Blake Lively – We Are Movie Geeks

ANOTHER SIMPLE FAVOR – Review

This week’s big streaming feature film release could be compared to the return of an unexpected Fall romance from several years ago, seven to be precise. This movie captured my heart, along with my critical sensibilities. when it seemed to appear seemingly out of nowhere, with little fanfare or hype. Yes, I was, and remain, a fan of the filmmaker and one of the lead actors, but this was a real step out of their “comfort zone” with an engaging murder mystery full of snark and satire, along with fabulous fashions. That movie, A SIMPLE FAVOR, nabbed a spot on my top ten list of 2018. And now, almost everyone is back for a sequel, but is that magical spark still there? Will I have that same frothy fun and romance with ANOTHER SIMPLE FAVOR? Or was the original “just one of those things, just one of those crazy flings…”?

In the opening sequence, much has changed in the sleepy California suburb. “Home lifestyle vlogger” Stephanie Smothers (Anna Kendrick) has expanded her “brand” and is the author of a true-life murder mystery novel based on her past experience there (y’know, the first flick). She’s doing a “reading” from that work at the town’s bookstore with her “mom pals” there along with a small audience, under the guidance of her aggressive manager Vicki (Alex Newell). All is pretty normal until someone arrives late, Sasshaying up the aisle (as if it were a fashion show runway) is none other than Emily Nelson (Blake Lively). Seems a pack of high-powered lawyers have gotten her released from prison, just in time for nuptials to her new wealthy fiancé (who paid for the legal team). Emily wants Stephanie to be her maid of honor at the big wedding ceremony…in Capri. Steph balks, but Emily insists, saying that her law squad could sue her for libel and slander unless she agrees to go. Luckily, Steph’s son Miles is off to Summer camp, so …bon voyage. Actually she boards (with Vicki in tow) the private jet of the wealthy, perhaps “connected” family of Emily’s beau, the hunky, handsome Dante Versano (Michele Morrone). Upon landing, they’re whisked away to a fancy hotel where Steph meets him and reunites with Emily’s ex (and her former “fling”), the boozing Sean Townsend (Henry Golding). He’s brought along his son with Emily, Nicky (Ian Ho). At the big pre-wedding reception, we meet the Versano matriarch Portia (Elena Sofia-Ricci), who detests Em and her pals. But she’s got a surprise for her future daughter-in-law. She’s flown in her dingy mother, Margaret (Elizabeth Perkins), and her pushy sister, who Em hasn’t seen in thirty years, Aunt Linda (Allison Janney). With the “players in place, the “game” soon begins with multiple murders that point to Stephanie. Has Emily set up the whole event as a way to exact revenge on her former friend who helped send her to the slammer years ago?

Well, the two leads haven’t missed a “beat”, effortessly going into that verbal ‘dance” they aced so well way back in 2018. Yes, Kendrick is still a delightful snarky “hot mess”, as she doles out the “burns” while trying to grasp all the chaos swirling about her. She gets us back on her “side” even as she has to go into the cliche drunk/stoned bits in the story’s troubled (more about that later) second half. Lively as Emily is still the epitome of swaggering super-confidence (I mean, look at those wild outfits that she “works” expertly), though there’s more than a hint of sadness in the veiled threats she utters casually to Kendrick, perhaps to always keep her off-balance. Her character is a supermodel who’s always ready to strike. As for the supporting players, the real standout may be Ricci, who is constantly “shooting daggers” at the “Americans” as she spews venom through her perfectly clenched teeth. Morrone is a prime “Euro-stud” with a smouldering but dangerous stare and primo product-filled hair and white linen tailored suits. He’s the opposite of Em’s “ex,” who Golding plays as an ever “open wound” in need of constant liquid medication in a thankless expendable role. Ditto for the rest of Emily’s “side” with the talented Perkins reduced to playing a dotty, daft unfiltered harridan (think of a really nasty Sofia of “The Golden Girls”) and the usually superb Oscar-winner Janney who has to bark out threats while doing a variation of the old villainous “mustache-twirling”. They’re both such gifted actresses, saddled with subpar material. And then there’s Newell, whose Vicky may be the standard “fish out of water American doofus”, but his stint as the comic relief reactor is marred by constant “mugging” and a delivery right out of a 70s sitcom, maybe due to some misguided direction. But happily, we do get some brief early scenes with Steph’s “Greek chorus” back home led by the terrific Andrew Rannells. Plus, we get a new comic character from an energetic screen newcomer, Taylor Ortega.

So, I’m reminded of that old phrase from WWII, “Was this trip really necessary?” when thinking about this flick. Well, I’m not so sure if it was needed. All the right elements are back, including comedy movie master Paul Feig and the original screenwriters. Mind you, the first act is lots of fun with the reunion of Steph and Em. fraught with fun and danger. Unfortunately, the film soon goes “off the rails” when the murder mystery kicks in. We’re given a “heads up” with a bizarre flashback to a recent mystery with Steph, that may be there to plant some doubt on her sleuthing skills, but just serves little function till a quick final act nod. Part of the problem may be the often conflicting acting styles, with Feig giving a bit too much “leeway” with some of the performance “choices”. And this is the director who guided Melissa McCarthy in her best movies, really. Maybe this is a way to “sell” the script. to make the muddled plot revelations, with each new “twist” trying to “upend” the previous one to the point of exhaustion (for us, the audience). Maybe this is meant to be a dark, satirical “soap opera”, with triple-crosses, and “ret-cons” of storylines in the first flick which induce migraines rather than laughs. Plus, we get some “travel cliches” including “mafia mirth” and even a chase on a Vespa, of course. Sure, the location work is spectacular, a great “tourism pitch” in those long shots, and those wild fashion styles are still fun (Em wears a hat that’s bigger than a stingray), but it’s not enough to smooth out the story glitches where we’re meant to see Emily as a naughty “scamp’ rather than the mudering mastermind “diva deviL’. So, to answer my earlier question, no, this isn’t the same delicious romp from 2018, so perhaps it’s best to leave that movie romance there, even though Kendrick and Lively are a different kind of dynamic duo of crime comedy, they just can’t deliver the charm and laughs with ANOTHER SIMPLE FAVOR.

2 Out of 4

ANOTHER SIMPLE FAVOR streams exclusively on Amazon Prime Video beginning on May 1, 2025

Win Passes To The St. Louis Advance Screening Of ANOTHER SIMPLE FAVOR

Launching globally on Prime Video starting May 1 is ANOTHER SIMPLE FAVOR.

Stephanie Smothers (Anna Kendrick) and Emily Nelson (Blake Lively) reunite on the beautiful island of Capri, Italy, for Emily’s extravagant wedding to a rich Italian businessman. Along with the glamorous guests, expect murder and betrayal to RSVP for a wedding with more twists and turns than the road from the Marina Grande to the Capri town square.

Directed By Paul Feig, based upon characters created by Darcey Bell, ANOTHER SIMPLE FAVOR stars
Anna Kendrick, Blake Lively, Andrew Rannells, Bashir Salahuddin, Elizabeth Perkins, Michele Morrone, Alex Newell, with Henry Golding and Allison Janney.

The St. Louis screening is at 7PM on Tuesday, April 29th at Marcus Ronnie’s Cinema.

PASS LINK: https://amazonscreenings.com/WAMGanothersimplefavor

Please arrive early as seating is not guaranteed.

Rated R.

Blake Lively stars as ‘Emily’ in ANOTHER SIMPLE FAVOR.

IT ENDS WITH US – Review

It’s only been a couple of weeks since the Summer’s biggest box office smash, y’know those two “fightin’ friends” from the MCU, so it feels a bit odd that a very serious “issue” drama based on a best seller is dropping into the multiplexes. Really, shouldn’t this be an “awards contender” for the much cooler Fall months? Well, literary adaptations other than the “YA” franchises do often get a Summertime release (two years ago WHERE THE CRAWDADS SING arrived that July). And this film does star the wife of one of the aforementioned Marvel spandex-wearing icons. Can she lure away some of the Summer cinema crowds as the novel’s heroine who declares (yes, she actually “drops” the tile in the “third act”) IT ENDS WITH US?

Oh, the actress mentioned above is Blake Lively, who plays the story’s “main focus”, thirty-something Lily Bloom. We first encounter her as she drives back into her family’s lush suburban neighborhood and is greeted at the front door of her two-story childhood home by her teary mother Jenny (Amy Morton). Sure, she’s happy to see Lily, but the reunion happens because of the death of the patriarch Andrew (Kevin McKidd). A visit to her old bedroom evokes many memories, some nice and some not-so-nice. Her nostalgia is interrupted by Jenny who reminds Lily that she will be a speaker at the memorial service (“Just say five good things about him”). Ultimately Lily is unable to come up with anything and marches out of the church as a shocked Jenny looks on. Then Lily returns to Boston and decides to reflect while sitting on the ledge of the top-floor terrace of a downtown apartment highrise. That’s where she meets one of its residents, smoldering (along with tall, dark, and handsome) neurosurgeon Ryle Kincaid (Justin Baldoni). The two flirt and even share some “naked truths” with Lily offering up the biggest stunner. She lost her virginity in high school to a boy who turned out to be homeless. It’s then that the hospital calls him and they go their separate ways. For Lily, she’s rented out some retail space and is turning it into a “high-end” flower shop. During her downtime, Lily recalls that long-ago secret romance with the mysterious loner Atlas (Alex Neustaedter). Her thoughts are interrupted by a quirky local named Allysa (Jenny Slate) who wants to be the store’s first staffer. After the place is open to the public they get their first customers, Allysa’s zany investor hubby Marshall (Hasan Minhaj) and Allysa’s brother…Ryle! Small world! The big romance truly begins, but his darker side emerges soon after they frequent the “hot” new trendy restaurant “Root” which is owned and managed by the now adult chef Atlas Corrigan (Brandon Sklenar). Will the man from her past open her eyes to the warning signs coming from Lily’s current love?

This story’s stumbles are somewhat smoothed out by the confident bravada performance of Ms. Lively, doing some of her best work since that underrated gem A SIMPLE FAVOR. As Lily she projects a no-nonsense demeanor though seemingly aloof to her family tragedy, her eyes tell us that it was a troubled childhood. We see some of that melt away as she begins her relationship with Ryle, but the tough exterior holds as she is determined not to be a new “notch on his bedpost”. We see another side when she’s reunited with that lost first love, making way for her awakening to the dangerous path before her. Baldoni is all smooth silky charm as Ryle, somehow giving their “meet cute” a sultry edge. This gives even more power to the cruel twists in his behavior much later. Slate is the usual scene stealer as the story’s comic relief, doing a modern-age riff on the pampered rich diva who thinks the working class is a fun escape from the “high life” (think a younger Karen from “Will and Grace”). Minhaj is her perfect match as the energetic “money mover” hubby Marshall. Sklenar is effective as the somber, often stoic but empathetic first love Atlas (something in that name) who tries to hide the feelings that Lily has rekindled. Unfortunately, there’s little resemblance to his teenage version played with a defiant dignity by Nuestaedter. On the other hand, Lively’s teen version really works thanks to the splendid casting and dramatic chops of Isabela Ferrer who perfectly captures the euphoria of a first infatuation.

I was surprised to see that the director/producer of the film is the male lead Baldoni, which is some impressive “heavy lifting”. Interestingly his last feature was another literary adaptation from five years ago, FIVE FEET APART. He never lets the pacing sag, even as he indulges in several cliche romantic montages (“boozin’ and bowling”) and veers into the area of “Nancy Meyers lifestyle porn” as we take in Ryle’s “ready for the magazine layout cover shoot” digs. This makes the shift in tone, into a domestic violence drama, so jarring. Yes, it’s an important topic, but so much is hidden from us (Lily even refers to herself as an “unreliable narrator”) that it deflects the message, Plus there are so many wild “callbacks” and coincidences. And like most “rom-coms” a major conflict could be quelled with just a few words (Lly is reduced to chanting a mantra of “Baby…baby…”). There’s an opportunity to explore the motivations of the abuser, but one character provides an explanation that’s too simplistic, reminding me of the Simon Oakland denouncement in the last minutes of the original PSYCHO. Then the final act tosses another element in that isn’t really explored in order to provide an inspiring final fade-out. Maybe Christy Hall’s screenplay from Colleen Hoover’s best-seller needed another “pass” or two. Perhaps fans of the book will enjoy the movie “spin”, but unaware moviegoers may think they’ve entered a high gloss basic cable TV “message movie” with the unwieldy histrionics of IT ENDS WITH US.

2 Out of 4

IT ENDS WITH US is now playing in theatres everywhere

A SIMPLE FAVOR – Review

Allright movie fans, it’s still fairly warm outside, so why not enjoy a bit of escapist fun before the days get shorter and colder, just ahead of these big “high-falutin'” awards contenders? Yes, we know that kale and broccoli is better for you, but sometimes you just want to dig in to a big sloppy burger, perhaps with a dash or two of hot sauce to make it extra naughty, just like this new flick. It’s steamy and salacious, concerning a scheming seductress who’s up to no good, in one of those pricey, plush suburban “mini-mansions”. It’s a movie adaptation of a good “beach read” (it is based on a novel) starring a trio of our most photogenic film stars, perfectly coiffed and tailored. And what director is calling on the shots on this sexy, stylish modern, noir-ish, who and how “dun it”? Wait, whoa… it’s the guy behind Melissa McCarthy’s biggest comedies. Does that put you “off’ or does it make this movie a lot more interesting? Hopefully the later, as Paul Feig gets out of his humor “comfort zone” to explore the implications of agreeing to take on A SIMPLE FAVOR.

After a jaunty opening title sequence with colored “image strips” of pricey fashions and furnishings (hang on.. there’s a knife in there…and a pistol) set to the French version of a bouncy 60’s pop tune, we’re looking at a computer screen. It’s the video blog (“vlog”) of Stephanie Smothers (Anna Kendrick), a Martha Stewart-wannabe offering tips to harried moms. But just as she’s about to share her recipe for “veggie-infused” brownies, Steph gives an update on her missing friend. Wha? Flashback to a recent rainy afternoon at a grade school in an affluent suburb about an hour or so away from NYC. As she watches her eight year-old son Miles (Joshua Satine) play with best pal Nicky Nelson (Ian Ho), Stephanie volunteers for too many tasks in the upcoming Fall festival. After the bell rings, she walks her son and his pal to the entrance. Miles pleads to have a “play date” with Nicky. “If it’s okay with his mom”, she replies. Then Nicky’s mom appears, the statuesque, stylishly attired Emily (Blake Lively). She’s against the get together until Stephnie agree to come over for a cocktail…or three. The recently widowed Stephanie is bowled over by the plush Nelson estate (dubbed a “a money pit” by Emily), and the handsome Mr. Nelson, Sean (Henry Golding), an acclaimed author who seems to be a “one hit wonder” (the muse has left him). Over the next few weeks the two women with such different personalities became fast friends, dishing and sharing secrets over martinis. Then comes the call from Emily, “I’ve got help out my boss (a world famous clothing designer) in Miami, could you pick up Nicky?”. The too timid Stephanie agrees. But that night, she can’t get past Emily’s voicemail. Sean is in London tending to his ailing mother, but agrees to catch the next plane back. Oh, and Emily’s boss knows nothing of her Florida trip. When the hours turn to days, the authorities are brought in. As Stephanie helps out the Nelsons, she and Sean grow closer. She reaches out to the public via her vlog, which produces a “lead”, which brings her mystery to a tragic end. But has it? As Sean seeks comfort from Steph, weird things occur around the house, and at the school, where Nicky insists he sees his mommy. Sean scoffs, thinking these are tricks of the mind, but Stephanie is now determined to unearth the secrets of Emily, no matter the cost of her new romance or her very life. Can this “super-mom” become a “super sleuth”?

This wild roller coaster romp showcases one of the best big screen duos of the year. This talented team propels the plot, providing a most enthralling chemistry lesson. Since most of the tale is told through her eyes, lets’ start by singing the praises of one terrific singer/actress, Ms. Kendrick. For most of the film she’s doing a most entertaining riff on her uptight/ good gal persona from flicks like UP IN THE AIR and 50/50. Then we slowly see how the Emily character transforms sweet lil’ Stephie into a determined woman on a mission. Kendrick adjusts her expressions and body language (not “closed in”, but ready to pounce), as she realizes that she’s being “played”, slowly morphing from “doormat” to unafraid avenger. Even more than in his famous film trilogy, Kendrick is truly “pitch perfect”. The same can certainly be said for her scene sparing partner, the compelling Ms. Lively. Her Emily is the coolest (almost stone cold) queen of the staple suburb, quick with an insult or an encouraging quip. Much in the vein of Jane Greer in OUT OF THE PAST or Kathleen Turner in BODY HEAT, she makes seduction look effortless, particularly with the “eager for a BFF” Stephanie. In their martini “play dates”, Lively’s Emily is like a crafty feline, using her queries like paws, to push the mouse-like Steph in any preferred direction. But those paws have sharp claws as she lashes out with fury when her pal tries to snap a photo, then much later when she is forced into a corner. After the nearly unwatchable ALL I SEE IS YOU, Lively bounces back with this bravada performance. Golding, fresh off the surprise smash CRAZY RICH ASIANS, proves he’s more than “the hunk of the month” with the role of the often “slow on the uptake” author who seems to be thinking with an organ other than his brain. Both ladies now exactly how to “push his buttons’ and steer him toward their goals. There’s some scene stealers in the supporting cast. Rupert Friend has a great time as Emily’s high maintenance, sneering boss. Jean Smart is a GREY GARDENS-inspired diva who’s a fountain of backstory info during the final act. Bashir Salahuddin is the investigating detective whose affable easy-going demeanor causes those interviewed to let their guard down, allowing him to sneak inside their minds. Linda Cardellini is “tough as nails” playing a bohemian artist from Emily’s past. But some of the biggest laughs come from Andrew Rannells, the most vocal of the “mom trio” that serves as a Greek chorus to the Stephanie-Emily-Sean triangle. His “house husband” Darren is unfliltered and hysterical.

Though the mystery plot is a new one for the gifted Feig, he’s still able to play to his great strengths. As with his biggest hit BRIDESMAIDS he gets wonderful work from his actresses in scenes of friendship and bonding. This is one flick that passes the “Bechdel Test”, engaging in several “male free” “cut to the bone” conversations. Of course much of the credit for this most go to the witty screenplay by Jessica Sharzer adapting Darcey Bell’s novel. Those early scenes of Emily “feeling out’ and “sizing up” Stephanie just crackle with caustic energy. These are so entertaining that the “big mystery” plot just can’t sustain the fun. The film gets mired in insurance fraud and haunted Summer camps around the one hour mark and looses that breezy momentum, while Stephanie becomes Jessica Fletcher, Jr. far too quickly. Luckily the story gets back on track by the double and triple-crossing finale. As the corpses and deceptions pile up, it almost plays out as a parody of the “woman in danger” Lifetime TV movie or even the psycho-sexual thrillers that comprise the post-midnight fare of premium cable channels (like those, the language here gets pretty “salty”). Still, this doesn’t take away from the great work from the two actresses who couldn’t be a better “match”. Because of them (along with the superb art direction), A SIMPLE FAVOR is simply, devilishly delightful.
4 Out of 5

Win Passes To The Advance Screening Of A SIMPLE FAVOR In St. Louis

A SIMPLE FAVOR, directed by Paul Feig, centers around Stephanie (Anna Kendrick), a mommy vlogger who seeks to uncover the truth behind her best friend Emily’s (Blake Lively) sudden disappearance from their small town. Stephanie is joined by Emily’s husband Sean (Henry Golding) in this stylish thriller filled with twists and betrayals, secrets and revelations, love and loyalty, murder and revenge.

The film opens in theaters on September 14.

WAMG has your free passes to the advance screening of A SIMPLE FAVOR in St. Louis.

Date: Sept. 11, 7pm in the St. Louis area.

ENTER FOR YOUR CHANCE TO WIN A PASS GOOD FOR TWO!

Question: Which 2015 movie did Blake Lively star that is set in San Francisco and follows her through the years as the world around her changes, yet she remains the same?

Add you name, answer and email in our comments section below.

NO PURCHASE REQUIRED. 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.

R – For sexual content and language throughout, some graphic nude images, drug use and violence.

Visit the official site: www.asimplefavor.movie

ALL I SEE IS YOU – Review

For over ninety years cinema has been catering to and exerting two of the five senses. Well mainly, since gimmicks like “Smell-O-Vision” and “Odorama”, used with the films SCENT OF A MYSTERY and POLYESTER, never really connected with the film going public. They were cards that emitted aromas when a number was scratched (after prompting by seeing the number flash on-screen). I’m guessing certain fragrances didn’t mix well with concession treats. Well before that, THE JAZZ SINGER introduced movie audiences to sound, allowing them to hear actors reciting lines rather than reading “title cards’ (along with sound effects and music). Now, instead of those cards, subtitles are run at the frame’s lower part for most foreign films (the subtitles help the “hearing impaired” watching films on home video). But how do film makers simulate the “point of view” of those “impaired’ or “challenged”? The wizards of sound mixing can manipulate the audio, sometimes turning down dialogue in the foreground as they “amp up” street noises in the background, and fading out the sound altogether (as in the recent DUNKIRK). Similar techniques can be used to show the visual senses failing, with shifting focus and fuzzy lighting. And it can keep the hero and heroine in near constant jeopardy, as the film makers attempt in the “would-be” thriller ALL I SEE IS YOU.

At the story’s start we are bombarded by images inside the mind of Gina (Blake Lively) while she’s making love to her hubby James (Jason Clarke). We soon learn that she is blind, the result of an auto accident as a teen. This accounts for the flash images of her family in a car, the sides of a tunnel, and a rapidly approaching truck, followed by flashing bits of glass and metal. Gina and her sister survived while their folks perished. James’s job has taken them to Thailand. While he works, Gina helps the neighbors (she gives guitar lessons to the pre-teen girl down the hall) and swims laps in the public pool along with her pal Karen. Aside from regaining her sight, Gina really hopes to start a family with James. There’s good news on the former front as a sight expert, Dr. Hughes (Danny Huston) tells the duo that he can restore sight in the right eye, once a cornea donor becomes available. An evening celebrating in a dance club turns tense when the couple is temporarily separated. Luckily the happy call from Hughes comes, Gina goes in for the operation, and she can see once more (she had never viewed her hubby’s face). Images are still a tad fuzzy, so Hughes prescribes a strict regimen of daily eye drops. James surprises Gina with train tickets for a return trip to their honeymoon locale of Barcelona, followed by a visit to her sister in a nearby village. Though happy, things don’t go quite right on the trip, especially when they try to “spice things up” in the sleeper car. Thankfully, Gina has a great reunion with her sister Carla (Ahna O’Reilly) and meets her brother-in-law Ramon (Miquel Fernandez) and little nephew Luca. A night on the town turns ugly (frisky locals), but a visit to the accident site helps the sisters heal. Returning to Thailand, the couple continue to be frustrated as the attempt to conceive, Then the unthinkable. Gina’s eye turns a harsh red as she begins to lose clarity in her vision. But she’s taking her drops as instructed. Did something go wrong in the operation or is someone trying to sabotage the healing process?

Perhaps in an effort to duplicate the surprise box office success of last Summer’s THE SHALLOWS, Lively is yet another damsel in distress, without the ticking clock element of a rising tide and hungry shark. She does display a real vulnerability in the early sequences as the camera mimics her gaze (like peering through a fish bowl full of chunky clam chowder) while not showing us the source of sudden loud noises. Unfortunately her Gina is far too guarded, hesitant to relate her feelings, which at times makes her a frustrating heroine. There’s an aloof air that distances her from much of the action as though she’s floating through the story. Clarke’s James is much more straightforward, every bit of unease etched in his darting eyes. His devotion to Gina often verges on the obsessive as he verbally strikes out when things don’t go as planned (especially in their “50 shades” fantasy). His motivations are murky which makes his scenes with Lively off-kilter. O’Reilly is a warm support system as the sister who shares a common trauma, while Fernandez as her hot-blooded hubby is a “wild card” whose attempts at comedy are ill-timed (why does he douse himself in blood-red paint before a bull statue before slipping on a chain-mail dress). Though he’s only in a couple of scenes, the dependable Huston exudes the proper gravitas as the stern but concerned doc.

Unfortunately the film is just as hazy and unfocused as Gina’s right eye. Director Marc Foster (MONSTER’S BALL) lets the story drift aimlessly and only lets a sense of urgency kick in during the last act. Far too much time is spent in the POV shots and the manic memory flashes scattered with little purpose over the long running time ( a twenty-minute trim might’ve helped…a bit). The couple at the story’s centered aren’t compelling enough for us to be invested in their squabbles and pettiness. And why the foreign locales? It adds a bit to Gina’s disorientation in the opening (she struggles with a language-learning app), but it seems an excuse for a “working vacay” for cast and crew. Thailand’s never another character. It’s just another problem with the script by Foster, along with Sean Conway, which is a meandering, pretentious mess (lots of floating shots of Lively…huh?). Film goers will struggle mightily to keep their eyes open (and mind engaged) with ALL I SEE IS YOU.

1/2 Out of 5

See Blake Lively In New Trailer For Open Road Films’ ALL I SEE IS YOU

Rediscover the world with Blake Lively in a new trailer from Open Road Films’ ALL I SEE IS YOU.

Starring Lively alongside Jason Clarke, Yvonne Strahovski, Danny Huston, Ahna O’Reilly and Wes Chatham, this new thriller shows the unraveling of a perfect marriage after a woman regains her sight.

Catch it in theaters October 27th.

Gina (Blake Lively) and husband James (Jason Clarke) have an almost perfect marriage. After being blinded as a child in a nearly fatal car crash that claimed her parent’s lives, Gina depends on James to be her eyes-a dependence that appears to solidify their passionate relationship. She sees her world in her own vivid imagination with help from James’ descriptions. Despite her disability, the two enjoy a colorful existence in Bangkok, Thailand where James works in insurance and Gina explores life in a foreign country. It seems the only real hardship this loving couple faces is difficulty conceiving a child but when Gina is given the opportunity to have a corneal transplant and regains her vision, their life and relationship are upended. Gina now sees the world with a new sense of wonder and independence which James finds threatening. It is only when Gina suddenly begins to lose her sight again that she finally realizes the disturbing reality of their marriage and their lives.

http://www.alliseeisyoumovie.com/

https://twitter.com/AISIYmovie/

Blake Lively To Star In Director Reed Morano’s Espionage Thriller THE RHYTHM SECTION

Production will begin later this year on a new female driven international espionage thriller THE RHYTHM SECTION, with financing from leading independent studio IM Global, it was announced today by Michael G Wilson and Barbara Broccoli of EON Productions in London and IM Global Founder and CEO, Stuart Ford in Los Angeles.

Wilson and Broccoli, who have produced the last eight Bond films (Spectre, Skyfall, Quantum of Solace, Casino Royale, Die Another Day, The World Is Not Enough, Tomorrow Never Dies, Goldeneye), will produce. Ford and IM Global’s Academy Award winning head of production Greg Shapiro (The Hurt Locker, Zero Dark Thirty, upcoming Detroit) and author/screenwriter Mark Burnell will serve as executive producers.

THE RHYTHM SECTION is a contemporary adaptation of the first of British thriller writer Mark Burnell’s “Stephanie Patrick” series of four novels.

Heroine, Stephanie Patrick (Blake Lively) is on a path of self-destruction after the death of her family in an airplane crash, a flight that she was meant to be on. After discovering that the crash was not an accident, her anger awakens a new sense of purpose and she rises to uncover the truth by adapting the identity of an assassin to track down those responsible. The new, and lethal, Stephanie Patrick is on a mission to fill the void between what she knows and what she is told.

Other novels in Burnell’s popular series include “Gemini”, “The Third Woman” and “Chameleon”.

Blake Lively most recently starred in the worldwide box office hit The Shallows for Sony Pictures, which garnered her a People’s Choice Award. That same summer, she appeared in Woody Allen’s Cafe Society, which premiered at Cannes. Lionsgate’s The Age of Adaline, for which Lively played the title character, was also a box office success. She received praise for her performance in Warner Brothers’ The Town. Other films on her resume include Rebecca Miller’s The Private Lives of Pippa Lee and the Sisterhood of the Traveling Pants films based on the best-selling YA novels by Ann Brashares. She is currently in pre-production in director Paul Feig’s film A Simple Favor for Lionsgate.

Reed Morano recently served as a director and executive producer of the of the first three episodes of critically acclaimed The Handmaid’s Tale for Hulu and MGM based on Margaret Atwood’s book. The New York Times described Morano’s work on the show as “unflinching, vital and scary as hell.” One of Playlists’ 20 Best Breakthrough Directors of 2015, Morano also earned an Independent Spirit Award nomination for cinematography in her stunning directorial debut Meadowland starring Olivia Wilde and Luke Wilson, where she also served as the film’s cinematographer. In June of 2017, Morano was presented with the Distinguished Vanguard Filmmaker Award at the UCLA Directors Spotlight.

Morano is a lauded cinematographer as well, known for her work on critical favorites such as Frozen River, Kill Your Darlings and Shut Up and Play the Hits. In 2013, she was inducted into the prestigious American Society of Cinematographers as the youngest member as well as one out of only 12 female cinematographer members at the time. Morano’s latest feature (where she again served as director and DP) called I Think We’re Alone Now, with Peter Dinklage and Elle Fanning, is in post-production and will premiere in 2018.

Said Wilson and Broccoli, “We are thrilled to be bringing Mark Burnell’s THE RHYTHM SECTION to the big screen with our partners at IM Global. It is exciting for us to be working with the immensely talented team of director Reed Morano and actress Blake Lively who have a strong vision for this very compelling story driven by a female protagonist”.

Said Ford: “In Stephanie Patrick Mark [Burnell] has created a unique female heroine who turns so many of the current cinematic clichés surrounding so-called “kick-ass” female leads on their head. To be bringing such a fresh, realistic and bold international thriller to the big screen with EON Productions, Reed and Blake is an exciting proposition for us all at IM Global.”

THE RHYTHM SECTION will commence production in the Fall of 2017 and shooting is likely to take place in the UK, Ireland, Spain, Switzerland and the US.

CAFÉ SOCIETY Arrives on Blu-ray Combo Pack, DVD, Digital HD and On Demand October 18th

“First a murderer, and now a Christian!”

Read my 5-Star review of CAFE SOCIETY HERE

Proving once again that high society life is captivating and amusing, four-time Academy Award winner Woody Allen (Best Original Screenplay, Midnight in Paris¸ 2012; Best Original Screenplay, Hannah and Her Sisters, 1986; Best Director and Best Original Screenplay, Annie Hall; 1977) wrote and directed CAFÉ SOCIETY, arriving on Blu-ray Combo Pack (plus DVD and Digital HD), DVD (plus Digital), Digital HD and On Demand October 18 from Lionsgate. The all-star cast of this 1930s romantic comedy includes Jeannie Berlin (Inherent Vice), Academy Award nominees Steve Carell (Best Actor, Foxcatcher, 2014) and Jesse Eisenberg (Best Actor, The Social Network, 2010), alongside actors Blake Lively (“Gossip Girl”), Parker Posey (Irrational Man), Kristen Stewart (Twilight franchise), Corey Stoll (“House of Cards”) and Ken Stott (The Hobbit franchise.)

Set in the 1930s, Woody Allen’s romance CAFÉ SOCIETY follows Bronx-born Bobby Dorfman (Jesse Eisenberg) to Hollywood, where he falls in love, and back to New York with his colorful Bronx family, where he is swept up in the vibrant world of high society nightclub life.

The CAFÉ SOCIETY home entertainment release special features include a look at the red carpet at the Café Society premiere and a photo gallery. Café Society will be available on Blu-ray Combo Pack and DVD for the suggested retail price of $39.99 and $29.95, respectively.

BLU-RAY / DVD/ DIGITAL HD SPECIAL FEATURES
· On The Red Carpet
· Photo Gallery

See Blake Lively Battle that Shark in THE SHALLOWS on Blu-ray September 27th

Sony Pictures Home Entertainment has officially announced that it will release on 4K Blu-ray and Blu-ray director Jaume Collet-Serra’s (Unknown, Orphan) new film THE SHALLOWS (2016), starring Blake Lively, Óscar Jaenada, Brett Cullen, and Sedona Legge. The two releases will be available for purchase on September 27.

Official synopsis: In the taut thriller THE SHALLOWS, Nancy (Blake Lively) is surfing alone on a secluded beach when she is attacked by a great white shark and stranded just a short distance from shore. Though she is only 200 yards from her survival, getting there proves the ultimate contest of wills. It’s Jaws for a new generation.

Special Features:
Four Featurettes:
Shooting in The Shallows
How to Build a Shark
Finding The Perfect Beach: Lord Howe Island
When Sharks Attack
Deleted Scenes
4K Blu-ray Technical Specs:
Audio
Dolby Atmos (Dolby TrueHD 7.1 compatible)
Multiple subtitle options

My review of THE SHALLOWS:

Economic and immersive, THE SHALLOWS is an 87-minute tale of one woman trying, choice by choice, to keep the odds going in her favor. 200 yards from shore, surfer Nancy (Blake Lively) is bitten, then trapped, by a great white shark. She’s at first perched on a dead whale, then a rock, then a rusty, anchored buoy. Suffering a nasty wound on her leg, she tries screaming for help from the occasional passersby, but they soon become shark snacks. Director Jaume Collet-Serra gets exposition out of the way quickly through a series of brief phone calls that show Nancy has found the Mexican beach her late mother visited while pregnant with her. She’s dropped out of med school and is close to her father and younger sister. We learn this efficiently in the first few minutes, then its straight to the beach for a bit of surfing followed by that tense hour of showdown.

The plot, which takes place over about a 36-hour period, is single-minded (like a shark!), the cast minimal and the pace energetic, but THE SHALLOWS delivers and is a real pleasure to experience. Though the concept and some of the shocks are familiar, Collet-Serra manages to craft some nail-biting set pieces while locking us into his hero’s predicament. In one particularly taut scene, a chubby Mexican passed out on the beach responds to Nancy’s screams by snatching her purse and foolishly heading out to steal her surfboard. Blake Lively is excellent, holding the screen using mostly her emotional reactions and strong physical presence (not to mention her fine bikinied bod) as she rises to the challenge of survival in the tightest of circumstances. There is some dialog between Nancy and an injured bird she nicknames ‘Steven Seagull’ that cleverly illustrates what’s going on in her mind, similar to the relationship between Tom Hanks and ‘Wilson’ in CASTAWAY. Cinematographer Flavio Martinez Labiano provides gorgeous imagery, especially shots captured from beneath the ocean’s surface. A scene with Nancy and the shark both navigating through a school of deadly glowing jellyfish has a ghostly beauty.

THE SHALLOWS hardly reinvents the wheel, but it’s an unfussy genre thriller that does its job well. The tropes of a single character’s survival (or otherwise) may be familiar from CUJO or GRAVITY or even 127 HOURS, but when directed as thrillingly as THE SHALLOWS, the tropes are easy to swallow.

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