ROUGH NIGHT – Review

Zoe Kravitz, Ilana Glazer, Scarlett Johansson, and Jillian Bell star in Lucia Aniello’s bachelorette party comedy ROUGH NIGHT, Photo by Macall Polay. Courtesy of Columbia/Sony Pictures.

Scarlett Johansson leads a cast of raucous women characters in a comedy that does more than just flip the usual bachelor party trope on its head, in ROUGH NIGHT. The result is a refreshing take on buddy comedy that not only turns the tables on gender but completely nails how women really interact with each other, in a fitfully funny comedy.

Besides a strong female lead cast, ROUGH NIGHT is directed by a woman, Lucia Aniello, who also co-wrote the script and is one of the producers. Unlike the typical male-written script, these female characters are spot-on and interact like real women do, even if the situation is over-the-top comedy. While the women characters and how they interact is refreshingly accurate, the humor is sometimes uneven. Still, the film has much to recommend it – including not being another Bridesmaids wanna-bee.

Not surprisingly, the humor is on the raunchy side and leans a bit dark, although it mostly skips the potty humor, a nice change from many recent comedies. The plot follows the general outlines of other bachelor-party-gone-wrong comedies like THE HANGOVER, where one bad decision leads to another, with bits from WEEKEND AT BERNIES and VERY BAD THINGS as well.

Ten years after college, best buds Alice (Jillian Bell), Frankie (Ilana Glazer), and Blair (Zoe Kravitz) reunite with bride-to-be Jess (Scarlett Johansson) for a wild bachelorette weekend in Miami. Alice has it all planned out, and the friends are set up in a beach-side home for the weekend, because just one day won’t be enough – at least for Alice. These four musketeers are joined by the bride’s Aussie pal Pippa (Kate McKinnon, sporting a wavering Australian accent but unerring comic instincts) who met Jess during a college study-abroad term but has never met her other college friends.

Although the women were inseparable pals and all wild partiers during college, each has gone her own way since. A flashback that starts the film shows us the college-aged characters that were, with best friends Jess and Alice teaming up to take on the frat boys at beer pong. Post-college, Jess has transformed into a sincere but awkward would-be politician, nervously shooting a political ad for TV, dressing perfectly, and constantly worrying about her image. Alice, meanwhile, is now a grade school teacher but she is always looking back to her college days with overwhelming nostalgia. The once inseparable friends and lovers Frankie and Zoe now are worlds apart, with Frankie an unconventional social activist and Zoe an wine-sipping, upscale urbanite mother, who is now separating from her husband.

Alice, who has orchestrated this whole weekend party, is determined to get the old gang back together, and particularly to rekindle her bond with best-friend Jess. Things go wrong when a male stripper they hired ends up dead. Although it was an accident, drugs and liquor lead to all the wrong decisions, and comedy chaos ensues.

Director Aniello and co-writer Paul W. Downs do more than switch the narrative around in this refreshingly real women-centric comedy. The comedy is built around the relationships between the women, not the men in the their lives, and many women in the audience will smile in recognition at several scenes. These women are smart, complicated and out for fun – until they are out to save their skins.

Setting the R-rated, sometimes dark comedy in brightly colored Miami adds the right touch of lightness to the mood, and also provides a fantasy-playground location, where the absurd can happen. One of the best comic bits is the concurrent bachelor party for Jess’ equally buttoned-down groom-to-be Peter (played by co-writer Paul Downs) – a wine tasting. Peter and his friends share their feelings about women while a sommelier serves them pinot noir in an elegant wood-paneled room. A comic bit that references a real-world incident with an astronaut is hilarious.

The film is R-rated, with plenty of raunchy humor, drugs and general misbehavior. Some of the humor around the dead body is a bit edgy, but this barrier has already been crossed in other comedies, including WEEKEND AT BERNIES. But there is nothing so off-putting that the absurd humor does not still come through.

The performers sparkle in this film, both in the comedy and in some dramatic scenes. Scarlett Johansson is terrific as the bride-to-be at the center of this mad weekend, whose mind is always working while just trying to go along with the fun and spirit of things. A running theme is built around her relationship with college bestie Alice. Although this is a comedy, it is also a film about women’s friendships. Both men and women will recognize the dynamic between Jess and Alice, the friend who is almost possessive and always pulling her friend back to the past “glory days.” Both Johansson and Bell portray the layers and the back-and-forth of this dynamic between them brilliantly, particularly in a later confrontation.

Meanwhile, McKinnon is fabulously funny as the crazy one in this group, as well as the unknown quantity as the new girl in the old crowd. McKinnon’s Pippa is endlessly upbeat, and ever ready with the next bad idea or even just the nerve to carry it out, the kind of character who might take to any bad suggestion with a “why not – I’m game” attitude. She’s always the most unpredictable and often the most hilarious in the group.. Her Aussie accent may be less than perfect but the non-American viewpoint is a nice addition to the humor.

Kravitz and Glazer are the other friends-at-odds pair, mirroring the dance between Alice and Jess, but with a different twist. Glazer and Bell also play the sex-obsessed and risk-taking pair contrasting to Johansson’s and Kravitz’s more cautious, are-you-nuts pair. Demi Moore and Ty Burrell add an extra comic twist playing a creepy-funny couple in the neighboring beachfront apartment, next to where the women are staying.

ROUGH NIGHT is just as it says a rough night for these friends but it is overall a refreshing kind of comedy, even if it is not non-stop hilarious. It certainly whets the appetite for more comedies with real women, a largely untapped well of humor just waiting for the next film to dive in.

RATING: 3 1/2 out of 5 stars

CARS 3 – Review

 

As we creep along to the midway point of Summer, this can only mean one thing at the multiplex (aside from added matinees): another installment of a big studio franchise (formerly a series) will be occupying several screens. We’ve already had a new Alien, and another Depp pirate pic as the Planet Apes and Transformers wait in the wings, along with that wall-crawling wonder. I suppose we’re due for an animated sequel, but this one’s from the most celebrated studio of the last couple of decades, Pixar. Aside from Toy Story, they avoided follow-ups to their other hit films until 2011 when the CARS gang refueled for CARS 2. Then one of the other hits got a prequel, MONSTER UNIVERSITY, and another spawned last year’s box office smash, FINDING DORY. Now here’s the automotive, track-burnin’ “hat trick” as good ole’ number 95, Lightning McQueen roars back onto the cinematic raceway to thrill lil’ speed demons everywhere with CARS 3.
Since we last saw McQueen (voice of Owen Wilson), he’s still collecting trophies at races all around the world. Though he heads back to Radiator Springs to rest up with pals Mater (Larry the Cable Guy) and Sally (Bonnie Hunt) between competitions, Lightning is feeling the heat from a new breed of young, streamlined vehicles, especially “up-and-comer” Jackson Storm (Armie Hammer). Unfortunately Storm and his pals “get into McQueen’s Head” prompting him to take risky chances, which leads to a devastating crash. While he heals up back home, McQueen’s managers over at Rusteze get bought out by the big mud-flap mogul, Mr. Sterling (Nathan Fillion). Sterling’s mainly interested in marketing the McQueen name, slapping his image on all manner of products, but insists that Lightning will return to the race circuits after training at his ultra-high tech, state of the art facilities. McQueen is eager to work out on the giant screen simulated track, but first he must endure the exercise program led by trainer Cruz Ramirez (Cristela Alonzo). Lightning has no patience for these “silly” warm-up and jumps onto the simulator before he’s ready, wrecking the machine. During its repair, McQueen takes Cruz along with him for his own training program, including racing along the beach. Later they zip through the forests and sneak into a backwoods race (which is really a demolition derby). Lightning fondly recalls the lessons taught to him by his mentor Doc Hudson (Paul Newman) and decides to locate Doc’s old trainer Smokey (Chris Cooper). He’s gotta’ hurry because the big championship race is coming. Can Lightning redeem himself or is it time to retire to Radiator Springs for good?

 

 

The veteran voices of the previous CARS flicks expertly recapture their characters, particularly Wilson as a more mellow and wiser version of the great #95. The old confidence seeps through, but he’s got a greater appreciation of the sport’s history, especially the “fabulous Hudson Hornet”. As for the newbies, Hammer is an excellent villain, all cocky and arrogant, a guy who seems to truly enjoy the “trash talk”. Storm’s sleek and speedy, but doesn’t come equipped with any empathy. The breakout is the energetic, enthusiastic Cruz voiced with great energy and excellent comic timing by Alonzo.

 

I’ve got to lay my cards on table and say that the original CARS is one of my least favorite films in the Pixar cannon (just slightly above A BUG’S LIFE). The fact that it would have two sequels before any follow-up to THE INCREDIBLES annoyed me to no end  (they’re finally working on one, thank you Brad Bird). But when the teasers and trailers starting appearing for this installment, I was more than a bit intrigued. As opposed to the dimwitted spy hijinks from CARS 2 (putting Mater as the main focus was a huge mistake), this looked to be going dark, with images of McQueen hurling to his doom. Sure, they’re not gonna’ kill this merchandising “cash cow”, but they do follow through somewhat. That crash figures in, but the script (credited to seven writers) tackles more adult issues such as loss and the realities of aging. The new guys, the young racing Turks are just going to get faster and faster, and McQueen may have to accept it. What was hidden in those teasers was the emergence of Cruz has a new hero, a speedy four-wheeled sister to the current queen of the box office, Wonder Woman. She signals a new direction, much like teenage Andy giving his beloved playthings to shy, little Bonnie in TOY STORY 3. I was also pleasantly surprised at the big part the memory of Doc Hudson, voiced by the much-missed Paul Newman, figured into the tale. He was briefly referred to in CARS 2, but here he gets the proper tribute. As for the look of the movie, well those Pixar wizards still work their magic. Two great sequences truly stand out. McQueen watches old footage of Doc Hudson, that seems like real news clips till we see Doc’s big blinking eyes. But the best action set piece is when McQueen and Ramirez cover themselves with mud (and phony numbers) and enter the big Thunder Hollow (an homage to Robert Mitchum’s classic THUNDER ROAD) race which turns into a “crazy 8” demolition derby, dominated by a tricked-out school bus that seems right out of a Mad Max flick. It’s thrilling and very funny. And thankfully Mater stays in Radiator Springs and doesn’t take over this entry (a little of him goes a looong way). Oh, and be sure you get to the theatre on time, so you don’t miss a minute of the charming short that precedes the feature, a playground fairy tale called “Lou”. The main event still seems a tad long (maybe it would work better as a one hour TV special), but CARS 3 careens over the end of trilogy curse and sends everyone off to that great salvage yard in the sky. But…I wouldn’t count on that final lap just yet.

 

3.5 Out of 5

 

I’ll be talking about this and other currents films this Friday, 6/16, on the Paul Harris Show from 4:15 to 5 PM on KTRS 550 AM. Stream it or tune in live.

 

Miyazaki! STUDIO GHIBLI FEST 2017 – In Theaters This Year from Fathom Events


America has Ghibli fever and the only cure is….a year of Miyazaki Madness!

STUDIO GHIBLI FEST 2017 is a first-of-its-kind monthly series featuring six iconic animated classics from legendary director Hayao Miyazaki. In addition to big screen presentations of these larger-than-life films, each event will also feature an exclusive edition of GKIDS Mini-Fest, an ongoing showcase of some of the best short animation from around the world.

Following the success of the Spirited Away and Princess Mononoke cinema events, GKIDS, the acclaimed distributor of multiple Academy Award-nominated animated features, and Fathom Events, are proud to announce a partnership to bring the biggest series of anime titles to U.S audiences throughout 2017.

Starting in June, the series features six of Studio Ghibli’s revered animated classics offering both dubbed and subtitled versions.

For details and a list of participating theaters, go HERE

Here’s the line-up:


My Neighbor Tortoro – June 25-26


Kiki’s Delivery Service – July 23-24


Castle in the Sky – August 27-28


Nausicaa On the Valley of the Wind – Sept 24-25


Spirited Away – Oct 29-30


Howl’s Movie Castle – Nov 26-27

BAND AID – Review

 

With respect to those most Righteous of Brothers, this new film could’ve been title, “They’ve Lost That Lovin’ Feelin””. Yes, it’s an “anti-rom-com.”. It covers what happens long after the “meet cute”, the “mis-communications”, and the “reconciliations after the misunderstandings” that lead right to the fade-out proposal or nuptials (or both). These two have definitely “hit the skids”, but instead of “turning into said skid”, they take an unusual detour. Rather than undergoing major marriage “surgery”, like a gold band extraction, they believe that the way to heal old emotional may only require a simple BAND AID.

 

Married thirty-somethings (er…late thirty-somethings) Anna (Zoe Lister-Jones) and Ben (Adam Pally) seem to be stuck into a deep, deep, rut. A failed writer, Anna earns a buck now by being a Uber driver (cue the montage of zany, obnoxious passengers), while Ben designs company logos and corporate art from home on his laptop (ah, the smell of procrastination). When Anna returns home, the two immediately clash, particularly over kitchen clean-up (“I only used one bowl”), escalating into screaming matches ( “FU” bounces back and forth between them like a tennis match). They’ve gotta’ get out of their one-bedroom LA cottage, so they reluctantly go to her friend Grace’s (Hannah Simone) for her kid’s birthday party (Anna and Ben are childless, not for lack of trying). There, amongst the “kinder-chaos”, a magical thing occurs. Anna and Ben pick up a “kiddie” toy microphone and guitar and improvise a song. The fighting has ceased, and they’re laughing with joy. Maybe this is a new way to bond, to mend the cracks in their relationship. Returning home, they dig out their old electric guitars from the storage pile in the garage. What could be the basis for their songs? How about their arguments and annoyances? Their next door neighbor Dave (Fred Armisen) hears the tunes emanating from the garage and drops by, telling them that he had once played drums for a band. Anna and Ben nod politely, giving him the ole’ “brush-off”. As their playing begins to take over every spare moment, the duo decide that they need to be a trio and finally invite the eccentric Dave to be their drummer. Hearing of an “open mike night” at a local bar, they plot to make their big debut. Could this mean a new career and more importantly, an invigorated relationship for Anna and Ben?

 

 

Despite wearing three hats (creative-wise) for this flick, Lister-Jones delivers a compelling performance as the damaged (but not destroyed), endearing and often frustrating focus of the story. For much of the early scenes, Anna is an angry, open wound, quick to lash at her hubby, and later reel from guilt. Then Lister-Jones shows us how that inner happiness is slowly ignited until her joy from creating music is a roaring flame. We’re then shown her great comic skills, especially as she gulps down some natural “creativity enhancers”, and later as she over medicates before a public concert. It’s not long before that flame is nearly extinguished, and Anna is tumbling toward despair. Pally (so funny on TV’s “The Mindy Project”) is excellent as her life/song partner as his Ben rediscovers his child-like exuberance. But as a new career beckons, Ben is “gun shy”, too afraid that the rug will be pulled out from under him once more. On a different, quirkier level is the performance by Armisen as an oddball who’d be another citizen of his beloved TV show “Portlandia”. As he awkwardly tries to join the band, his Dave seems like a strange semi-stalker. This makes Anna and Ben’s visit to him (to offer the drummer gig) even more hilarious as Armisen switches gears to make Dave the neighborhood’s “Hef”, being waited on hand and foot by two gorgeous women. Then we see him take charge and focus the duo when arguments begin to derail the band’s journey. The rest of the cast is filled with familiar faces from stand-up and “indie”TV with Susie Essman scoring with a role that’s far from her lauded work on TV’s “Curb Your Enthusiasm” as Larry David’s foul-mouthed nemesis. Shirley, Ben’s mom, is set up as a typical clueless matriarch, but when things fall apart, she’s the nurturing voice of reason that her son desperately needs.

 

Now, those other hats I mentioned earlier about Lister-Jones, are director and solo screenwriter. As a film maker she does a good job of pacing in the first two acts, effortlessly shifting gears from domestic despair to tune-filled, uniting liberation. It’s not until the band’s emerging success and the rift between the couple when the story starts losing its momentum and plunges into a bit of somber “navel-gazing”. There’s a nice comic energy to the kid’s party (thanks to the over-indulgent parenting), and a concert montage all set during one song works very well. The emotional fireworks, and “water-works”, really strain the script structure, unfortunately. Oh, and the original music’s pretty good, as is the glimpse of the collaborative creative process. It’s with those sequences along with the terrific cast that make BAND AID really sing.

3 Out of 5

BAND AID opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

I will be talking about this and other films on the Paul Harris Show, Friday 6/16 from 4:15 to 5 PM on KTRS 550AM. Tune in or stream live.

 

47 METERS DOWN – Review

47 METERS DOWN is an adequate genre thriller –  immersive while going down, but not a particularly memorable or distinctive entry in ‘Shark Cinema’. Sisters Lisa (Mandy Moore) and Kate (Claire Holt) are on vacation in Mexico. Lisa has just split up with her boyfriend, so the pair head to a dance club to cheer up. There they hook up with two local guys who suggest they all meet in the morning to go scuba diving with sharks. The good news is that Captain Taylor (Matthew Modine) is willing to drop the sisters from his boat into the deep in an observation cage for the bargain rate of $100 each. The bad news is that rusty old cage doesn’t quite seem up to code. After a couple of minutes, a chain snaps and the gals plummet to the ocean floor where they are terrorized by hungry sharks and depleting oxygen tanks.

The tropes of this type of survival story may be familiar from other entries in the shark genre, especially last year’s similar THE SHALLOWS. The story, taking place over about a 3-hour period (minus the nightclub prologue), is single-minded (like a shark!), the cast minimal and the pace energetic. At 89 minutes, it’s never actually dull but the problem with 47 METERS DOWN is its weak script and its whiny lead characters who aren’t interesting enough to sustain the film’s duration. Lisa’s sole motivation to take the plunge is to snap photos that will make her seem less-boring to her ex. Even without another human to interact with, Blake Lively’s brave and resourceful character in THE SHALLOWS had far more depth than these gals who alternate between two emotions: squealing panic and short-lived elation. Their dialog is peppered with such deep nuggets as: “We’re going to get out of this together!”, “Omigod! Omigod! Omigod!”, “I’m so scared we’re going to die down here!”, and my favorite: “That shark almost got me!”. Where Lively used a series of smart choices in fending off her attacker (and looked great doing it), these girls mostly just scream and cry and wait for rescue from above. When he can get them to shut up, director Johannes Roberts does a decent job of generating suspense.  It’s dark down there, which makes the occasional appearance by the great whites more startling. The driving score which helps greatly in cranking up what tension there is is by Tom Hajdu and Andy Milburn – oddly billed in the opening credits as ‘tomandandy’ (WTF guys!?!) The film’s conclusion is marred by an underwhelming dream/hallucination scene that’s a real groaner. Apparently 47 METERS DOWN was originally set to go straight to Red Box, and it does have a certain B-movie cheesiness about it (“….and Matthew Modine as Captain Taylor”). While teens and non-discerning thrill-seekers might be enough to make 47 METERS DOWN a minor hit, it’s a disposable film, good for one moderately entertaining watch and then discarded. It’s not bad, just low-rent.

2 1/2 of 5 Stars

 

 

 

 

THE JOURNEY (2016) – Review

Is it possible to whittle away at an “unmovable rock” in the political arena? Especially when there’s a 40 year history of bloody conflict forming an unbreakable shell around that formidable boulder? Well, how about forcing him into a trip with his enemy? That’s just what happens in this new film, in which its makers wish to be a “fly on the wall” during a remarkable day that changed the course of a country. It’s a “what if” look at a seminal time just 11 years ago when two opposing leaders try to find common ground during THE JOURNEY.

The year is 2006, and “the troubles” have rocked Ireland for over four decades. British Prime Minister Tony Blair (Toby Stephens) has organized a political conference dealing with the problems at an estate in Scotland. Unfortunately the opposing forces refuse to sit in the same room, let alone talk face to face. Then “Mother Nature” provides a opportunity. An incoming storm has forced the shut down of the local airport. The leader of the of the Democratic Unionist Party, the firebrand Protestant minister Ian Paisley (Timothy Spall) must take a plane to Glasgow in order to attend his big 50th wedding anniversary party. Luckily the Edinburgh airport is still open, but it’s 48 kilometers away. Paisley’s aides request a shuttle from Blair. But when the representatives of Northern Ireland’s Sinn Fein hear of this, former IRA leader Martin McGuinness (Colm Meaney) insists that he join Paisley, hoping to iron out their differences. Blair agrees, and lets a commander of MI-5, Harry Patterson (John Hurt), supervise the transport. A top of the line SUV, rigged with all manner of recording and transmitting devices, arrives complete with a driver named Jack (Freddie Highmore) who’s an undercover agent (getting his orders from Patterson via a Blutooth device) disguised as a “local” (complete with kilt). As they hit the highway, Martin and Jack try to prod the surly Ian into a conversation that can end the killings once and for all, since they may never get another chance.

Well, if you’re going to be part of a long road trip, it’s fortunate that three great actors are there for the ride. The most flamboyant character may be the quick-to-anger Paisley, given life and great energy by the always compelling Spall. With a ever-present sneer, or is it a scowl, Spall fully embodies the ultimate obstinate man (that immovable rock mentioned earlier). There’s no slow burn, but he shows us a slow realization that things must change and he’ll have to tone down his extreme rhetoric. But, the man at the pulpit is always on call as we witness in a funny scene at the gas pumps. Despite the guttural growl and dental prosthetics, Spall is quite effective. It helps that he’s teamed with an equally terrific sparring partner in Meaney. His Martin struggles to find the right way to get inside Ian’s head. Just when he seems to have broken through a door, Paisley congers a stronger wall. Meaney conveys the frustration and the fatigue. He’s spent most of his life fighting, and wants to put down the swords as he enters his golden years. But he’s still proud as Meaney gives us a master strategist who can bend, but refuses to break. As their driver Jack, Highmore does his best to think on his feet, struggling to follow Ian and Martin’s lead while appeasing the voice in his ear. He’s full of enthusiasm while navigating through a political minefield. Luckily the man in his ear is the much missed, late, great Hurt, who also seems weary, but is equally determined to end his long spy career with a big, big victory. Hurt is sad, but still doggedly optimistic in own of his final film performances.

For those with an interest in a history of the long conflict, this film will be an engaging look at its turning point. Luckily the producers have included lots of news footage and photos for those with a fleeting knowledge of “the troubles”. Unfortunately several scenes like the forest encounter and the walk through the docks seem contrived, only inserted so the two men can leave the van . Could the script have originally been intended for the stage? As with many translations of plays to film, the producers feel a great need to “open things up”, to make things more “cinematic”. It’s more than a bit distracting, making the hour or so airport ride feel much longer (a true pacing problem). The fine acting deserves a better showcase, but the film does give us an opportunity to see some superior work from some beloved performers, and for that, many movie goers will be happy to have embarked on THE JOURNEY.

3 Out of 5

See Ryan Phillippe And Joey King In WISH UPON Featurette, Just In Time For Father’s Day

Be careful what you wish for.

Ryan Phillippe started his career in horror films like I Know What You Did Last Summer and now returns to the genre as a horror movie dad in WISH UPON. Hear from Ryan and the cast on how he brought his experience in the genre, and as a father, to his role as Jonathan Shannon in WISH UPON in this New Featurette.

In the latest horror thriller from the director of ANNABELLE, 17-year-old CLARE SHANNON (Joey King) is barely surviving the hell that is high school, along with her friends MEREDITH (Sydney Park) and JUNE (Shannon Purser). So when her dad (Ryan Phillippe) gifts her an old music box with an inscription that promises to grant the owner’s wishes, she thinks there is nothing to lose. Clare makes her first wish and, to her surprise, it comes true.

Before long, she finally has it all: money, popularity and her dream boy. Everything seems perfect – until the people closest to her begin dying in gruesome and twisted ways. Now, with blood on her hands, Clare has to get rid of the box, before it costs her and everyone she loves the ultimate price.

Broad Green Pictures’ WISH UPON is directed by John R. Leonetti (ANNABELLE) and produced by Sherryl Clark (CLOVERFIELD).

Throughout history, the source of mystical powers was often ascribed to the feminine within the culture. This is a notion not lost upon producer Sherryl Clark and writer Barbara Marshall, who—following a less-than-desired result during one of their earlier collaborations in the industry—began to think about undertaking their own joint projects.

Sherryl Clark explains, “Barbara and I were working on a different project together that didn’t turn out the way we thought it would. But that experience pushed us into thinking that we wanted to kick ass—we love genre movies, what people consider ‘boy’ movies, and we wanted to work on something that we could have a little bit more control over. We thought, ‘We’re going to do this right next time.’”

The resulting screenplay for WISH UPON combined the women’s love of horror films with their appreciation of teen films from such filmmakers as John Hughes.

See the film in theaters July 14.

www.wishuponmovie.com

(l-r.) Ryan Phillippe stars as Jonathan Shannon, Joey King as Clare Shannon and Sherilyn Fenn
Credit: Steve Wilkie / Broad Green Pictures
Ryan Phillippe stars as Jonathan Shannon in WISH UPON, a Broad Green Pictures release.Credit: Steve Wilkie / Broad Green Pictures
Joey King stars as Clare Shannon in WISH UPON, a Broad Green Pictures release.Credit: Steve Wilkie / Broad Green Pictures

Watch The New Trailer For Kathryn Bigelow’s DETROIT Starring John Boyega

Annapurna Pictures has released a new trailer for the upcoming film DETROIT. From the Academy Award winning director of THE HURT LOCKER and ZERO DARK THIRTY, DETROIT tells the gripping story of one of the most terrifying moments during the civil unrest that rocked Detroit in the summer of ’67.

Watch the trailer now.

DETROIT is the untold true story of real events, now hear from the people who witnessed it.

The huge cast includes John Boyega, Will Poulter, Algee Smith, Jacob Latimore, Jason Mitchell, Hannah Murray, Kaitlyn Dever, Jack Reynor, Ben O’Toole, Joseph David Jones, Ephraim Sykes, Leon Thomas III, Nathan Davis Jr., Peyton Alex Smith, Malcolm David Kelley, Gbenga Akinnabve, Chris Chalk, Jeremy Strong, Laz Alonzo, Austin Hebert, Miguel Pimentel, Kris Davis, with John Krasinski and Anthony Mackie.

DETROIT hits theaters everywhere August 4, 2017.

http://detroit.movie/

HOME AGAIN Movie Trailer Has Arrived Starring Reese Witherspoon

The first trailer for HOME AGAIN is here. Looks fun!

HOME AGAIN stars Reese Witherspoon (“Big Little Lies,” Wild, Walk The Line, Sweet Home Alabama) as Alice Kinney in a modern romantic comedy.

Recently separated from her husband, (Michael Sheen), Alice decides to start over by moving back to her hometown of Los Angeles with her two young daughters. During a night out on her 40th birthday, Alice meets three aspiring filmmakers who happen to be in need of a place to live. Alice agrees to let the guys stay in her guest house temporarily, but the arrangement ends up unfolding in unexpected ways.

Alice’s unlikely new family and new romance comes to a crashing halt when her ex-husband shows up, suitcase in hand. HOME AGAIN is a story of love, friendship, and the families we create. And one very big life lesson: Starting over is not for beginners.

In theaters September 2017, the cast includes Reese Witherspoon, Pico Alexander, Nat Wolff, Jon Rudnitsky, Candice Bergen, and Lake Bell.

Directed and written by Hallie Meyers-Shyer, the film is produced by Nancy Meyers and Erika Olde.

Check out the film on Facebook: https://www.facebook.com/homeagainmovie/

Mark Wahlberg And Will Farrell Are Back In DADDY’S HOME 2 Trailer

Filmmaker Sofia Coppola (LOST IN TRANSLATION, THE BEGUILED) recently told the NY Times that one of her favorite movies is 2015’s DADDY’S HOME. “The only film my kids and I equally enjoy together! I love Will Ferrell, and this movie is sweet and fun to watch with cracking-up kids.”

More daddies, more problems. Watch the official trailer for DADDY’S HOME 2 in theaters November 10.

In the sequel to the 2015 global smash, father and stepfather, Dusty (Mark Wahlberg) and Brad (Will Ferrell) have joined forces to provide their kids with the perfect Christmas.

Their newfound partnership is put to the test when Dusty’s old-school, macho Dad (Mel Gibson) and Brad’s ultra-affectionate and emotional Dad (John Lithgow) arrive just in time to throw the holiday into complete chaos.

https://www.facebook.com/DaddysHomeMovie/