Dark Sky Films has released the latest – and scary – theatrical poster for the upcoming horror film HATCHET III. Dude is definitely in need of a holiday.
Concluding the saga begun in Adam Green’s hit 2006 thriller, Hatchet III follows the vengeful Marybeth (Danielle Harris) as she continues seeking out a way to destroy Victor Crowley (Kane Hodder), a hulking, seemingly-invincible sociopath rampaging through a sleepy Louisiana swamp.
While a heavily-armed team of mercenaries takes to the bayou surrounding Crowley’s home, Marybeth finds herself begrudgingly teaming up with a local policeman (Zach Galligan) and his ex-wife (Caroline Williams) – an expert on the maniac who may have uncovered the secret to ending his murderous rampage once and for all.
Directed by BJ McDonnell, HATCHET III will be in select theaters and available nationwide On-Demand June 14.
The boys are back in town in this brand new trailer for THE WORLD’S END.
The World’s End is the third installment of Edgar Wright’s trilogy of comedies, following the successes Shaun of the Dead (2004) and Hot Fuzz (2007). Mr. Wright co-wrote the script with Simon Pegg, who will once again star alongside Nick Frost. Joining the team are actors Martin Freeman (Shaun of the Dead, The Hobbit), Paddy Considine (Hot Fuzz, The Bourne Ultimatum), Eddie Marsan (Sherlock Holmes), and Rosamund Pike (Jack Reacher).
20 years after attempting an epic pub crawl, five childhood friends reunite when one of them becomes hellbent on trying the drinking marathon again. They are convinced to stage an encore by mate Gary King (Simon Pegg), a 40-year-old man trapped at the cigarette end of his teens, who drags his reluctant pals to their hometown and once again attempts to reach the fabled pub – The World’s End. As they attempt to reconcile the past and present, they realize the real struggle is for the future, not just theirs but humankind’s. Reaching The World’s End is the least of their worries.
Focus Features presents THE WORLD’S END, coming to theatres August 23, 2013
Here’s a film that takes a look at modern twenty-somethings in a fresh way. While in earlier generations, those in that age bracket (if they were fortunate to do four years of higher education, or a military stint) would whip off their cap and gown and settle into a steady job and perhaps start a family (after finding that dream suburban home). For many college grads today, those post-school years can be the start of a nomadic limbo, drifting from job to job and apartment to apartment, even returning to the family nest (insisting to the parents that this is just temporary). The title character of FRANCES HA doesn’t resort to that, but she is sort-of floating without a clear destination in sight. But thanks to Greta Gerwig, the film’s star and co-writer, we’re rooting for her even as she takes a ill-planned detour. Of course the movie’s director and other writer Noah Baumbach (THE SQUID AND THE WHALE) probably has a lot to do with the film’s appealing bouncy tone. It’s a pleasure to hang out for ninety minutes with the constantly moving (changing homes, that is), but not really going anywhere Ms.F.
It’s a perfect Spring-like New York day when we first meet Frances (Gerwig) sharing said day with current roomie and BFF Sophie (Mickey Sumner). They “play-fight” in the park, snack, tap dance, dash through the street intersections, hop on the subway and return to the cozy apartment they share where they chat into the wee hours. But this idyllic existence is about to end. Sophie, who’s the bigger breadwinner with her job as a book editor at a big publishing house, wants to move into a place in a better neighborhood with another pal. Frances struggles to make ends meet between waitressing and toiling in a dance troupe, so she can’t follow her and she can’t stay there solo. Oh, and Frances just broke up with her boyfriend. Luckily two guy pals let her take over a spare room at their place. Frances and Sophia begin to drift apart as things get serious with Sophie’s Wall Street beau. Frances counts on getting work at the big Christmas dance show, but she just can’t seem to impress the troupe’s director. Over the next few months Frances changes apartments, visits her folks out West, takes a weekend Paris trip, and even returns to her old college as an RA while she tries plot a clife ourse while sailing through her late twenties.
Hard to believe it was three years ago Gerwig broke through the low-budget indies (including a few in the “mumblecore” subset) with Baumbach’s GREENBERG as Ben Stiller’s love interest. The big studios didn’t seem to know what to do with her in NO STRINGS ATTACHED, TO ROME WITH LOVE, and the disastrous ARTHUR remake alongside Russell Brand. Going back to the lower budgets didn’t help with the dismal LOLA VERSUS and DAMSELS IN DISTRESS. But now with a role she helped create Gerwig is back on track. Sure she’s still quirky, but not aggravating so as she was in those last two flicks. Frances still makes bad decisions like her spur-of-the-moment Paris flight, but we still root for her to get her, uh, stuff together. Brit Marling may be hot on her heels, but Gerwig really captures the spirit of the “indie” it girl title established by Parker Posey and other great actresses. Sumner is terrific as the woman who seems to really have it together, but still yearns for those free-wheeling days with her best pal. Frances and Sophie’s unplanned reunion in the film’s last act is quite surprising and moving. Grace Gummer is also solid as fellow dancer who takes Frances into her home, much to her aggravation. Frances thinks she can “play fight” with her in the park like Sophie, but the reserved, aloof Rachel will have none of that schoolgirl silliness. Gummer’s annoyed stares when Frances crashes a family dinner are priceless. Adam Driver is very good as one of Frances’s male roomies who fancies himself as quite the ladies man even after being rebuffed by Frances. Michael Zegan is the other roomie, Benji, who seems to be a kindred brother to Frances as they both believe themselves “undateable”. In a clever scene Benji aspires to write for TV’s “Saturday Night Live”, but really has a great idea for a third Gremlins flick. Michael Esper is very funny as Frances’s obtuse boyfriend (are we breaking up or not?) and Gerwig’s real-life Mom and Pop are charming as Frances’s kept-in-the-dark West Coast parents. This is a wonderful supporting cast that compliments Gerwig’s title character performance.
Director Baumbach makes wonderful use of the locations. France is almost otherworldly as is the brief visit to the sunny hazy locales of Frances’s family. But the film’s main source of energy is the big apple. The gorgeous black and white cinematography gives the NYC neighborhoods and parks an almost silver glow, often suggesting a nostalgia for modern times (accented by the pounding opening chords of David Bowie’s “Modern Love”). This look is never oft-putting, but pulls us into the characters’ sometimes nomadic lives. What really makes this film magical, along with its unique look, is the smart script by the director and star. Yes, there’s the drudgery of trying to make ends meet, but there’s also the small victories like finally getting that tax rebate check and splurging on a big dinner (topped off by an exhilarating mad dash to find an ATM). Dialogue is clever without getting too jokey or cutesy. One highlight is an exchange at Rachel’s family dinner when Frances announces her weekend Paris trip will be put on a credit card she just got in the mail (“Oh Frances, that’s how those companies get you” “I know! I watch documentaries!”). In the midst of big loud Summer action blockbusters, the saga of an aimless twenty-something woman who doesn’t need to be rescued by a man provides a most enjoyable time at the cinema. You’ll be glad you let FRANCES HA crash with you.
4.5 Out of 5
FRANCES HA screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre
For one night only, two of the world’s most celebrated songwriters and composers will take to the stage for “Richard M. Sherman and Alan Menken: The Disney Songbook.” The concert will take place at the D23 Expo 2013 at the Anaheim Convention Center in the D23 Expo Arena on Saturday, August 10.
Together Sherman and Menken have won a combined 10 Academy Awards for their work with Disney, and have composed music and songs for more than three dozen Disney feature films, over two dozen Disney Park attractions and half a dozen Disney musicals on Broadway.
“I can’t express how excited I am that my esteemed friend Alan Menken and I will be sharing the same bill for the very first time,” said Sherman. “Alan is an incredible talent, and I know we’re both thrilled to be performing for Disney’s most ardent fans—they’re the best and I can’t wait to be a part of what promises to be a very special night for all of us.”
“Richard Sherman and I share so many things; our cherished association with The Walt Disney Company, the blessing of having the opportunity to share our musical talents with ‘children of all ages’ and a genuine mutual admiration—but one thing we’ve never gotten to share is a concert stage,” said Menken. “This summer at the D23 Expo 2013, we will do just that. And I can’t think of anyone I’d prefer to share that stage with. Richard, along with his brother Robert, wrote songs that filled my formative years with joy and fantasy. And, all these years later, I can say with complete honesty that there is no one I’ve met in our business who is more warm and generous than my friend and fellow songwriter, Richard Sherman.”
Admission to the concert will be on a first-come, first-served basis and is included in the price of a ticket to the D23 Expo. In addition to the 4,000-seat D23 Expo Arena, the concert will be simulcast into a 2,000-seat overflow theater inside the Convention Center.
Richard M. Sherman and his brother Robert B. Sherman composed some of the most beloved songs in the Disney canon. The Disney Legends won two Oscars® for their work on Mary Poppins, and during their decades–long association with Disney they wrote more than 200 songs for 27 films and two dozen television productions. They made unforgettable contributions to such Disney films as The Parent Trap, The Jungle Book, Bedknobs and Broomsticks, and the entire Winnie the Pooh series, as well as the family classic Chitty Chitty Bang Bang. They also penned beloved songs for Disney Parks including the theme songs for Walt Disney’s Enchanted Tiki Room, it’s a small world, and Carousel of Progress. Richard wrote the song “Make Way for Tomorrow Today” for the blockbuster film Iron Man 2, and is working on a new stage musical based on Walt Disney’s 1967 animated film classic The Jungle Book, premiering this June at the Goodman Theater in Chicago.
With eight Academy Awards, Alan Menken has received more Oscars than any living person. He has written songs and scores for some of the world’s most beloved films: Tangled (Oscar nominee), Enchanted (three Oscar nominations) The Little Mermaid (two Oscar wins), Beauty and the Beast (two Oscar wins), Aladdin (two Oscar wins), Pocahontas (two Oscar wins), Hercules (Oscar nominee), The Hunchback of Notre Dame (Oscar nominee), Little Shop of Horrors (Oscar nominee), Home on the Range and Newsies. His song “Star Spangled Man,” was the patriotic anthem of the 2011 hit film Captain America: The First Avenger.
Menken’s Broadway successes include his 2012 Tony Award® for Newsies, plus The Little Mermaid (Tony Award nominee), Beauty and the Beast, Little Shop of Horrors, and Sister Act (Tony Award nominee). His other stage productions include King David, God Bless You Mr. Rosewater, The Hunchback of Notre Dame and his latest stage production Aladdin: The New Musical, opening next year. At Disney Parks, Menken added an exclusive ballad (“To Be Free”) to his song score for Aladdin: A Musical Spectacular at Disney California Adventure and penned “Compass of Your Heart,” the catchy theme song for the attraction Sinbad’s Storybook Voyage at Tokyo DisneySea.
Tickets for the D23 Expo are available at a discounted price for a limited time. Though June 15, tickets are $52 for a one-day adult admission and $42 for children 3–12. Tickets for members of D23: The Official Disney Fan Club are $45 for a one-day adult admission and $37 for children. Multi-day money-saving tickets are also available for both D23 Members and the general public, and D23 Members can save as much as $144 off the price of admission, based on the purchase of four three-day tickets at the D23 Member rate before June 15. For more information on tickets and the ticket pricing structure for members and general admission, visit D23Expo.com.
Follow @DisneyD23 and tag your tweets with #D23Expo.
Hackus, Smurfette, Grouchy and Vexy strike a pose in the latest posters for THE SMURFS 2.
Their latest adventures will be in theaters July 31st.
In this sequel to the hybrid live action/animated family blockbuster comedy The Smurfs, the evil wizard Gargamel creates a couple of mischievous Smurf-like creatures called the Naughties that he hopes will let him harness the all-powerful, magical Smurf-essence. But when he discovers that only a real Smurf can give him what he wants, and only a secret spell that Smurfette knows can turn the Naughties into real Smurfs, Gargamel kidnaps Smurfette and brings her to Paris, where he has been winning the adoration of millions as the world¹s greatest sorcerer.
It’s up to Papa, Clumsy, Grouchy, and Vanity to return to our world, reunite with their human friends Patrick and Grace Winslow, and rescue her! Will Smurfette, who has always felt different from the other Smurfs, find a new connection with the Naughties Vexy and Hackus or will the Smurfs convince her that their love for her is True Blue? Returning cast includes Neil Patrick Harris, Jayma Mays, Katy Perry as Smurfette and Hank Azaria as Gargamel. Brendan Gleeson joins the cast as Victor Winslow.
Narrator Smurf (Tom Kane), Papa Smurf (Jonathan Winters) and Smurfette (Katy Perry).
Vexy (Christina Ricci), Smurfette (Katy Perry) and Hackus (J.B. Smoove).
Vanity (John Oliver), Grouchy (George Lopez) and Papa Smurf (Jonathan Winters).
Introducing SOCIAL SMURF, the newest member of the blue team. Papa Smurf may keep the parental controls tight, but that doesn’t stop Social Smurf from safely tweeting, re–tweeting, sharing, posting, liking and hashtagging everything on his brand new Xperia Z! Follow him on Twitter @SocialSmurf for all the latest in Smurf Village.
The critically acclaimed new documentary on the politics and drama behind the World Trade Center rebuilding project, 16 ACRES, has been picked up for North American distribution by New York-based First Run Features. The film premiered at the Zurich Film Festival in September 2012, followed by a North American premiere at the Architecture and Design Film Festival in New York in October. It has played more than a dozen film festivals worldwide since and recently won an Audience Award at the Newport Beach Film Festival.
The rebuilding of ground zero is one of the most architecturally, politically, and emotionally complex urban renewal projects in American history. From the beginning, the effort has been fraught with controversy, delays and politics. The struggle has encompassed more than a decade, 19 government agencies, a dozen projects and over $20 billion.
“It’s stating the obvious to say that 16 ACRES is one of the most important documentaries of recent years,” said First Run’s Vice President, Marc Mauceri. “Who would have thought a film about developers, politicians, and architects fighting over the design and development of a hallowed site could be so gripping? We’re proud to be working with the 16 ACRESteam in bringing the film to audiences in North America.”
16 ACRES is the inside story of ten years at the site, from September 12, 2001 through the 10th anniversary of 9/11, told by the key players who have shaped it. At the heart of the narrative is the dramatic tension between noblest intentions and the politics, hubris and ideology that is the bedrock of New York. “We were looking for an answer to the question: what’s the real story behind why it’s taken so long to rebuild?” said writer/co-producer Matt Kapp (producer, Valentino: The Last Emperor and The Education of Gore Vidal). “To our surprise, no books, TV shows or documentaries had attempted to answer that question. Few Americans, even New Yorkers, know much about what has really gone on behind the scenes.”
As with all great urban projects, from the Pyramids to Rome’s Coliseum to Rockefeller Center, a small group of powerful people will dictate the outcome. Who are they and what motivates them? “Our core creative approach was to tell the story fundamentally as a first-person narrative – without any narration – told by the key players themselves,” said director/editor Richard Hankin (director, producer, writer, Home Front, co-producer, editor, Capturing the Friedmans). “Many of them are true New York characters, and in many ways it’s a quintessentially New York story.”
Exclusive access to the WTC site, and extensive archival research – more than 3,000 hours of footage were screened – allowed the filmmakers to colorfully and precisely illustrate and guide the narrative without traditional narration. They used never-before-seen footage, photographs, and architectural renderings to create an unprecedented historical visual experience of the rebuilding effort. “We were privileged to have had exclusive, behind-the-scenes access to the world’s highest-profile building project,” said Mike Marcucci, the film’s producer. “I hope this film will be seen as the definitive account of New York’s struggle to rebuild the World Trade Center and get its city back.”
May’s not yet over and we’ve already got another flick in the theatres with the number three in the title. IRON MAN 3 kickstarted the big Summer blockbuster season weeks ago with an astounding box office draw and a general agreement that this superhero action epic was a vast improvement over the lack luster part two. Well, comedies can often stumble in their follow-ups and a third outing can be “back to basics”/apology to the first film’s staunchest fans. This happened with the Grisswold Vacation flicks as CHRISTMAS VACATION was more popular with critics and moviegoers than the tepid EUROPEAN VACATION. More recently OCEAN’S 13 played much better than the bloated OCEAN’S 12 (well, it is a comedy series with lots of action and suspense mixed in). Like the Grisswolds, Danny Ocean and his crew seemed to stumble overseas, so 13 got them back to “Sin City”. And that’s the destination of the “Wolfpack” in the (they’re insisting) final entry in the comedy series, THE HANGOVER PART III. Maybe this will satisfy fans still stinging from the pack’s overseas retread in Bangkok for the generally reviled THE HANGOVER PART II. So can the boys recapture some of that 2009 magic by heading back to that neon-lit dessert playground?
We’re in the middle of a prison riot in Thailand as III begins. During the melee Leslie Chow (Ken Jeong) has executed a “Shawshank”-like escape. Back in the states Alan Garner is off his “meds” and is causing one disaster after another. When his latest escapade helps cause his father’s (Jeffrey Tambor) fatal heart attack, Doug (Justin Bartha), Stu (Ed helms), and Phil (Bradley Cooper), along with their spouses, the Garner family, and friends confront Alan in an intervention. Alan agrees to enter an Arizona rehab facility and the guys begin the long desert drive to drop him off there. All’s well till Phil’s vehicle is rammed off the road by a truck. Pig-masked gunmen whisk them away. One of them unmasks to reveal the face of “black” Doug (Mike Epps), Alan’s Vegas drug dealer from Part I. He works for an intimidating crime boss named Marshall (John Goodman). Turns out that Chow has stolen millions of dollars worth of gold bars from a Marshall’s big score. Since Marshall had never heard of Chow till that big party four years ago, he believes that these guys are his only chance to get Chow and his stuff back. Marshall’s men snatch up Doug and give the trio two days to give him Chow or Doug dies. Luckily Alan’s been exchanging emails and texts with the fugitive. Racing to Tijuana and back to Las Vegas, can the guys get it together and return Chow before Doug’s time runs out?
The actors are firmly in sync with their established characters from the previous entries. Cooper is the handsome, level-headed leader. Helms is the panicky, squirmy, pessimistic nerd. And Galifianakis is the off-the-wall, dim, pratfalling wild-card. The main problem is that in the last four years they’ve all shown that their acting skills far exceed the demands of this weak script. SILVER LININGS PLAYBOOK and BEYOND THE PINES proved that Cooper is so much more than a former People magazine “Sexiest Man Alive” (and Phil from these flicks). Helms, after CEDAR RAPIDS and JEFF,WHO LIVES AT HOME (and as “boss” Andy Bernard on the recently wrapped “The Office” on NBC-TV), can give us a much more nuanced exasperated milquetoast than Stu requires. And Galifianakis can be more witty and wild, as in DUE DATE and IT’S KIND OF A FUNNY STORY (along with his wonderful stints as host of SNL and his internet interview show “Between Two Ferns”) than as the cloying Alan. C’mon writers, do you really think a fella’ who needs medication is funny (then you must have thought SIDE EFFECTs was a laugh riot). The attempts at pathos with Alan land with a loud thud. Now we come to Jeong as Chow. The violent motor-mouth with no impulse control is endearing, eh? Many times he merely comes off as the annoying gangster cousin of SIXTEEN CANDLES’s Long Duk Dong. Jeong is so much better every week (or whenever NBC decides to air it) on “Community”. Goodman has little to do than scream threats and brandish weapons (I doubt 2013 will be as good for him as last year with the double punch of ARGO and FLIGHT). Tambor, Epps, and Heather Graham have brief cameos just to remind viewers of the first film. A small bit by current movie comedy queen Melissa McCarthy as a Vegas pawn shop owner smitten by Alan can’t seem to jumpstart this flick. It’s tough to think of a project that’s a bigger waste of such a wonderfully funny, talented cast.
At least there’s no big wedding at the center of the plot again. But Doug from the first flick is in even greater jeopardy this time (his life is at stake, not just his bride’s wraith). To be honest I skipped the second installment (by all accounts a weak rehash of the first), but I had the same feelings as I felt with the 2009 smash. This is comedy at its most cruel and violent. Mind you I enjoy some nicely staged slapstick. Walk into a door? Funny! Somebody falls down? Same! But in this flick people are brutally murdered as if they were just hit with a cream pie! It makes the taser scene from the first one seem gentle! Chow’s sociopathic behavior is supposed to be cute and zany! He deserves to be in that prison! Indefinitely! I understand that Stu can be a bit of a pill, but he doesn’t deserve the humiliating abuse he’s had to endure during this trilogy. The Vegas location work is quite spectacular and the desert photography is very lovely. But director Todd Phillips just can’t seem to keep the pace going. In many scenes he trains the camera on Galifinakis, hoping that an inspired improv will keep our interest. Maybe he finds this series’ format tiring too. The enormous box office success of the original is a confounding mystery to me, but if that had you in hysterics, then you’ll probably enjoy this final entry. For the rest of us, we can only hope they keep their word when the say that the “wolfpack” have been released into the wild. Now what’s the cure for a “Hangover” hangover?
From New Line Cinema comes the action comedy WE’RE THE MILLERS, starring Jennifer Aniston (“Horrible Bosses”) and Jason Sudeikis (“The Campaign”). The film is directed by Rawson Marshall Thurber (“Dodgeball: A True Underdog Story”).
David Burke (Sudeikis) is a small-time pot dealer whose clientele includes chefs and soccer moms, but no kids – after all, he has his scruples. So what could go wrong? Plenty. Preferring to keep a low profile for obvious reasons, he learns the hard way that no good deed goes unpunished when he tries to help out some local teens and winds up getting jumped by a trio of gutter punks. Stealing his stash and his cash, they leave him in major debt to his supplier, Brad (Ed Helms).
In order to wipe the slate clean – and maintain a clean bill of health – David must now become a big-time drug smuggler by bringing Brad’s latest shipment in from Mexico. Twisting the arms of his neighbors, cynical stripper Rose (Aniston) and wannabe customer Kenny (Will Poulter), and the tatted-and-pierced streetwise teen Casey (Emma Roberts), he devises a foolproof plan. One fake wife, two pretend kids and a huge, shiny RV later, the “Millers” are headed south of the border for a Fourth of July weekend that is sure to end with a bang.
New Line Cinema’s WE’RE THE MILLERS opens nationwide on August 9, 2013, and will be distributed worldwide by Warner Bros. Pictures,
Before it hits theaters in Austin, LA and NY this Friday (May 24), Sony Pictures Classics has released this new clip from BEFORE MIDNIGHT. The film is scheduled to open in the St. Louis area on June 14th.
An American father, JESSE, (Ethan Hawke) is seeing off his son HANK (Seamus Davey-Fitzpatrick) at the Kalamata Airport in Greece. Hank’s returning to his mother and life in the U.S. after spending the “best summer ever” with Jesse and his family. The middle-schooler is more composed than his fortyish father, who hovers anxiously as their separation draws near.
Geography weighs heavily on Jesse. Outside the airport, he rejoins his family: CELINE (Julie Delpy) and their young twin daughters ELLA and NINA (Jennifer and Charlotte Prior). As they drive through the austerely beautiful rocky hillsides of Messinia, Jesse and Celine talk – about living so far from Hank, about her career as an environmentalist and hopes for a new job, about the swirl of ancient and modern Greece around them. Jesse hints at wanting to move back to America from their home in Paris, but Celine has done her U.S. time – they lived in New York for a spell – and has no wish to return. Their long history together bubbles between them.
Jesse’s a successful novelist, and they’re in Greece at a writer’s retreat, staying in the bucolic country villa of an older expat writer, PATRICK (Walter Lassally). Jesse’s given to flights of creative fancy which charm the assembled company, warmly hospitable Greek couples, but Celine – whose own past has played a starring role in Jesse’s semi-autobiographical novels – is perhaps a bit weary of serving as alluring French muse to Jesse’s fiction career.
As a treat, their Greek friends have gifted Jesse and Celine with a night at a luxurious seaside hotel while they babysit the twins. Feeling the undercurrent of friction between them, Celine wants to beg off, but their friends insist. They set off on foot through the spectacular countryside, meandering through meadows and villages, enjoying each others’ company, talking, teasing, debating, flirting.
What does a longterm couple do in a sleek hotel room besides throw off their worries, responsibilities, and clothes and make love? But for Jesse and Celine, realities intrude: the weight of children, work, ambitions, disappointments; the ebb and flow of romantic love ; the strains of an evolving, deepening relationship. Their idyllic night tests them in unexpected ways.
Jesse and Celine first met in their twenties in BEFORE SUNRISE (1995), reunited in their thirties in BEFORE SUNSET (2004), and now, in BEFORE MIDNIGHT,they face the past, present and future; family, romance, and love. Before the clock strikes midnight, their story again unfolds.
Relativity Media has debuted the first official trailer for their upcoming film, DON JON.
In his directorial debut, writer-director Joseph Gordon-Levitt also stars as Jon Martello – a New Jersey guy who loves his family, his friends, his church… and his porn. When he meets Barbara Sugarman (Scarlett Johansson), a perfect “dime” with an infatuation with romantic Hollywood movies, they struggle to find happiness while wrestling with their respective ideals of what the opposite sex should be.
Julianne Moore, Tony Danza, Glenne Headly and Brie Larson also star.
Jon Martello (Joseph Gordon-Levitt) is a strong, handsome, good old fashioned guy. His buddies call him Don Jon due to his ability to “pull” a different woman every weekend, but even the finest fling doesn’t compare to the bliss he finds alone in front of the computer watching pornography. Barbara Sugarman (Scarlett Johansson) is a bright, beautiful, good old fashioned girl.
Raised on romantic Hollywood movies, she’s determined to find her Prince Charming and ride off into the sunset. Wrestling with good old fashioned expectations of the opposite sex, Jon and Barbara struggle against a media culture full of false fantasies to try and find true intimacy in this unexpected comedy.
The Sundance and SXSW film festival favorite, DON JON opens in theaters nationwide on October 18, 2013.
