Tag Archives: amy poehler

INSIDE OUT 2- Review

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Well, now we’re in “prime” Summer movie season mode as one of the big “crowd-pleasing” studios drops its 28th feature film into the multiplexes this weekend. Oh, and it is truly animated with eye-popping visuals and splendid imaginative designs. And after the animal stars dominating the cartoon landscape this year with Kung Fu Panda and Garfield, we’re focusing on a human being, Well, mostly what’s going on in this teenager’s head, so we’re revisiting a set of creatures based on emotions and meeting a bunch of new “feelings”. Of course, I’m speaking of Pixar, who have decided to produce a sequel to a much-admired Oscar-winning 2015 “dramedy/fantasy”, after several interesting original flicks like SOUL, TURNING RED, and ELEMENTAL (so don’t think they’re just exploiting their “IP”). Yes, it’s been nine years, but animation can “tweak” time, so it’s only been a couple of years since we’ve checked in with that young woman named Riley. And there’s a lot going on at her brain’s control center at the start of INSIDE OUT 2.

But there are lots of familiar faces and emotions pushing buttons at “the board”. Joy (voice of Amy Poehler) is still mainly in charge, aided by Sadness (Phyllis Smith), Anger (Lewis Black), Fear (Tony Hale), and Disgust (Liza Lapira). As for Riley( Kensington Tallman), she’s enjoying the last year of grade school playing alongside best pals Grace and Bree on the school’s championship-bound hockey team, the Foghorns. Joy believes a bit part of her success is Riley’s developing “Sense of Self”, a glowing sculpture that emits phrases like “I’m a good person”, which is proudly on display in the control room (Joy made room for it by creating a “launching device’ that hurls “bad” memories way to the back of the brain). The last Summer before high school looks to be even better when Coach Roberts (Yvette Nicole Brown) of the high school’s team the Firehawks, invites Riley and her pals to be part of a hockey camp. It’s quite a lot to dream about, but the emotions’ slumber is interrupted by a loud siren from a flashing red light on the board. Oh no, “puberty’ has “hit”! As Joy and her crew scramble, a construction team bursts through a wall. After the control board is”upgraded”, a new set of emotions arrive. There’s Envy (Ayo Edebiri), Ennui (Adele Exarchopoulos), Embarrassment (Paul Walter Hauser), and their leader, Anxiety (Maya Hawke). During the chaos, Riley learns that Bree and Grace will be going to different high schools. That bad news is offset by the fact that the star Firehawks player, the ultra-cool Valentina (Lilimar) will also be at the hockey camp. This “ramps up” the rivalry between Joy and Anxiety leading to the SOS being flung to the bad memory “dump” just before the hulking Embarrassment stuffs Joy’s team into a jar to be taken far away to a dark vault, and eventually forgotten. Can they escape, retrieve the SOS, and “take back” the control board before Anxiety guides Riley into some terrible decisions? Oh oh, it all rests on the slumped shoulders of Sadness!

Quite an impressive roster of performers has been assembled to give these emotions distinct voices. As for the returning “team”, Poehler just super-charges Joy with an infectious energy and an engaging lilt, though she gets to delve deeper into the frustration of always being the positive “guiding light”. And Black explodes as Anger, pummeling each hilarious retort, a great counterpoint to the halting sweet delivery of Smith as Sadness Oh, I’ve got to also mention the return of the wonderful Diane Lane and Kyle MacLachlan as Riley’s parents, who become more a part of the “framing plot” of the main “sports” story. Now, on to the “newbies”, which include a couple of replacements on Joy’s “squad”. Lapira is an excellent snarky Disgust, while Hale brings a Don Knotts-like jittery panic to Fear. Oh, and as the now teenage Riley, Tallman hits “all the right notes” from sweet to awkwardly desperate and even conniving. And now we get to the new crew, led by the wonderfully zany Ms. Hawke who literally bounces across the backgrounds with a frantic confidence, becoming, at times, the accidental villain of the tale. Her manic delivery is almost matched by the exuberant Edebiri as her “right hand” Envy. The big “scene stealer” might just be Exarchopoulos as the bored, detached Ennui who only awakensr from her sleepy state when her phone-like control device goes missing. And though he has only a couple of lines, aside from some sighs and groans, Hauser is quite effective as the conflicted Embarrassment. In smaller, but pivotal roles, Ron Fuches is achingly funny as the goofy 90s kids TV show icon Bloofy and June Squibb is endearing as the “we’re not really ready for you” emotion Nostalgia.

This is the feature directing debut of Kelsey Mann who truly “hits it out of the park” (maybe a hockey analogy would be more appropriate) with perhaps the best Pixar sequel since TOY STORY 2 (though 3 and 4 are also great). It’s a delicate “tightrope walk” as the familiar elements of the beloved first flick are melded with the new story and the older main character. While Riley had to deal with the big family move last time, now she must decide how to deal with her friends, both old and new. All comlicated by the “P” word in the sophisticated and very funny script by Mann, original scribe Meg LaFauve, and Dave Holstein. Unlike the recent IF, they didn’t hold back on the jokes in favor of the big “heart moments” (and there are plenty). Happily, the talented artisans at Pixar have given this story a dazzling life with vibrant colors and outstanding designs. like Anxiety’s frazzled vertical “water fountain” hair, Embarassment’s bulbous nose sticking out of his tight hoodie, and Ennui’s rubbery body (as though her spine was replaced by the classic toy “Slinky”) who’s always draped over the furniture. I still love that the emotions have no hard “outline” (color or black), but have a grainy edge with specks always moving (much like the leads in ELEMENTAL), unlike Riley and her pals in the “real world”. They’re nice subtle caricatures not too removed from us, unlike the often child-like cartoony looks of the emotions (Anxiety is almost a child’s enhanced “scribble”). And for the first time, the CGI figures are acting alongside 2D “drawn” characters (usually left for the end credits) such as Bloofy and his pal Pouchy who are joined by an “8-bit” video game icon named Lance Slashblade. This leads to some delicious satirical gags about cable kids TV and gaming (love the efforts of Lance to walk out a door). Speaking of gags, one sequence pokes fun at 90s animation “sweatshops”. Plus there are perfect puns a’ plenty, though a few are “groaners”. Yes, there are a couple of moments in the third act, when the pace begins to soften, but the “big game” (excellent action movement) finale brings all the plot threads together into a beautiful bow making us eager to see how Riley and her “brain buddies” handle the new challenges of high school after the touching, clever, witty, and inspiring INSIDE OUT 2.

3.5 Out of 4

INSIDE OUT 2 is now playing in theatres everywhere

Win A Family 4-Pack Of Passes To The St. Louis Advance Screening Of INSIDE OUT 2

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Disney and Pixar’s “Inside Out 2” opens in theaters nationwide next week, inviting moviegoers inside the mind of newly minted teenager Riley just as Headquarters undergoes a sudden demolition to make room for something entirely unexpected: new Emotions

In the follow-up to 2015’s Oscar®-winning “Inside Out,” Joy, Sadness, Anger, Fear and Disgust—who’ve long been running a successful operation by all accounts—aren’t sure how to feel when Anxiety, Envy, Ennui and Embarrassment show up. The voice cast includes Amy Poehler, Maya Hawke, Kensington Tallman, Liza Lapira, Tony Hale, Lewis Black, Phyllis Smith, Ayo Edebiri, Lilimar, Grace Lu, Sumayyah Nuriddin-Green, Adèle Exarchopoulos, Diane Lane, Kyle MacLachlan, Paul Walter Hauser and Yvette Nicole Brown. “Inside Out 2” is directed by Kelsey Mann, produced by Mark Nielsen and executive produced by Pete Docter, Jonas Rivera and Dan Scanlon. The film features a screenplay by Meg LeFauve and Dave Holstein and story by Mann and LeFauve.

With music by Andrea Datzman, the all-new feature film releases only in theaters June 14, 2024.

Get your tickets now for Disney & Pixar’s #InsideOut2 https://fandango.com/InsideOut2

The special screening is Tuesday, June 11, 7pm at Marcus Ronnies Cine

Please arrive early as seating is not guaranteed.

FIVE winners will receive 4 passes to the screening.

GET YOUR PASSES HERE: http://gofobo.com/wamgIO2

INSIDE OUT 2 – SO EMBARRASSING — Disney and Pixar’s “Inside Out 2” returns to the mind of newly minted teenager Riley, where Emotions like Embarrassment (voice of Paul Walter Hauser) take turns driving—or throwing themselves upon—the console as Riley experiences all the feelings. Directed by Kelsey Mann and produced by Mark Nielsen, “Inside Out 2” releases only in theaters June 14, 2024. © 2024 Disney/Pixar. All Rights Reserved.

LUCY AND DESI – Review

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(Original Caption) Lucille Ball and Desi Arnaz going over business matters. Picture from Lucy’s personal file.

So here’s the perfect companion to one of the big feature film “docudramas” from the last weeks of 2021. You may even consider it a “super bonus extra” for a proposed home video release. Ah, but it’s so much more than that. It delves into the history and legacy more thoroughly than any “squeezed into a brief timeline” big-screen treatment. Sure there are lots of clips from this duo’s greatest collaboration, which is still being adored by fans all over the planet every day, but there are historical artifacts that many of us have never seen and heard before. And happily, there are the early, early”pre-superstardom” snippets as the careers of these two began to converge and meld. These gems along with archival footage have been assembled by a talented comic actress who might be considered a “spiritual offspring” of the feminine half of the couple in question. Hey, these two still come to mind when examining their main medium’s history. In the arena of real-life couples who worked together, you’ve got Lunt and Fontanne on stage, in the movies there’s Bogie and Bacall and in television, particularly comedy, it all begins with (and some say is still dominated by). LUCY AND DESI.


It all starts with the enduring images of the two, Lucille Ball and Desi Arnaz. There are countless clips of the Ricardos: Lucy trying to share the stage with Ricky at “the club”, Ricky exploding with a barrage of Spanish as he reveals Lucy’s newest scheme, Lucy hatches said plot with BFF neighbor Ethel Mertz. Then the filmmakers take us back to the duo’s modest, even desperate early times. Brother Fred (in an archival interview) tells of his sister Lucy almost becoming the head of the household when a target practice accident nearly takes everything from their grandfather’s Jamestown NY home. She’s determined to be a star, trying out for Broadway shows, modeling, and even creating a “wild west” persona “Montana” Ball to try and jumpstart a hopeful film career as she heads to LA. Not far from the US, young Desi flees the Cuban Revolution of 1933 and barely makes it to Miami, eking out a living by cleaning canary cages before his musical skills attract the attention of Xavier Cugat, leading to the formation of Desi’s own band. Fans only familiar with the sitcoms will be dazzled by the early images of the two, Lucy, a Technicolor flaming-red-haired movie goddess at MGM, and Desi, a gorgeous exotic untamed congo drum-pounding heartthrob. Home movie scenes and audio recordings (Desi on seeing Lucy for the first time, “Now, thas’ some hunka’ woman!”) chronicle their fiery romance, courtship, and marriage. We’re treated to an amazing montage of Lucy’s screen roles, many of which couldn’t quite capture her talents (leading lady or wisecracking supporting player). And there’s that TV show that never “went away”. We see the foundation being built for the Desilu empire, and its demise as the divorce almost derails the entertainment juggernaut. Though the heads of the company wouldn’t perform on camera, they still had a behind-the-scenes working relationship…for a time. The film provides an overview of their solo lives and careers leading up to their final days in the late 1980s.

Oh, that talented comic actress I mentioned earlier is none other than the “pride of Pawnee” Amy Poehler, known for her memorable TV work on SNL and “Parks and Recreations” in her impressive feature documentary debut. Though much of the story and materials are familiar, she brings a real vitality to the legend via access to those family treasures. Hearing the duo’s voices paired with the keenly selected clips adds an unexpected poignancy. Footage shot on the set of the 1960s “The Lucy Show” gives us Desi’s unexpected visit to the Studio, surprising the guest star (another show biz superstar), though Ms. B doesn’t look that pleased (maybe just indifferent). We get Ball’s work ethic, hinted at in Sorkin’s biopic, as she shockingly states that, “I’m not funny…I just work very hard”. And though he professionalism often caused many to label her the “B word’, I’d think that stands for “boss” as we see her presiding over a board meeting of Desilu shareholders just after Desi was bought out. .Ms. Poehler know when to sparingly utilize some great “talking head” subjects. Carol Burnett gushes over her “gypsy pal, Bette Midler tells of Lucy’s mentoring, while Charo (yes the “gootchie-gootchie gal”) sings the praises of Desi while strumming a guitar. Most prominently daughter Lucie Arnaz offers insights and anecdotes, while we only hear from brother Desi Junior. Plus we’re treated to news interviews with TV writers Madelyn Davis and Bob Carroll Jr., along with Lucy’s brother Fred, though it’s a shame that the last surviving TV cast member, Richard Keith (“Little Rick”) doesn’t appear. We really get a sense of the Desilu domination of early TV as Desi was the major force behind the three-camera filming setup (still used today) and (for better or worse) the rerun., That’s one of the sadder aspects of the tale as Desi had to remind folks that he wasn’t just the “lucky stiff’ riding the apron strings of his comic firebrand wife. And this helped accelerate the breakup that devastated fans. My only complaint with the film is its omissions of the post “I Love Lucy” careers of the two. Yes, Lucy’s follow-up sitcoms are here, but no mention of her feature film work: two comic romps with Bob Hope, the surprise hit YOURS MINE AND OURS (recently spoofed in LICORICE PIZZA), and the “megaflop” MAME (reportedly Desi tried to warn Lucy of the bomb, but she didn’t listen). Oh, and no mention of the mid-80s misfire sitcom comeback on ABC, “Life with Lucy” (perhaps that’s a good thing). Plus Desi stayed active behind the scenes in the late 60s show “The Mothers-In-Law”. Maybe it’s not a “knock” to wish this engaging and often moving non-fiction film was a bit longer. And really, couldn’t the world right now use a lot more of LUCY AND DESI? Babalooooo!!

3.5 Out of 4

LUCY AND DESI is now streaming exclusively on Amazon Prime Video

LOVE, GILDA – Review

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With the year’s end “light at the end of the tunnel” in sight, 2018’s parade of distinguished feature documentaries marches on with another “crowd-pleaser” bringing up the rear. Cinemas have been host to truly exceptional works of non-fiction filmmaking. This week’s release joins the impressive list of the “celebrity showbiz profile” sub-genre that includes the box office hit WON’T YOU BE MY NEIGHBOR along with WHITNEY, MCQUEEN, and QUINCY. Though music doesn’t play as big a role in this subject’s life as in several of these films, she made her greatest cultural impact on television, just as NEIGHBOR’s Fred Rogers. Oh, and her works were much more “adult” in nature, While Rogers was a daytime TV king to countless kids, she was the first real “queen of late-night TV comedy”. And while she’s been gone for nearly three decades, her influence seems to be felt now, more than ever. This film profiles Ms. Radner, the superstar who ended nearly all her writings with two simple words: LOVE, GILDA.

The film begins with footage from the show that made her famous, with Gilda commanding everyone’s attention at a trendy “watering hole”. It then backtracks over twenty years with snapshots and jittery old 8mm silent home movie footage of plump-cheeked little Gilda, perhaps 6 or 7 years old, her eyes darting about in search of the camera, ready to perform a dance or make a funny face. Older brother Michael tells us of the food issues that started very early, and how her mom got “diet pills” (speed, basically) prescribed for the out-going, “zaftig” ten-year-old. Then her journals and diaries are brought out. When Gilda’s own voice isn’t availible, several current comic actors are enlisted to provide the audible. Many are connected to Gilda’s TV alma mater “Saturday Night Live”. Frequent “guest host” and current “queen of movie comedy” Melissa McCarthy, current SNL cast member Cecily Strong, and SNL vets Maya Rudolph, Amy Poehler, and (token fella’) Bill Hader read different passages (Hader seems like Indiana Jones finding a long-hidden treasure, stifling a plea that “These belong in a museum!”). We’re told of Gilda receiving love from an elderly nanny named “Dibby” while poppa and mama were too busy with business and high society in Detroit. When she left home for the University of Michigan, Gilda continued to search for love, amassing many boyfriends, before following one, a sculptor, to Canada. When that romance fizzled, Gilda plunged into the theatre scene, and became part of the Toronto cast of “Godspell”. Show creator Stephen Schwartz, piano accompaniest Paul Shaffer, and fellow castmate, and former beau, Martin Short share their memories, along with a funny audio recording. We see Gilda jump from the stages of the Toronto Second City to the NYC sound booth of the National Lampoon as part of their radio show and comedy album ensemble (and her first encounter with John Belushi). After a couple of NatLamp stage shows, Lorne Michaels signed her up (really, Gilda was the first to be hired) for a new live weekend late night comedy/music NBC show. Michaels is interviewed along with fellow SNL-ers Chevy Chase and Laraine Newman, and writers Anne Beatts, Rosie Shuster, and Alan Zweibel. The filmmakers provide us with a refresher course on the many characters Gilda inhabited during her five year run on the show, all while still searching for her soul mate (much is made of the long affair with Bill Murray), and battling various eating disorders. We’re treated to several behind-the-scenes videos from her Broadway show (turned into the feature film GILDA LIVE!), and see her cavorting with future husband, guitarist G.E. Smith. When her stint at SNL ended, Gilda was adrift until landing a movie role in the film HANKY PANKY opposite movie “comedy king” Gene Wilder. After divorcing Smith, she married Gene, then signing letters with “love, Gilda Radner-Wilder”. This should have been her “happily ever after”, but several failed pregnancies eventually led to the discovery of Ovarian cancer. The film then chronicles Gilda’s health struggles, her remission, an attempted comeback via TV’s “It’s Gary Shandling’s Show”, and the disease’s final fatal return. Aside from her TV comedy legacy, several cancer screenings programs bear her name along with many cancer-affected family support centers around the world bearing her name and image, “Gilda’s Club”.

First-time feature director Lisa Dapolito has done a terrific job of wrangling the massive amount of archive footage while eliciting funny, honest responses from her interview subjects. While viewers might wish for more complete SNL sketches (the inspired Fellini parody “La Dolce Gilda” would have best illustrated her complex, conflicting thoughts on fame), but we get enough of on insight on her many recurring characters (a taste of Emily Litella, Roseanne Roseannadanna, etc.) to grasp her importance on the show’s infancy. And some still living folks are sorely missing from the “talking heads” clips. The third of “Chevy’s Angels”, Jane Curtain might have some great backstage stories. And any comments from Bill Murray would have been a major coup (doubtful of that ever happening, since Gilda barely mentioned him in her memoir, “It’s Always Something”). I was hoping to know a bit more about the time just after SNL. No mention of THE FIRST FAMILY, Gilda’s first big-time feature film, post-SNL, which bombed. Nor do we hear of her part in Jean Kerr’s play “Lunch Hour”, which bounced around to several theatres to little fanfare. This would help explain those limbo years, the very early 1980’s, in which the studios had no idea how to capitalize on her incredible popularity. It’s a great choice to have much of Gilda’s written thoughts interpreted by several members of the exclusive comedy club she helped establish. The stars bring the prose to life along with graphics that highlight passages for dramatic effect. And the early childhood home movie footage bookended with the jumpy video-cam shot scenes of domestic bliss with family and friends at Casa de Wilder give the film an extraordinary intimacy. The comic icon morphs into a warm, sympathetic human being. While many big fans (myself very much included) bemoan some exclusions, the rarities included, particularly the awkward spot with Tom Snyder on “Tomorrow” and the chaotic live prime time New Orleans SNL special (in which the cast realized that they were akin to rock stars), more than make this a pop culture event. Though the tale comes to a real tragic conclusion, the film is a real celebration of a remarkable talent who truly reached through the TV screen and grabbed the public by the “funny bone” and the heart. All those touched by her story should love LOVE, GILDA.

4.5 Out of 5

LOVE, GILDA opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

 

4th Annual MLFF: LOVE, GILDA – The Review

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One of my favorite films at the Mammoth Lakes Film Festival was LOVE, GILDA. Not only did it do an amazing job at capturing her spirit, but it is incredibly relatable… especially if you (like me) have ever fought an intense disease or illness.

In her own words, comedienne Gilda Radner looks back and reflects on her life and career. Weaving together recently discovered audiotapes, interviews with her friends, rare home movies and diaries read by modern-day comediennes inspired by Gilda (Amy Poehler, Maya Rudolph, Martin Short, Bill Hader and Cecily Strong), Love, Gilda offers a unique window into the honest and whimsical world of a beloved performer whose greatest role was sharing her story.

Produced and Directed by Lisa D’Apolito, LOVE, GILDA leaves viewers with an incredibly positive way to look at life… with laughter. Reading from her own words, Poehler, Rudolph, Hader, Strong and more learn more about one of their biggest inspirations. We learn about Radner’s feelings about herself, her weight, her rise to fame, romances and her battle with cancer through her own tapes.

It starts in the 1950’s, with home movies of a young Radner and her family. She describes her relationship with her father and mother, and the impacts that they had on her. She is quite candid, talking about the death of her father, and her mothers’ thoughts on her weight – including the time she gave Radner diet pills.

It’s apparent, instantly, in the home videos that Radner has an energy that is larger than life. We learn about her relationship with food due to an eating disorder and watch as she seamlessly rises to fame due to her electric personality and impeccable sense of humor.  During this time she also went through a lot of boyfriends, including those that she worked with. The good news is that all of them seemed to remain friends, judging by the tone of the doc.

Behind all of the fame lived someone who was unhappy. Radner was her own worst critic. She was constantly looking for love and acceptance. She later found a life full of love with actor Gene Wilder. The film touches on her yearning to have a child, which was hindered by suddenly learning that she had ovarian cancer.

One thing that I love about this film is Radners’ positive spirit as she fought this disease. Throughout her battle, she constantly tried to make people laugh. Her goal was to make cancer funny. Normally, a diagnosis like this would be enough to destroy someone’s spirit. Nor Radner. She was more worried about others, and living life to the fullest. During her struggle, Wilder was by her side. Their love for each other is inspiring.

Throughout the film, Radners’ courage and positive attitude shine through even the darkest of moments. LOVE, GILDA is sure to make audiences laugh and cry.

OVERALL RATING: 5 out of 5

For More Information: http://lovegilda.com

Or For The Mammoth Lakes Film Festival: https://www.mammothlakesfilmfestival.com

Win Passes To The Advance Screening Of THE HOUSE In St. Louis

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After Scott and Kate Johansen (Will Ferrell and Amy Poehler) lose their daughter Alex’s college fund, they become desperate to earn it back so she can pursue her dream of attending a university. With the help of their neighbor Frank (Jason Mantzoukas), they decide to start an illegal casino in his house.

The comedy “The House” also stars Nick Kroll (“Vacation,” TV’s “Kroll Show”), Allison Tolman (TV’s “Fargo”), Michaela Watkins (TV’s “Transparent”), Ryan Simpkins (“Arcadia”), Jessie Ennis (TV’s “Veep” and “Better Call Saul”), Rob Huebel (“Horrible Bosses 2,” TV’s “Transparent”), Cedric Yarbrough (TV’s “Reno 911!”) and Oscar nominee Jeremy Renner (“The Town,” “The Hurt Locker,” “Arrival”).

In Theaters June 30, 2017.

WAMG invites you to enter for the chance to win TWO (2) seats to the advance screening of THE HOUSE on June 28 in the St. Louis area.

Answer the following question:

Will Ferrell says the two main characters, “go from being a little nervous and unsure about what they’re doing, to a full 180 into these alter egos called The Butcher and The Burner. It transforms them. Suddenly they’re loan-sharking, promoting fights, dressing like characters from ‘Casino’ and running around town shaking people down for money. Once they feel that power, it’s hard to go back.”

Name your favorite movie that takes place inside a Casino.

TO ENTER, ADD YOUR NAME, ANSWER AND EMAIL IN OUR COMMENTS SECTION BELOW.

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.

Rated R for language throughout, sexual references,
drug use, some violence and brief nudity.

Visit the official site: http://www.thehousemovie.com/

Watch the New Red Band Trailer THE HOUSE Starring Will Ferrell And Amy Poehler

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Opening in theaters on June 30, 2017 is the comedy, THE HOUSE.

Warner Bros. Pictures has released a new red-band, NSFW trailer, featuring the always hilarious Will Ferrell and Amy Poehler.

After Scott and Kate Johansen (Will Ferrell and Amy Poehler) lose their daughter Alex’s college fund, they become desperate to earn it back so she can pursue her dream of attending a university. With the help of their neighbor Frank (Jason Mantzoukas), they decide to open an illegal casino in his house.

The comedy THE HOUSE also stars Nick Kroll (“Vacation,” TV’s “Kroll Show”), Allison Tolman (TV’s “Fargo”), Michaela Watkins (TV’s “Transparent”), Ryan Simpkins (“Arcadia”), Jessie Ennis (TV’s “Veep” and “Better Call Saul”), Rob Huebel (“Horrible Bosses 2,” TV’s “Transparent”), Cedric Yarbrough (TV’s “Reno 911!”) and Oscar nominee Jeremy Renner (“The Town,” “The Hurt Locker,” “Arrival”).

Andrew Jay Cohen makes his feature film directorial debut with THE HOUSE. The script was written by Brendan O’Brien and Cohen, whose previous collaborations include the hit comedies “Neighbors” and “Neighbors 2: Sorority Rising.”

ROLL ON OVER TO THE OFFICIAL SITE: www.thehousemovie.com

This film has been rated R for language throughout, sexual references, drug use, some violence and brief nudity.

Will Ferrell and Amy Poehler Set Up A Casino In THE HOUSE

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house

Will Ferrell and Amy Poehler go all in in this first trailer for THE HOUSE.

THE HOUSE is set for release June 30, 2017.

After Scott and Kate Johansen (Ferrell and Poehler) lose their daughter Alex’s college fund, they become desperate to earn it back so she can pursue her dream of attending a university. With the help of their neighbor Frank (Jason Mantzoukas), they decide to start an illegal casino in the basement of his house.

The comedy THE HOUSE also stars Nick Kroll (“Vacation,” TV’s “Kroll Show”), Allison Tolman (TV’s “Fargo”), Michaela Watkins (TV’s “Transparent”), Ryan Simpkins (“Arcadia”), Jessie Ennis (TV’s “Veep” and “Better Call Saul”), Rob Huebel (“Horrible Bosses 2,” TV’s “Transparent”), Cedric Yarbrough (TV’s “Reno 911!”) and Oscar nominee Jeremy Renner (“The Town,” “The Hurt Locker,” “Arrival”).

Andrew Jay Cohen makes his feature film directorial debut with THE HOUSE. The script was written by Brendan O’Brien and Cohen, whose previous collaborations include the hit comedies “Neighbors” and “Neighbors 2: Sorority Rising.”

The creative filmmaking team includes director of photography Jas Shelton (“Keanu,” “Jeff, Who Lives at Home”), production designer Clayton Hartley (“Anchorman 2: The Legend Continues,” “We’re the Millers”), editors Evan Henke (“The Interview”) and Mike Sale (“Central Intelligence”), and costume designer Christopher Oroza (“Hollywood Adventures”). Music is by Andrew Feltenstein and John Nau.

VISIT THE OFFICIAL SITE: http://www.thehousemovie.com/

www.facebook.com/TheHouseMovie

www.instagram.com/thehousemovie

twitter.com/HouseMovie

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SISTERS (2015) – The Review

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This new comedy questions an old adage, since it ponders whether you truly cannot “go home again”. It further wonders if you can party “hearty” back at said home. Then you could put another spin on a saying by staggering and weaving down “the road not taken”. The protagonists of this film are not middle-aged “lost boys” usually played by the likes of Will Ferrell, Seth Rogen, and Adam Sandler. They flail about in flick after flick as stumbling, bumbling examples of the “man-child”, often with wives mortified at their antics. But what about flipping that comic trope? Can’t these farces feature a “women-child”, or two? Ladies regressing back to simpler times? Well, here’s two actresses that are more than ready for this challenge. Hard to believe that over seven years has passed since they were an on-screen team in BABY MAMA. But happily they’ve been deflating Hollywood egos as an impressive award-show tag team in the meantime. In their return to the multiplex, Tina Fey and Amy Poehler are now very different, but very devoted SISTERS.

Maura Ellis (Poehler) is a divorced nurse in Atlanta whose attempts at helping folks (mistaking workers on the street as the homeless) ends in disaster and derision. But, she’s pretty responsible and mature which seems to be the opposite of sister Kate (Fey). She’s a beautician and single mother whose teenage daughter Haley (Madison Davenport) tends to go AWOL after being frustrated with Mom’s exploits. When Kate is booted out of another pal’s apartment (she’s truly homeless, crashing on couches until her hosts have had enough), she contacts Maura. But she’s still reeling after getting a bombshell phone call (Skype actually) from their folks (James Brolin and Dianne Wiest) down in Orlando Florida. They’re living in a retirement village condo after putting the family home on the market,so their daughters need to clean out their old bedrooms. When Maura and Kate converge at their old domicile they’re stunned to see a sold sign on the front lawn. After meeting the obnoxious, snooty new owners, the sisters decide that there’s only one thing to do. And no, they don’t just pack up their stuff and clear out. The Ellis girls decide that they must host the wildest party ever before bidding adieu to the ole’ homestead. And Maura decides to finally “sow her wild oats” with the hunky new neighbor across the street, James (Ike Barinholtz), so Kate agrees to be the “party mom”, staying sober to oversee everyone. So, what could go wrong, besides their old high school nemesis Brinda (Maya Rudolph) getting wind of her “non-invite”? What could happen, since they’re all adults? Right?

Here’s a different part for Ms. Fey. Kate is almost the “anti-Liz Lemon” (her role from the sitcom she created and headlined “30 Rock”), or perhaps the old TV “soap opera” cliché, the “evil” twin. In her tight-fitting animal prints, she’s a free-wheeling, wild spirit, an unrestrained id sporting high heels (a less disturbed version of the title character from the early 2015 film MOMMY). Fey is looser, more feisty, and energetic than we’ve ever seen her. She’s the electric charge that powers the plot. Ms. Poehler doesn’t veer too far away from Leslie Knope (her role on TV’s much-missed “Parks and Recreation”) in a character that’s very sweet and very awkward (her attempts at “sexy banter” are a scream). Mind you, she’s just as hysterical as Fey, but Poehler gives Maura a real vulnerability that helps propel her character’s romance. Most of all, she’s not merely the “straight” woman for Fey’s fireball. Poehler has a terrific “love match” with the gifted Barinholtz who’s playing a real “guy’s guy” and a nice change from his manic nurse on TV’s “The Mindy Project”. But he still cranks up the funny, particularly in an often painful stunt involving a ballerina. Brolin and Wiest (currently playing a couple on TV’s ” Life in Pieces”) score big laughs as the bewildered parents while providing a wake-up call to their offspring. Rudolph is an endearing rival and holds her own during the verbal, and eventual, physical smackdowns with Fey. Oh, and Fey gets to flirt with a very deadpan John Cena (so good recently in TRAINWRECK) as the mucho-muscled, stoic drug dealer Pazuzu (love when he lists his stock). The party-goers are filled with comedians, comic actors, and SNL vets (alumni and current) with Bobby Moynihan (“Drunk Uncle”) stealing scenes as a pathetic former class clown. Oh, and I should mention Greta Lee who shares one of the film’s funniest scenes with Poehler as she tries to teach Maura the proper way to say her Korean name Hae-Won. Stick around for the end credits to see Poehler fail to keep a straight face while contorting her mouth for the exact pronunciation.

As I mentioned earlier, this is the second screen pairing of these two talented women (both were in MEAN GIRLS, but had no scenes together), unfortunately a real rarity. Male comedy teams have been part of cinema for decades. Some are true partners (as Leonard Maltin points out in his superb book on the subject) as with Laurel and Hardy all the way to Cheech and Chong. While other male comedy stars work together frequently, from Bob Hope and Bing Crosby to Gene Wilder and Richard Pryor, to the current duos like Seth Rogen and Jamed Franco. There was an attempt by producer Hal Roach to establish a female 1930’s comedy team with Thelma Todd and Zasu Pitts (replaced by Patsy Kelly), but woman duos were a fixture of TV, from Lucy and Ethel to Laverne and Shirley, and recently those “Two Broke Girls”. Fey and Poehler have such an easy rapport and expert timing, so hopefully this comic collaboration will continue for several more features. It’s a shame that this entry is not on par with their impressive skill set. The script by former SNL scribe, and comic actress, Paula Pell is chocked full of great bits for the duo, but like many screen comedies it seems to lose its momentum at around the one hour mark, settling into an all too common, deadly “lull”. This may be the fault of PITCH PERFECT director Jason Moore, who needed to make the film a good 15 to 20 minutes shorter (as I’ve said in the past, comedies really shouldn’t be over 100 minutes unless the word “mad” is in the title four times). These are funny people, true, but not everything’s gold. The party montages, just as in the teen comedies, become tiresome and with adults, kinda’ desperate. And the drug stuff danger takes away from the humor (really, these aging swingers would be headed to the ER). Plus the massive property damage final act doesn’t have the desired payoff. If you’re fans of this Golden Globes super team, then the film is a must see. Let’s see if they kind find a better showcase in the near future, because the scenes when they’re together is the only time that SISTERS soars.

3.5 Out of 5

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Tina Fey And Amy Poehler Say You Can See Them Both – SISTERS AND STAR WARS: THE FORCE AWAKENS – In The Farce Awakens Parody

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SISTERS

Tina Fey And Amy Poehler have a good time playing up the fact that both SISTERS and STAR WARS: THE FORCE AWAKENS hit theaters the same day, December 18, in this latest video “The Farce Awakens.”

Watch below, followed by the STAR WARS video the comedians are goofing on.

Fey and Poehler reunite for SISTERS, a new film from Pitch Perfect director Jason Moore about two disconnected sisters summoned home to clean out their childhood bedroom before their parents sell the family house. Looking to recapture their glory days, they throw one final high-school-style party for their classmates, which turns into the cathartic rager that a bunch of ground-down adults really need.

Fey produces the comedy alongside Jay Roach (Meet the Parents series) and John S. Lyons (Austin Powers in Goldmember), and Poehler executive produces alongside Jeff Richmond and Brian Bell from a script by Paula Pell (TV’s Saturday Night Live, 30 Rock).

SISTERS opens in theaters nationwide on December 18, 2015.

www.sistersfilm.com

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