landmark Plaza Frontenac Theatre on February 13.

To celebrate the new movie, WAMG invites you to enter to win run-of-engagement passes to see the film!

The passes will be valid Mon-Thurs at the Landmark Plaza Frontenac Theatre. We will contact you if you’re a winner and mail the pass (good for 2).

FOR A CHANCE TO WIN, ENTER YOUR NAME AND EMAIL ADDRESS BELOW.

No purchase necessary.

http://www.ifcfilms.com/films/two-days-one-night

2014 CANNES FILM FESTIVAL – Official Selection: In Competition
2014 TORONTO INTERNATIONAL FILM FESTIVAL
2014 NEW YORK FILM FESTIVAL

95 MIN / FRANCE / COLOR / FRENCH

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TWO DAYS, ONE NIGHT – The Review

 

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An eternal quandary: love or money? Or in the case of this acclaimed new export, friendship or money? You might be in the position to choose one over the other, but what if you’re thrust into the advocate role? What if you must race against the clock to convince a group to not side with “filthy lucre”? Can you be persuasive enough, that is, if they’ll even listen to you? This is the intimate story of a woman facing an incredible challenge during TWO DAYS, ONE NIGHT.

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The film begins is the cozy home of the Byas. Father Manu (Fabrizio Rongione) has prepared breakfast for his pre-teen daughter and son, but mother Sandra (Marion Cotillard) lingers in bed. She’s in the last days of a medical leave from work at a solar panel factory. The source of the leave is never clearly stated, but from her demeanor and her over-reliance on medication we gather that she suffered some sort of mental breakdown. After finally getting to the kitchen, she gets a call from her work-mate pal Juliette. Seems that the big boss Dumont believes that he can run the shop better with 16 employees (and a bit of overtime) than 17, but he wants his workers to decide. Unfortunately the foreman Jean-Marc, who dislikes Sandra, has been spreading out-right lies. There was a show of hands vote that Friday: bring back Sandra or let her go and each employee would get a thousand Euro bonus at year’s end. The Euros won by a wide margin. Juliette and Sandra race down to the shop and corner Dumont in the parking lot as he leaves for the weekend. He reluctantly agrees to another vote, a secret ballot, on Monday morning. Rushing back home, the women make a plan. Juliette tells Sandra who voted against her, so that she may visit them (preferably in person) over the weekend and convince them to change their vote. The still fragile Sandra isn’t up to the task, but Manu urges her on. They cannot afford their lovely home on just his cook’s salary and would have to pack up and move into a tiny apartment. And so the arduous task begins, with the still shaky Sandra taking buses and cabs as she embarks on a campaign to save her job and preserve her family.

This deceptively small, simple story proves to be a showcase for the gifted Oscar-winner Ms. Cotillard. She balances an acting tightrope as the damaged, but resilient Sandra. From the opening moments we can see that she still needs time to heal before the news of the big vote gets to her. Sandra then runs the emotional gauntlet from panic, despair, determination, hopelessness, and acceptance. She must someone find the courage that’s buried beneath her psyche’s collapse and the deadening short-term bliss of her meds. Her mind and body desire to crawl back under the covers till all has blown over. Cotillard makes this complex, often frustrating woman an endearing soul that the audiences embrace and ultimately invest in. Rongione compliments her,with Manu having to truly take control of the family dynamic. This husband must not only be a father to the two children, but in a way, now parent his spouse while also being coach and cheerleader. He also seems at times overwhelmed, not quite understanding his wife’s condition, unsure of how hard to push her in the fight. Hoping to bend, not break her. The whole team of supporting players are terrific as the co-workers surprised to see Sandra confront and campaign on their home turf, invading the safety of their weekend. A few will try to evade her, some flat-out shut her down (they need that bonus), while others are swayed (to the anger of their partners and spouses), with one breaking down in tears at the shame of the earlier vote.

The directing/writing team of Jean-Pierre and Luc Dardenne never let flashy techniques or camera work intrude on the intimacy of this tale of turmoil and triumph. They eschew flashbacks (how did Sandra leave? what is her beef with Jean-Marc?), to make us concentrate on the present. We’re there, just over her shoulder, as Sandra knocks on doors, unsure of what will occur. It’s “fly-on-the-wall” film making, knowing exactly when to linger for the most dramatic impact. Thanks to these skilled screen vets and an exceptional cast lead by the daring Cotillard TWO DAYS, ONE NIGHT is an affecting look at the human spirit and the power of family.

4 out of 5

TWO DAYS, ONE NIGHT opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

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Blake Lively Remains Ageless In New Trailer For THE AGE OF ADALINE

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Witness Blake Lively as Adaline Bowen, a 29-year-old who miraculously doesn’t age, in the new trailer for the enchanting romantic drama, THE AGE OF ADALINE.

Get a closer look at Adaline and the obstacles she must face while living life on the run to prevent others from finding out her secret.

After miraculously remaining 29 years old for almost eight decades, Adaline Bowman (Blake Lively) has lived a solitary existence, never allowing herself to get close to anyone who might reveal her secret.

But a chance encounter with charismatic philanthropist Ellis Jones (Michiel Huisman) reignites her passion for life and romance. When a weekend with his parents (Harrison Ford and Kathy Baker) threatens to uncover the truth, Adaline makes a decision that will change her life forever.

Also featuring Oscar winner Ellen Burstyn, THE AGE OF ADALINE hits theaters everywhere on April 24.

www.theageofadalinemovie.com

https://www.facebook.com/AgeOfAdaline

https://twitter.com/AgeofAdaline

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First Look Footage and Photo Of Daniel Craig As James Bond In SPECTRE

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007 is back!

Watch the first behind the scenes footage from the Austrian set of SPECTRE, with Daniel Craig, plus Léa Seydoux, Dave Bautista and director Sam Mendes.

Joining Daniel Craig (Ian Fleming’s James Bond), Ralph Fiennes (M), Ben Whishaw (Q), Naomie Harris (Miss Moneypenny) and Rory Kinnear (Tanner) are Léa Seydoux as Madeleine Swann, Monica Bellucci as Lucia Sciarra, David Bautista as Mr Hinx, Andrew Scott as Denbigh and Christoph Waltz as Oberhauser.

A cryptic message from Bond’s past sends him on a trail to uncover a sinister organisation. While M battles political forces to keep the secret service alive, Bond peels back the layers of deceit to reveal the terrible truth behind SPECTRE.

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Principal photography began on Monday, December 8th with shooting continuing  at Pinewood London, Mexico City, Rome, Tangier & Erfoud, Morocco, Sölden, Obertilliach and Lake Altausee, Austria.

The 24th Bond film is written by John Logan, Neil Purvis and Rob Wade.

SPECTRE will be released on November 6, 2015.

Follow BOND on Facebook: https://www.facebook.com/JamesBond007

Follow BOND on Twitter: https://twitter.com/007

Photos: © 2015 Columbia TriStar Marketing Group, Inc. and MGM Studios. All rights reserved.

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Watch The First Trailer For Guy Ritchie’s THE MAN FROM U.N.C.L.E.

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Here’s your first look at the new trailer for Warner Bros. Pictures’ THE MAN FROM U.N.C.L.E.

A fresh take on the hugely popular 1960s television series, Henry Cavill (“Man of Steel”) stars as Napoleon Solo opposite Armie Hammer (“The Social Network”) as Illya Kuryakin in director Guy Ritchie’s action adventure.

Set against the backdrop of the early 1960s, at the height of the Cold War, THE MAN FROM U.N.C.L.E. centers on CIA agent Solo and KGB agent Kuryakin. Forced to put aside longstanding hostilities, the two team up on a joint mission to stop a mysterious international criminal organization, which is bent on destabilizing the fragile balance of power through the proliferation of nuclear weapons and technology.

The duo’s only lead is the daughter of a vanished German scientist, who is the key to infiltrating the criminal organization, and they must race against time to find him and prevent a worldwide catastrophe.

THE MAN FROM U.N.C.L.E. also stars Alicia Vikander (“Anna Karenina”), Elizabeth Debicki (“The Great Gatsby”), with Jared Harris (“Sherlock Holmes: Game of Shadows”), and Hugh Grant as Waverly.

The screenplay was written by Guy Ritchie & Lionel Wigram, who previously collaborated on re-imagining the classic detective Sherlock Holmes in two hit films.

Guy Ritchie’s THE MAN FROM U.N.C.L.E. opens on Friday, August 14, 2015.

http://manfromuncle.com
https://twitter.com/manfromuncle
https://www.facebook.com/manfromuncle
http://instagram.com/themanfromuncle

This film has been rated PG-13 for action violence, some suggestive content, and partial nudity.

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WYRMWOOD: ROAD OF THE DEAD – The Review

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We’ve been through many cycles of cinematic history now, reached many milestones and have given birth to many cliche’s as well, but as time draws forth, where does film take hold to ensure a continued future of innovation? Certainly, technology does, and will always have its part in the creative endeavor of filmmaking, but when it comes to story, are we beginning to see the long, slow death of originality? On some levels, I fear this may be a temporary reality, but much like life and energy itself, never truly dies and will always find a way.

It will come as no surprise that many a studio film is churned out in formulaic fear of stirring the pot, rousing the dormant interest of adventurous viewers, but we still have our independence. Indie filmmakers, the experimenters, the explorers, the balls-to-the-wall, no excuses, just make it happen and make it yours pioneers. These are the artists who take risks and will always find a way to make something fresh, original and entertaining.

WYRMWOOD: ROAD OF THE DEAD is one of these films. I admit, I may sound like a grandstanding fool, but keep in mind this, like so many of the best indie films today, is not trying to please everyone. There truly isn’t a one size fits all equation for filmmaking. This is where Hollywood so often fails. This is where Australia has repeatedly shown its glory, a revelation we first uncovered back in the 70s and a resurgence that has recently become realized by more and more viewers. We may be experiencing the beginning of a renaissance down under, and if you’re a fan of genre film, you’re in for a real treat.

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Like so many modern indie filmmakers, crowdfunding has been a crucial and liberating financial friend, allowing artists to reach out to their fans and peers directly, and in turn those fans and peers can have a direct and immediate impact on getting the films they want to see get made. WYRMWOOD was funded, in part, through crowdfunding. Co-writer and director Kiah Roache-Turner has delivered an entertaining, fresh, sick and twisted genre film for the fans and it does not suck.

Co-written by brothers Kiah and Tristan Roache-Turner, WYRMWOOD is not just another zombie apocalypse film… well, actually it is, but its much more. We enter into the story as the epidemic has already set in, spreading throughout the Australian Outback, but our journey follows an average mechanic names Barry (Jay Gallagher) who witnesses his wife and daughter turn into zombies. With nothing left to lose, Barry suits up and knuckles down, setting out to locate and rescue his sister Brooke (Bianca Bradey) amidst a chaotic world of flesh-eating zombies and even less-savory human beings.

WYRMWOOD can be viewed as MAD MAX meets DAWN OF THE DEAD, as some marketing suggests — the MAD MAX portion is clearly evident — but the film offers some additional nuances for the seasoned genre buff. Stylistically, the film does display a touch of the Raimi brothers, but more appropriately the visual style and graphic violence of a younger, more raw Peter Jackson, who reigns from the neighboring New Zealand. Such films as BAD TASTE (1987) and DEAD LIVE (1992) come to mind, both of which are far more graphic and violent than this, but whose influence is unmistakable. These are both films that helped pave the way for an entire genre, which is only now firmly taking hold on a wide scale.

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WYRMWOOD is a dark film, both in its content and in its humor, but it also melds genres. Horror stands strong as its base, but the film is as much science fiction as it is blood and guts. Without giving anything away, I was pleased to see a film that suggests a twist on the origin of the zombie apocalypse that is new but also based on some level in fringe science. If you’d like a hint, refer to National Geographic’s TV series How to Survive the End of the World, Season 1: Episode 1: Zombie Earth (2013). This twist on the storytelling allows the film to enter new territory, explore new concepts and suggest alternate talking points in the massively popular zombie genre. On a side note, personally, WYRMWOOD is more akin to AMC’s TV Series The Walking Dead than it is to Romero’s classic DAWN OF THE DEAD (1978), but I can see both as influential.

For the true genre fans, the film offers more than it does for the average viewer. Call them bloody Easter eggs if you like, but the characters and scenarios set up in WYRMWOOD are bizarre and eccentric. David Lynch meets Stuart Gordon, with a psychotic mad scientist who loves disco music and Barry’s sister, Brooke, holds a powerful secret one may trace back to being influenced by Stephen King, or Stan Lee, depending on how you choose to interpret her ability.

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WYRMWOOD: ROAD OF THE DEAD is a film that holds true to its subtitle in a literal sense. Its a road movie, about a couple of guys trying to survive a long drive through dangerous lands. The film is as familiar as it is enticing as a unique translation of the zombie apocalypse story. There is plenty of action, quality special effects and stunt work, a balanced combination of drama and comedy, believable characters who are relate-able and likable — or easy to hate, when appropriate — and most importantly, features a strong, unpretentious heroine that is more palatable than what has been offered — respectfully — from Milla Jovovich and Kate Beckinsale.

WYRMWOOD opens in select theaters on Friday, February 13th, 2015.

Overall Rating: 3.5 out of 5 stars

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Principal Photography Begins on UNTITLED TINA FEY – MARGOT ROBBIE – MARTIN FREEMAN PROJECT

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Paramount Pictures announced that principal photography has commenced on the “UNTITLED TINA FEY – MARGOT ROBBIE – MARTIN FREEMAN PROJECT,” starring Tina Fey (“30 Rock,” “THIS IS WHERE I LEAVE YOU”), Margot Robbie (“FOCUS,” “THE WOLF OF WALL STREET”) and Martin Freeman (“THE HOBBIT” franchise, “Sherlock”).

Based on the autobiography The Taliban Shuffle: Strange Days in Afghanistan and Pakistan by Kim Barker, which the NY Times called “hilarious and harrowing, witty and illuminating, all at the same time,” the film is directed by Glenn Ficarra and John Requa (“FOCUS,” “CRAZY, STUPID, LOVE”) from a screenplay by Robert Carlock (“Saturday Night Live,” “30 Rock”).

The producers are Lorne Michaels (“Saturday Night Live,” “THREE AMIGOS,” “MEAN GIRLS”), Tina Fey and Ian Bryce (“TRANSFORMERS” franchise, “WORLD WAR Z”).

The film also stars Alfred Molina (“The Normal Heart,” “Law & Order: LA”), Nicholas Braun (“GET A JOB,” “THE PERKS OF BEING A WALLFLOWER”), Christopher Abbott (“A MOST VIOLENT YEAR,” “Girls”), Sheila Vand (“State of Affairs,” “ARGO”), Stephen Peacocke (“Home and Away,” “HERCULES”), Evan Jonigkeit (“BONE TOMAHAWK,” “X-MEN: DAYS OF FUTURE PAST”) and Billy Bob Thornton (“THE JUDGE,” “Fargo”).

Shooting in now underway in New Mexico.