See Michelle Pfeiffer in her Golden Globe-nominated performance in FRENCH EXIT, now available on DVD and Blu-ray.
“My plan was to die before the money ran out,” says 60-year-old, penniless Manhattan socialite Frances Price (Michelle Pfeiffer), but things didn’t go as planned. Her husband, Franklin, has been dead for 12 years. With his vast inheritance gone, she cashes in the last of her possessions and resolves to live out her twilight days anonymously in a borrowed apartment in Paris, accompanied by her directionless son, Malcolm (Lucas Hedges), and a cat named Small Frank—who may or may not embody the spirit of Frances’ dead husband.
BLU-RAY, DVD AND DIGITAL BONUS MATERIALS
Deleted and Extended Scenes
FRENCH EXIT stars Michelle Pfeiffer, Lucas Hedges, Valerie Mahaffey, Imogen Poots, Susan Coyne, Danielle MacDonald, Isaach de Bankolé and Tracy Letts
Hey, have you “re-couped” after last week’s virtual comic trek along the East Coast, which despite its title I didn’t consider at all a BAD TRIP? Feeling a bit more adventurous, enough to leave the good ole’ US of A? Well, the “Silver Screen Travel Agency’ has an excursion that might be the cure to your “lock-down” laments. Let’s get those virtual bags re-packed, ’cause the movies are taking us over Spring Break to one of the jewels of Europe, Oh and you’ll be in the company of one of the true cinema goddesses, a talented beauty who has mesmerized movie audiences for five decades now. Quite a “clincher”, eh? She’s our guide and a teacher who can train us on how to execute the perfect FRENCH EXIT.
But before we meet her character, we’re first introduced to her movie son. Malcolm Price (Lucas Hedges) is part of Manhattan’s elite, a drifting twenty-something who can’t be bothered with employment, which would take time away from his “non-committal” relationship with the ever-patient Susan (Imogen Poots). In a flashback, we learn that his big parental influencer is his eccentric glamorous mother Frances (Michelle Pfieffer). He became her constant companion soon after the passing of his father, her hubby Franklin. That’s when she scooped up pre-teen Malcolm and “busted” him out of a snooty prep school. And now things are going to change. After constant pleading with her, the family accountant informs Frances that Franklin’s “financial legacy” has almost evaporated. What to do now? Luckily a close friend offers a radical solution. After liquidating the assets of the plush Price NYC home, Frances and Malcolm can live in the spacious apartment she keeps in Paris. After Malcolm dismisses Susan over the phone, he joins his mother at the harbor loading gate. If they can smuggle in their family’s newest addition, a pet black cat that Frances insists is Franklin reincarnated (it speaks to her in his voice, which sounds just like actor/playwriter Tracy Letts), the two will travel across the Atlantic in a luxury cruise ship. Onboard, Malcolm has a romantic fling with the ship’s “entertainer”, Madeline the Medium (Danielle Macdonald). Upon arrival, the Prices occupy their temporary, loaned new home. Soon they begin collecting a group of new friends and acquaintances including another displaced American, Mme Reynard (Valerie Mahaffey), and quiet intellectual Julius (Isaach De Bankole). Eventually, their lush apartment will include the fired Madeline and Malcolm’s ex Susan who brings along her annoyed preppy boyfriend Tom (Daniel di Tomasso) in her quest for “closure”. They’re all part of the new world that Frances has made for herself and her son.
Since her film roles have been a tad sporadic (sometimes a new project every other year) and of a supporting nature (a small part of the Marvel Studios flicks), Ms. Pfeiffer’s decision to take the lead in this current release is ample cause for celebration. The camera still adores her, helping to draw us in to savor her impeccable line delivery as she recalls the charisma of the icons of Hollywood’s Golden Age. Although she’s always a delight, Frances is just not worthy of her precious time and talents. Perhaps she’s intended as a modern “spin” on the unconventional matriarch in AUNTIE MAME, but the widowed Price is often a spiteful indulgent arrested adolescent. She seems to aimlessly drift from one situation to the next, her half-opened eyes hidden in a perpetual cloud of cigarette smoke. Pfieffer deserves so much more. The character’s casual irresponsibility extends to her son Malcolm who seems to be in a near-constant stupor, an accessory to Frances’ chic fashion ensemble. Hedges plays him with a cool disaffected demeanor but feels too detached. Hopefully, Mr. Hedges will tell his “people” to pass on another role as the escort of an actress “of a certain age” as they embark on an ocean cruise (feels like we just saw him with Meryl Streep in LET THEM ALL TALK). It’s hard to understand his “fling” with Madeline, a character that drains the delightful energy and infectious charm of the usually compelling Ms. Macdonald. At least she fares better than Poots who does her best to bring life to Malcolm’s ex Susan whose intense devotion is so puzzling. A similar loyalty engulfs Mme. Reynard, a character who’s little more than a doormat for the Price duo, and doesn’t make use of the deft comic skills of Mahaffey.
Director Azazel Jacobs makes excellent use of the locations, beginning in NYC, highlighting the excesses of the cruise ship before the wonders of Paris. Unfortunately, he can’t seem to inject much energy into the meandering script by Patrick DeWitt, who adapts his novel. They want us to embrace the Price family as nonconformist rebels who push against those boring “norms”, but the two really come off as spoiled brats sneering at the “worker drones”: the family accountant, the school headmaster, and a hapless waiter (Frances actually starts a fire at the dining table). This attitude is countered by Frances treating the street dwellers as nobility, showering the panhandlers with cash that could be used to reimburse those that have extended a hand to them (living rent-free, for instance). And though Pfieffer can be a truly delightful diva (still the best movie Catwoman ever), after spending nearly two hours with the Prices, you’ll be more than ready to make a hasty FRENCH EXIT.
1.5 Out of 4
FRENCH EXIT opens in select theatres everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas and the Hi-Pointe Theatre on Friday, April 2, 2021.
I Am Woman stars Tilda Cobham-Hervey (Hotel Mumbai), Danielle Macdonald (Dumplin’, Patti Cake$) and Evan Peters (X-Men franchise, “American Horror Story”) and is being released in theaters and on demand September 11th.. Check out the trailer:
From up-and-coming female filmmaker, Unjoo Moon (The Zen of Bennett), the biopic tells the story of Helen Reddy (Tilda Cobham-Hervey), the fiercely ambitious Australian singer behind the 1971 megahit “I Am Woman” that became an anthem for the women’s liberation movement. Helen finds an encouraging friend in legendary rock journalist Lillian Roxon (Danielle Macdonald) while ambitious aspiring talent manager Jeff Wald (Evan Peters) becomes both Helen’s husband and manager and, with a strong push from Helen herself, secures her a recording contract.
This is really an inspiring story of a woman who smashed through the patriarchal norms of her time to become an international singing superstar. The film premiered at last year’s Toronto International Film Festival along with a performance from Helen Reddy’s granddaughter (who sings an original song in the film).
In 1966, single-mother Helen Reddy (Tilda Cobham-Hervey) leaves her old life in Australia for New York and stardom, only to find that the industry’s male gatekeepers don’t take her seriously. Helen finds an encouraging friend in legendary rock journalist Lillian Roxon (Danielle Macdonald), who becomes her closest confidant. When ambitious aspiring talent manager Jeff Wald (Evan Peters) sweeps Helen off her feet, everything changes as he becomes both her husband and manager and relocates the family to California. With a strong push from Helen, Jeff secures her a recording contract and subsequent string of hit singles, including the iconic megahit “I Am Woman.” Increased fame leads to added pressures on themselves and their relationship, forcing Helen to find the strength to take control of her own destiny.
I Am Woman is the inspiring story of singer Helen Reddy, who wrote and sang the song “I Am Woman” that became the anthem for the women’s movement in the 1970s. The film is a story of fearless ambition and passion, of a woman who smashed through the patriarchal norms of her time to become an international singing superstar.
I AM WOMAN stars Tilda Cobham-Hervey, Danielle Macdonald and Evan Peters
It used to be “can a white boy sing the blues,” but now it is “can a white girl rap,” in the Sundance hit PATTI CAKE$. Of course, Patricia Dombrowski, aka Patti Cake$, isn’t a girl any more, she’s a 23-year-old overweight white woman who feels her teenage dream of being a hip-hop star fading away as she remains stuck in lower working-class suburban New Jersey.
PATTI CAKE$ is surprising, endearing, and inspiring film about outsiders, misfits and outcasts but with a women-centric twist. Much of the film’s appeal rests more on the cast performances than its familiar struggling-musician story. As Patti, Australian actress Danielle Macdonald seems like an unremarkable dreamer at first, but Macdonald suddenly transforms when she starts to rap, radiating charisma, intelligence and defiance in equal measures. Even those who are not rap fans while find her energy hard to resist.
The underdog story is familiar but writer/director Geremy Jasper makes it fresh again, in his first feature film. Jasper draws on his own life for parts of the story, adding a feeling of authenticity, and fills it with unique characters while avoiding some familiar music genre plot beats. The former music-video director also provides original songs and music for a tuneful soundtrack.
Blonde-haired Patti has a pretty face but she’s overweight and white, hardly the picture of a rap star. Patti’s best friend calls her Killa P, her mom calls her Patti, but the neighborhood bullies call her Dumbo. She does not internalize the taunts as much as endure them, having heard them all her life. But all that negativity drops away when she is rapping, where she exudes confidence, charisma, vocal power, and an angry, ironic intelligence.
Set in a low-income Jersey suburbia of run-down strip malls, convenience stores, and fast-food restaurants, there is nothing in Patti’s environment to encourage ambition or hope. Patti lives with her bitter hard-drinking mother Barb (Bridget Everett) and wheelchair-bound grandmother Nana (Cathy Moriarty), who struggle to get by on Patti’s income as a bartender at a neighborhood watering hole. Patti gets no encouragement from her boozy mother, a once-promising blues singer disdains hip hop, but she gets support from her best friend and biggest fan Jheri (Siddharth Dhananjay). Jheri’s name tag at the pharmacy where he works may give his name as Rasheen but this South Asian embraces his hip hop identity as passionately as fellow outsider Patti.
None of this looks very encouraging for Patti’s dreams. Hanging out with Jheri, she could easily daydream her life away but Patti feels the pressure to do more. She sees a chance when she meets a shy, nearly non-verbal punk rock musician who goes by the name Basterd (Mamoudou Athie) at a talent contest. Something about his beats and dedication to his art speaks to her and she seeks him out. Together with Jheri and her Nana, they take a shot at musical success.
Patti’s vivid inner life is portrayed in fantasy sequences where she acts out her rapper dreams, fantasies that often feature her favorite rapper, O-Z (Sahr Ngaujah), whose fame and success she hopes to attain.
Patti, Jheri, Basterd and Nana look nothing like typical rappers but their drive to grab a last chance for success and their commitment to each other is infectious. The film is as much about friendship and family as music.
Macdonald’s winning star turn anchors the story, but much of the plot is woman-centric, and strong performances by Bridget Everett and Cathy Moriarty as her mother and grandmother add greatly. Patti has a difficult relationship with her oft-irresponsible mother. Barb. Barb still sometimes belts out tunes at the dive bar where Patti pours drinks, and has a kind of following of old fans from back in the day. Mom often takes out her frustrations on Patti, while also asking her for money, and the parent-child dynamic seems sometimes reversed. But tough, wisecracking Nana provides Patti with the love and encouragement her mother doesn’t.
Jasper’s catchy music, and his skill as a music video director, give the music sequences a gripping energy that grabs even those who are not rap fans.
Music is a big part of this film, which features blues as well as hip hop. Macdonald’s rap sequences are infectious but blues fans will be thrilled with Everett’s soaring, sexy, belted-out blues numbers. The music genre debate forms an interesting backdrop for the story.
PATTI CAKE$ is an irresistible outsider tale with a women-centric twist, lifted by Macdonald’s striking performance, strong supporting cast and catchy score.
From the producer of Foxcatcher and based on the novel by New York Times best-selling author Laura Lippman, EVERY SECRET THING is a gripping psychological thriller about the chilling consequences of the secrets we keep. Detective Nancy Porter (Banks) is still haunted by her failure to save the life of a missing child from the hands of two young girls.
Eight years later, another child goes missing in the same town just days after Ronnie and Alice (Fanning and Macdonald), the two girls convicted of the former crime, were released from juvenile detention. Porter and her partner (Parker) must race against the clock to prevent history from repeating itself. But as they begin to investigate the girls and their families, especially Alice’s protective mother (Lane), they unearth a web of secrets and deceptions that calls everything into question.
Available NOW On Demand and Digital HD and onDVD August 4, 2015.
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– (1) DVD – (1) Copy of the novel “EverySecret Thing” by NY Times best-selling author Laura Lippman – (1) Copy of theatrical poster, signed by Diane Lane, Dakota Fanning, Frances McDormand and more
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Starz finalized another deal at Toronto International Film Festival with the pick-up of the psychological thriller EVERY SECRET THING.
Directed by award-winning filmmaker Amy Berg and based on the 2004 novel of the same name, EVERY SECRET THING stars Diane Lane, Elizabeth Banks, Dakota Fanning, Danielle MacDonald, Common and Nate Parker. Pick up includes all distribution rights for the U.S and will include a theatrical release and a pay TV premiere on STARZ. WME Global negotiated the deal on behalf of the filmmakers.
“This is an amazing film,” said Kevin Kasha, head of acquisitions for Starz. “It’s a gripping story with a great cast and we’re excited to have it on STARZ and to handle distribution via Starz Digital Media and Anchor Bay.”
“Every Secret Thing is a remarkable collaboration of females in film and offers a unique look into the minds of teenagers,” commented Amy Berg. “I am so pleased it will be in theatres in the spring.”
When a three-year-old girl goes missing, a small suburban New York town must revisit a tragic crime from seven years earlier. The underage perpetrators of the original crime, Alice Manning and Ronnie Fuller (Danielle Macdonald and Dakota Fanning), have been released from prison after coming of age and, justly or unjustly, come under suspicion once again. Detective Porter (Elizabeth Banks), who cracked the original case and is now the investigating officer of the missing girl, must examine her conscience and her deeply conflicted memories of the former crime. Alice’s mother, Helen Manning (Diane Lane), is given a chance to save her daughter from her complicated past.
The consequences of the original crime and of the current missing child investigation put into question the characters’ motivations and culpability – past and present. EVERY SECRET THING is a psychological thriller that also questions our judgment of the socio-economic fabric of suburban America. It allows the audience a complex portrait of murder and murderer, thought and deed.
EVERY SECRET THING was produced by Anthony Bregman (Begin Again, Enough Said) and Frances McDormand. Executive producers are Palmstar’s Kevin Frakes, Merced Media’s Raj Singh and Stuart Brown, Hyde Park’s Ashok Amritraj, Likely Story’s Stefanie Azpiazu, and Michael Bederman.
