Fox Searchlight Pictures – Page 2

THE EYES OF TAMMY FAYE (2021) – Review

Andrew Garfield as “Jim Bakker” and Jessica Chastain as “Tammy Faye Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

Though Summer’s in its last week or so, the studios have moved on to another season. Not Fall, but a bit closer to Winter as the “awards season” flicks begin to trickle in and nudge the big escapist blockbusters aside (though they’ll capture most of the screens at your multiplex). And what’s ‘catnip” to those academy voters (and many critics)? Why, the big screen biography genre has gotten more than its fair share of the gold. Now, this week’s flick almost slides into the “show biz-bio” heading, though its subject dominated the news headlines on the front page perhaps more than the features in the entertainment section. Ah, but she was certainly fodder for many comics and mimics. Yes, it’s hard to imagine, but at the end of the 20th century, you’d have a tough time trying not to stare into THE EYES OF TAMMY FAYE.

The film begins in a much-frequented spot for the title subject, namely a backstage makeup room (we’re not sure if it’s at a theatre or a TV studio). Tammy Faye Baker (Jessica Chastain) is getting “dolled-up” by a makeup artist, who sounds surprised by the different “cosmetic enhancements” that she’s done. Quick cut to several decades earlier in the 1950s, as then pre-teen Tammy LaVallery hears the “siren call” of a backwoods church in full “revival mode”.Mother Rachel (Cheery Jones) insists she not attend (since she’s the result of a previous marriage that ended in divorce), but the wide-eyed child is like a “moth to a flame”. Spring ahead to 1960, as Tammy meets and falls in love with another student, aspiring pastor Jim Baker (Andrew Garfield). They marry and move in with her mother. It’s there that Tammy fashions a set of puppets in order to spread the gospel to small children. The married duo travels the revival circuit with their Bible-based kids’ show, While in Virginia, Jim is transfixed by the dynamic Pat Robertson (Gabriel Olds) and his Christian Broadcasting Network (CBN) on TV. A chance meeting leads to the Bakers getting their own kids’ show on CBN. But Jim has ideas for a religious late evening “Tonight Show” style program he dubs “The 700 Club”. When Pat later takes over that show, with the aid of the powerful Jerry Falwell (Vincent D’Onofrio), Pat decides to go out on his own with the Praise The Lord (PTL) satellite network, anchored by the “PTL Club” starring himself and Tammy Faye. Money from call-in donations and business connections (known as their “partners”) pours in leading the Bakers into an opulent lifestyle as they expand with a “theme park”, Heritage USA. But the wealth doesn’t bring happiness as the couple drifts apart and Tammy spirals into a prescription drug dependency. And then the press and the feds start looking into “the books”…

The enormously talented Ms. Chastain shows us her incredible range by diving deep into a personality so often mocked and reviled. TF was an easy target for the late-night TV spoofs, so the easy route might have been caricature. But Chastain actually restores her humanity by not going for the easy laughs and shows us the naive small-town gal swallowed up by the machinery of wealth and fame. Tammy, early on, declares her love for people and goes against much of her denomination by embracing the “other’ ( a scene of her interviewing a pastor with AIDS is quite powerful). Chastain shows us Tammy’s unflagging optimism, keeping her sunny outlook as others make her a punchline. She’s amazing. And happily, she’s got a great screen partner in Garfield who imbues Jim with an endearing, goofy, nerdy charm. Then he shows that slow slip into the dark side, as the spark dims in his squinty eyes, and his greed leads to casual cruelty towards his biggest booster. Another great asset to the film is the brutally honest line deliveries by Jones as mama Rachel, who sees beyond the glittery gifts and becomes a moral compass to her daughter, though it barely registers with Tammy. Greed is this fable’s main villain, along with the lust for power, which is given flesh by the fabulous D’Onofrio who channels some of his sinister bravado from his role as the Kingpin on the Netflix Marvel shows, as the strutting conniving Falwell. Sure the Bakers are far from angels, but they don’t come close to this calculating back-stabber. His superior sneer dominates nearly every scene.

Veteran comedy-craftsman Michael Showalter, perhaps best known for helming THE BIG SICK, does an admirable job in attempting to balance camp and real human conflict. The first act generates lots of amusement as the frisky young Bakers engage in clumsy awkward acts of passion. And we got lots of the 70s and 80s kitsch in the recreations of their gaudy TV shows and the melodramatic music (Tammy emulates “Physical” in a shiny disco workout suit). But the conflicts of the second act, the power grabs, and pill-popping, often delve too hard into soap opera melodramatics (though the right mix happens as Tammy lusts after her hunky music producer). Plus the whole final act downfall feels a bit rushed as the actors recreate famous photos and headlines quickly zip in and out (maybe a streaming or cable miniseries would better flesh things out). But as the fun memories of the opening scenes fade, we still have the great performances, enhanced by some impressive and subtle prosthetics that fill out Chastain’s face to emulate Tammy’s near “chipmunk cheeks”, yet the expert enhancement never inhibits Chastain’s facial expression and emoting (I’m reminded of Martin Landau as Bela in ED WOOD). Plus the fashion recreations are spot-on as the polyester pastels parade past in the PTL shows and studio audience. Yes, this story of rags to riches to rags is fairly familiar but Chastain injects a sympathetic spark into THE EYES OF TAMMY FAYE that makes it worth reliving.

3 out of 4

THE EYES OF TAMMY FAYE opens in selected theatres on Friday, September 17, 2021

THE NIGHT HOUSE – Review

Rebecca Hall in the film THE NIGHT HOUSE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

Okay, we know. Last Friday was the thirteenth, the day that the studio generally releases a spooky flick to chill the bones (and get butts in the seats). And the thriller sequel DON’T BREATHE 2 was unleashed. But that doesn’t mean that the following Friday can’t get one too. And what better place to encounter some “unfriendly spirits” than a creeky ole’ haunted mansion. That’s the reasoning behind the new fright flick, except…This spectral showcase is nearly brand new. Still, there are lots of strange stuff happening when the sun goes down at THE NIGHT HOUSE.

As the story starts, we’re viewing shaky home videos and wedding photos of the happy couple who occupied the newly built home tucked away in the woods on the banks of a tranquil lake. “Occupied’ is the proper term as the two-story lovenest is the site of a tender goodbye, as a friend tries to console recently widowed Beth (Rebecca Hall) after the memorial service for late hubby Owen (Evan Joingkeit). But people mourn in very different ways. As soon as her pal’s car pulls away, Beth dumps her food tray (a pan wrapped in foil, perhaps a lasagna) into the trash. Then it’s an uneasy overnight alone she’s awakened by odd noises and visions. The next morning Beth is surprised to see the gate to the dock swinging open. Luckily a concerned neighbor, Mel (Vondie Curtis-Hall) volunteers to help out and cover the canoe with a tarp. Her best pal Claire (Sarah Goldberg) is stunned when she returns (a little too early) to her job as a speech teacher at the local high school (a brusk meeting with a pushy parent does not go well). The nighttime weirdness continues as Beth begins sleepwalking. As she packs away Owen’s stuff she comes across obscure books about mazes and architectural “trickery” (he had done most of the building work on their home). Soon Beth is drawn to the area surrounding her home and discovers another, smaller version of the house that Owen built in a hidden spot in the forest. This raises “red flags” with both Mel and Claire as Beth begins getting night texts from Owen’s old number. Is he trying to tell her something? Perhaps warn her? And what of the handgun, the one that Owen used to end it all, that seems to move from one packing box to another?

Everything here depends on the performance of Hall as Beth, who’s basically our surrogate eyes, witnessing all the strangeness for us (and reacting to images and sounds that may not really exist). Hall elicits our sympathy in the first act as she navigates her new journey into widowhood. She has the expected vulnerability, but Hall surprises us by revealing Beth’s simmering anger, mostly directed at her hubby, and a bit at herself for not picking up on the “signs”. And just as she appears to give in to the terrors of the darkness, she fights back by diving deep into Owen’s shadowy past with a fervent zeal. The talented Hall has expertly balanced her career between intimate “indies’ like this (CHRISTINE is a stunner) and studio blockbusters, more recently as the big ape’s aide in GODZILLA VS. KONG, and even dipped her toes in the MCU with IRON MAN 3. Goldberg, best known as the flighty actress/girlfriend of HBO’s “Barry”, is very effective as Beth’s concerned and often puzzled BFF. And Curtis-Hall brings great warmth to his role as the neighbor pal who just may know more than he says but does his best to steer Beth away from a most deadly and dark path. Also of note is Stacy Martin, a bewildered bookseller somehow sucked into the secret life of beth’s secretive spouse.

A veteran of horror features and shorts, David Bruckner, directs with a deft hand, eschewing the loud noise “jump-scares’ so overused in many genre flicks. The quiet nighttime scenes build in intensity as he cleverly uses the angles of doorways and columns to suggest sinister silhouettes. There’s some gruesome imagery, but he never goes in for shock close-ups and doesn’t dive into gory details. An overall feeling of dread seeps into nearly every scene, even in the bright daylight, as the looming trees almost lean in to swallow up Beth. Unfortunately the script “goes off the rails” in the far too confusing third act, exploring parallel dimensions and spirit possessions, leading to a final denouncement that falls flat. leaving us with more queries as the end credits begin to roll. But Hall is a powerful and capable “horror heroine”, and her work more than merits a harrowing couple of evening hours in THE NIGHT HOUSE.

3 Out of 4

THE NIGHT HOUSE opens in theatres everywhere on 8/20/21

NOMADLAND – Review

The following review originally appeared on December 4, 2020

As the temps turn chilly and you’re counting down the days till the year’s last big holiday, most folks are looking forward to hunkering down next to the fireplace (or just clicking on the thermostat) and whipping up a nice meal, complete with baked treats, to share with visiting family and friends. Yes, that’s the plan for most. But there’s an ever-growing segment of the population that can’t really afford to “put down stakes”, as they must go “where the work is” just to survive to another year. Right now, not like the Goads in THE GRAPES WRATH. These real-life wanderers, basically playing themselves, support one of our finest actresses in the new narrative feature that truly feels like a documentary, as we enter a place (or is it a state of mind) they call NOMADLAND.

The short title card at the beginning of the film tells the story of Empire, NV. When the market for its main industry, sheetrock, collapsed, the factory closed turning it into a ghost town (its zip code was even dissolved). Then we meet one of its former residents, middle-aged widow Fern (Frances McDormand) as she grabs a few things (her late hubby’s old jeans along with blankets and plates) out of the boxes piled up in their storage unit. She fires up her battered van and hits the highway. At a big department store, she’s spotted by a family from town. They had hired Fern as a tutor and express their worry over leaving her home. Fern waves away their offer of money, insisting she’ll be fine. Later she checks in at an RV campground to settle in a spot her new employer has paid for and reserved. Bright and early that next frigid morning she arrives at her seasonal job at the big Amazon processing center. Her co-worker and new pal Gay (Gay DeForest) tells her of a community of folks living in their vehicles who pool their resources in a deserted dusty spot a few hours away. The weeks pass and Amazon releases their “part-timers”, so Fern has to leave her “temp spot”. She decides to join Gay at the nomadic “commune” organized by a promoter of “the lifestyle”, Bob Wells (himself). Fern makes several new friends and feels an emotional pull (perhaps an attraction) to the lanky, silver-haired Dave (Davis Strathairn). As the temps start to rise, she’s on the road again to find work. For a time she’s a clerk at an outdoor precious gem market, then it’s a turn in agriculture, helping process beets. Then the thing she fears most finally happens, her beloved “Vanguard” breaks down. The repair bill is so high that she must ask her estranged sister for a loan, which involves a bus ride to her plush suburban home and having to endure an awkward cook-out with her neighbors and friends. Soon she’s mobile again and joins Gay on a park ranger/custodian gig where they run into Dave, who brings her along to his next job in one of the eateries in the massive Wall Drug in South Dakota. When he gets a surprise visit from his son, telling him that he’ll soon be a grandpa’, Dave decides to take him up on his offer to move in and get off the road. But before he goes, Dave extends an invite to Fern. Could this also be her escape from the near-endless cycle of driving and drudgery?

After winning acclaim for such diverse roles as the sunny Marge of FARGO and the dour, rage-filled Mildred in THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, McDormand draws us in with the quiet Fern, a woman that’s been traumatized by economic disaster and cruel fate. As we see in her nearly dead gaze of exhaustion, she must push herself to the brink to the brink of collapse to merely “get by”. Those deep dark circles under those heavy-lidded eyes convey the weariness of having to watch her soul mate wither away along with the comfortable surroundings of her home. And though she’s open to new friendships along the trail, she’s leery of getting too close, knowing that everything could just evaporate. Though McDormand holds in her despair, we see it bubble to the surface as she lashes at real estate profiteers at the big family BBQ. The only serenity Fern finds is in the simple everyday pleasures of a blazing late-night campfire, a quick cocktail with a work pal, or a soothing skinny dip in a secluded stream. Her somber tone hides her quiet desperation and self-reliance. She had depended on her husband, and will only rely on her skill set at least until the van breakdown pushes to seek aid. It’s a compelling performance in a career that seems to be packed with memorable work. It helps that she has a terrific rapport with the film’s other screen vet Strathairn, whose David feels a kinship with the sullen, tough-as-nails Fern. He wants to protect and help her but knows that he may desire more from her than she’s able to give. And both actors work seamlessly with all the actual nomads who handle their scenes as though they were old movie “pros”.

Writer/director Chloe Zhao, in adapting the book by Jessica Bruder, uses a real cinema verite style, with her camera becoming a “fly on the wall” drinking in the “alien world” on the fringes of “nine to five” society. She shows us the joy of their communal gatherings while never shying away from the underlying despair and the near-constant air of danger (the shadows drifting by the foggy van windows). Most of these people care nothing about “the romance of the open road”. They have to be on the move to survive since the “American Dream” is so far out of reach (Gay wants to retire, but $500 a month can’t cut it). With them, it’s not “shop till you drop” but rather “work till you drop”. And maybe expire on a filthy factory floor. The use of real locales (yes, it’s an actual Amazon warehouse), intimate cinematography (you can almost feel the chill from the grey skies) and the talented McDormand make for an unforgettable portrait of the always mobile working class that exists in NOMADLAND.

3.5 Out of 4

NOMADLAND opens in theatres everywhere and screens exclusively in the St. Louis area at the Marcus Ronnie’s Cine IMAX

NOMADLAND – Review

3.5 Out of 4

NOMADLAND can be streamed through the Film at Lincoln Center Virtual Cinema through December 11^th, 2020

THE PERSONAL HISTORY OF DAVID COPPERFIELD – Review

As the temps show little signs of cooling (and Fall’s less than four weeks away), another way to pass the hours in the “great indoors” (a very familiar locale for the last five months or so) is to scoop up a beloved literary classic, blow the dust off, and dive right in to revisit another faraway time. Or, for those more adventurous folk, head down to the just reopened movie theatres for the latest big-screen adaptation. Yes, this work has inspired countless artists over its 170 plus years’ history. One such writer/filmmaker, who’s been quite the award magnet in televised media over the last couple of decades, has decided to put his “spin” on this classic to both honor the original tome and breathe “new life” into it for today’s movie audiences. That may account for his “addition” to the title (which had been just the main character’s moniker in most editions), THE PERSONAL HISTORY OF DAVID COPPERFIELD.

This “history” actually starts with the adult David (Dev Patel) using a slide projector to take an appreciative theatre audience back to the time of his birth. Recent widow Clara Copperfield (Morfydd Clark) is briefly distracted from excruciating labor by the whirlwind arrival of her dotty aunt Betsey Trotwood (Tilda Swinton), who just as quickly departs upon learning of the infant’s gender (she was counting on a girl). Fortunately, mother and her servant Pegotty (Daisy May Cooper) dote on the infant. Things get much more complicated when Clara marries the humorless Mr. Murdstone (Darren Boyd) who brings along his equally unpleasant sister Jane (Gwendoline Christie). Luckily little David (Ranveer Jaiswal) is taken on a holiday with Pegotty to visit her brother Daniel (Paul Whitehouse) who works the docks with his adopted kids Ham (Anthony Welsh) and sweet Emily (Aimee Kelly). A big plus, they all live in an old beached boat. Life isn’t as fun when David returns home to the teaching and vicious punishments of Murdstone, who promptly sends him off to London to toil as a wine-bottler. Here too, he gets a taste of happy home life when he is sent to live with the poor, but fun Mr. Micawber (Peter Capaldi) and his raucous large clan. It all comes to an end when the Murdochs arrive to inform David (now Patel) of his mother’s passing. Distraught with rage he somehow walks to his Aunt Betsey’s estate. She welcomes him and he soon becomes good friends with their distant relative, the eccentric but sensible Mr. Dick (Hugh Laurie). But he must continue his education, so Betsey enrolls him in a boys prep school run by the tipsy Mr. Wickfield (Benedict Wong) and his good-hearted daughter Agnes (Rosalind Eleazar). There David makes friends with both the rich, cocky Steerforth (Aneurin Barnard), and the school’s strange, self-deprecating custodian Uriah Heep (Ben Whishaw). As David matures he falls in love with Dora (Ms. Clark again), thwarts a financial crime, and pursues his dream of writing a great novel.

As you see, the film follows HAMILTON with its “color-blind” casting, using actors of many different ethnicities and races to interpret the classic roles. With that, we’re treated to a most passionate performance by Patel as the lead. He utilizes his superb comic skills along with a lanky physicality, often recalling the great silent film clowns. And when he falls in love, Patel does a full-on deep dive. Ditto for his “mini-me”, the endearing Jaiswall who behaves as though every place is a new part of “Wonderland”. The rest of Dickens’ classic characters are an actor’s dream, and this extraordinary cast makes them feel fresh and new. Swinton is a zany whirlwind as Betsey, from chasing away the dreaded donkeys from her land (she knocks riders to the ground) to distracting Wickfield away from her well-stocked globe full of booze. She’s got a great “dancing partner’ in the deliciously loopy Laurie who rambles about Charles the First while toting a big cumbersome kite (his work is reminiscent of his many roles on the various incarnation of TV’s “Blackadder”). Perhaps the most endearing Dickens creation may be Micawber who is played with charm to spare by the buoyant Capaldi (the last of the male Who doctors) as a doting dad and lovable rascal always short of cash but towering with heart. On the subject of great comic turns, kudos to Clark who steals so many scenes as the completely daffy Dora (talking through her pup Jip), after pulling on our heartstrings as the loving but doomed Clara. The film’s most subtle but compelling standout might be Whishaw whose bowing manner and Moe Howard hairstyle hide a truly devilishly devious mastermind. Whishaw’s odd demeanor and swirling beady eyes inject an off-kilter menace to even a friendly snack of “heavy” cake.

Oh, the award-winning creative force behind this? None other than Armando Iannucci, who we’ve not seen on the big screen since 2017’s THE DEATH OF STALIN, though he’s been very busy at HBO finishing up the political satire “Veep” and starting up the sci-fi spoof “Avenue 5”. With this adaptation he’s shaken up the story a bit, trimming some characters while fiddling with the plot mechanics in order to bring things to a most satisfying conclusion in just two hours’ time. Aside from starting with a flash-forward Iannucci has incorporated several startling cinematic devices, changing scenes using some CGI trickery, often bulldozing the “fourth wall” to have David address us and his own child- self, and tossing in some narrative bits right from Broadway (at one point the actors’ backdrop is replaced by a projected sequence). As with his past works, Ianucci relies on rapid-fire dialogue (he co-wrote the script with Simon Blackwell) dropping gags with precision accuracy, but he also displays a terrific knack for choreographing wild bits of slapstick chaos, highlighted as Micawber’s home is under siege from creditors, their hands reaching through windows as they literally try to re-take the carpet right under his feet. And all the while he doesn’t short-change the drama and pathos of this man’s “history”. Add a sweeping score from Christopher Willis, dazzling cinematography from Zac Nicholson, plus costumes, art direction, and sets from artists and craftspeople at the “top of their game”, well, you’ve got a story from nearly two centuries ago that feels vibrant and alive, putting you right in the “moment”. THE PERSONAL HISTORY OF DAVID COPPERFIELD is an exceptional cinematic experience.

Three and a Half Out of Four

WENDY – Review

Over the last few years the “Mouse House” has gone “all in” on doing live-action remakes of their Animated features film classics. Now we’re not talking about the Pixar flicks, though CGI has certainly been enlisted to give the more fantastic elements. Though it stuns me to say it, kudos to the Hollywood Foreign Press and their Golden Globe awards for pointing out that one such remake was not “live-action” but rather a computer-animated feature. These raids of the Disney “vault” target mainly their 1937 to mid-1990s output. Last year was almost a deluge with digital “re-do’s” of DUMBO, ALADDIN, and THE LION KING, with LADY AND THE TRAMP streaming on the Disney+ app. Ah, but one hasn’t been “tech’d up”. Maybe because it originated in live-action, on stage because unlike most of the classic fairy tales (the Grimms, Anderson, etc.) it’s just a bit over a century old. And the approach by the filmmakers is quite unlike the big “D”, very gritty, grimy and modernized, set in the states (mostly) and starring a very diverse cast of untrained, first-time actors. Pretty much like the producers’ last flick, the strange, magical BEASTS OF THE SOUTHERN WILD eight years ago. They’re making their mark on this familiar tale by doing a switch on its title. Rather than that boy who “never grew up”, they’re focusing on WENDY.

It is indeed Wendy who we first meet as an infant, cradled in the arms of her mother Angela Darling (Shay Walker) as she runs (cook, waitress, and “busser”) a ramshackle diner, where it’s always “eggs o’clock”, precariously close to the railroad tracks somewhere in Louisiana, USA. A brief dissolve and Wendy’s a toddler, tossing eggs on the grill, walking the counter, and watching her older twin brothers Douglas (Gage Naquin) and James (Gavin Naquin) dance to the “jukebox”. The years pass and pre-teen Wendy (Devin France) is entertaining the boys with her own crafted magical stories, filled with monsters and pirates. The kids long for their own real adventures as they gaze out the bedroom window, above the diner, mere feet from the trains. One night she spies a grinning boy beckoning her from the top of a slow-moving boxcar. Climbing out onto the overhanging roof, Wendy leaps onto the train, quickly followed by the twins. They soon catch up to the boy of eight or nine years. Peter (Yashua Mack) wears shorts and a ragged schoolboy jacket as he gestures to them with his “sword’ (a kid-sized machete). To the shock of the Darlings, Peter pushes them out of an open boxcar, into the river below. Nearby one of Peter’s friends waits in a canoe. They all climb aboard and paddle to a lone island with a smoke-belching mountain at its center. Exploring this strange place, the Darlings meet with several other kids, including a boy from their town who has been missing for years. But he’s not aged a day. Peter tells them that they will spend their days having fun and they will never grow old. All sounds great, but Wendy wonders whether she saw a scraggy, long-haired old man lurking in the forest. And what is the mysterious glowing giant fish in the lagoon?

Once more, as with their previous film, the producers seem to have struck cinema “gold” in the casting of their lead actress. Newcomer France gives a remarkable performance as the title character eschewing showy histrionics for a restrained and very natural portrait of a young woman suddenly living out her daydreams. Through her round expressive eyes we see her sense of wonder over the strange land and its breathtaking creatures (human and animal). But she’s also very grounded, as she tries to watch over her older brothers while feeling homesick, riddled with guilt imagining her mother’s heartache over their absence. She’s a great counterpart to Mack’s Peter, who only seems to be care about himself in his quest for fun adventures. His playful antics can suddenly shift to childish rants and tantrums, as he insists that everyone must follow his impulses. The Naquin twins are all rambunctious energy, always on the move until a tragedy alters them, emotionally and physically. Walker, as their hard-working mom, is a nurturing force of nature, as she puts on a brave face, adoring her “angels” despite her own hardships (just what became of the patriarch).

In creating this new spin on an iconic story, director Benh Zeitlin, who co-wrote the screenplay with sister Eliza, sprinkles magic throughout, both in the “real” settings (the diner practically rattles off the ground with every passing train) and in a most unique take on “Neverland”. That locale is the island of Montserrat, south of Antigua, site of an active volcano which looks to erupt with every step of Wendy and these “lost boys”. Steam shoots from random spots on its rocky beach, adding an air of constant danger, but delighting Peter, who thinks he can speak with the mountain spirits. There’s a nice radiant warm glow to the photography, perhaps due to its use of 16mm (little electricity on the isle). The older film stock helps add to the surprisingly effective special effects as the kids float amongst the fantasy fish and fauna seamlessly (no dark lines or wise are seen). Zeitlin guides the acting “newbies” with great skill, making us feel as though we’re watching kids from the neighborhood at play. It’s engaging compelling “magic realism” that renders Barrie’s tale fresh and urgent. WENDY floats on a whimsical cinematic trip through our old childhood dreams.

3 Out of 4
WENDY opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

Win Passes To The Advance Screening Of ME AND EARL AND THE DYING GIRL In St. Louis

Winner of the Grand Jury Prize and the Audience Award at the 2015 Sundance Film Festival, ME AND EARL AND THE DYING GIRL is the uniquely funny, moving story of Greg (Thomas Mann), a high school senior who is trying to blend in anonymously, avoiding deeper relationships as a survival strategy for navigating the social minefield that is teenage life.

He even describes his constant companion Earl (RJ Cyler), with whom he makes short film parodies of classic movies, as more of a ‘co-worker’ than a best friend. But when Greg’s mom (Connie Britton) insists he spend time with Rachel (Olivia Cooke) – a girl in his class who has just been diagnosed with cancer – he slowly discovers how worthwhile the true bonds of friendship can be.

Fox Searchlight Pictures and Indian Paintbrush present, a Rhode Island Ave. Production, ME AND EARL AND THE DYING GIRL, directed by Alfonso Gomez-Rejon, screenplay by Jesse Andrews, based on his best-selling young-adult novel of the same name and starring Thomas Mann, Olivia Cooke, RJ Cyler, with Nick Offerman, Molly Shannon, Jon Bernthal and Connie Britton.

The film opens in St. Louis on June 26. To find a showing near you, visit Theaters.MeAndEarlMovie.com.

Watch The Academy Conversation here.

WAMG invites you to enter for a chance to win passes (Good for 2) to the advance screening of ME AND EARL AND THE DYING GIRL on Monday, June 22nd at 7PM in the St. Louis area.

We will contact the winners by email.

Answer the following:

In 2013, Jesse Andrews’ thought-provoking and moving young-adult novel Me and Earl and the Dying Girl took readers by surprise with a truly contemporary coming-of-age story, packed with smart original dialogue and fully realized teen characters.

What is your favorite movie based on a young-adult novel? What made it special?

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. 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. The theater is not responsible for overbooking.

3. No purchase necessary.

The film is rated PG 13 for sexual content, drug material, language and some thematic elements.

http://meandearlmovie.com/

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Fox Searchlight Pictures Acquires Davis Guggenheim’s HE NAMED ME MALALA

Fox Searchlight Pictures Presidents Nancy Utley and Stephen Gilula announced today that the company has acquired worldwide rights less France and other French-speaking territories to the documentary HE NAMED ME MALALA, directed by Academy Award-winner Davis Guggenheim. Studiocanal will distribute the film in France.

HE NAMED ME MALALA is scheduled to be released in 2015.

The documentary, produced by Walter Parkes and Laurie MacDonald under their long-term production partnership with Image Nation Abu Dhabi and co-financed by Participant Media, is an intimate portrait of Malala Yousafzai, who was wounded when Taliban gunmen opened fire on her and her friends’ school bus in Pakistan’s Swat Valley.

The then 15-year-old teenager, who had been targeted for speaking out on behalf of girls’ education in her region of Swat Valley in Pakistan, was shot in the head, sparking international media outrage. An educational activist in Pakistan, Yousafzai has since emerged as a leading campaigner for the rights of children worldwide and in December 2014, became the youngest-ever Nobel Peace Prize Laureate.

“Malala’s incredible journey is both heartbreaking and inspiring. Her bravery in the face of adversity brought us to tears. The chance to bring her story to a global audience will be an honor for all of us here at Searchlight,” said Gilula and Utley.

“Spending the last 18 months with Malala, her father Ziauddin and their family has been one of the great experiences of my life. Now that Fox Searchlight is joining Image Nation and Participant Media, we have the opportunity to share their moving story with the world,” said Guggenheim.

“This project has been an incredible journey and we’re now pleased to be joined by Fox Searchlight Pictures, whose expertise will help ensure the film reaches as many people as possible with its inspiring message,” said Mohamed Al Mubarak, Chairman of Image Nation Abu Dhabi.

Jeff Skoll, Participant Media’s Founder & Chairman commented, “Participant is thrilled that Fox Searchlight has joined this incredible team bringing Malala’s voice, and her efforts to insure that every young woman in the world has a chance to get an education, to audiences everywhere.”

The film’s producers are Walter Parkes and Laurie MacDonald. Executive producers include Mohamed Al Mubarak and Michael Garin from Image Nation Abu Dhabi and Jeff Skoll for Participant Media.

In a call to millions of other girls around the world and those who stand with them, the film will also launch an international advocacy and fundraising campaign in partnership with the Malala Fund, Malala’s nonprofit organization working to empower adolescent girls globally through a quality secondary education.

The deal was brokered by Fox Searchlight’s Executive Vice President of Worldwide Acquisitions, Tony Safford; Senior Vice President of Business Affairs, Megan O’Brien; and Senior Vice President of Acquisitions & Co-Productions Ray Strache, and Julian Zajfen at Ziffren Brittenham, which represented the filmmakers.

Win Passes To The Advance Screening Of THE SECOND BEST EXOTIC MARIGOLD HOTEL In St. Louis

THE SECOND BEST EXOTIC MARIGOLD HOTEL is the second installment of the star-studded British comedy that follows a group of British retirees who decide to spice up their lives in magical India.

In theaters on March 6, 2015, the sequel was once again directed by John Madden, best known for his acclaimed movies Shakespeare In Love (Academy Award winner for Best Picture, 1998), Proof (based on the eponymous Pulitzer Prize winning play, 2005) and The Debt.

The renowned cast has reunited for the film including stars Judi Dench, Maggie Smith, Bill Nighy, Dev Patel, Celia Imrie, Penelope Wilton, Ronald Pickup, Tina Desai, Diana Hardcastle and Lillete Dubey. Additional cast making their debut include Tamsin Greig, with David Strathairn and Richard Gere.

WAMG invites you to enter for a chance to win passes (Good for 2) to the advance screening of THE SECOND BEST EXOTIC MARIGOLD HOTEL on Monday, March 2 at 7:00PM in the ST. LOUIS AREA. We will contact the winners by email.

Answer the following:

How many Oscars do Judi Dench and Maggie Smith have between them?

TO ENTER, ADD YOUR NAME, ANSWERS 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.

The film has been rated PG

Visit the official site: http://thesecondbestexoticmarigoldhotel.com/

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Follow on Twitter: https://twitter.com/foxsearchlight

Check Out The First Poster & Trailer For THE SECOND BEST EXOTIC MARIGOLD HOTEL

Time to check in again to THE SECOND BEST EXOTIC MARIGOLD HOTEL. Fox Searchlight Pictures invites you back to Jaipur, India with this new teaser for the film, opening in theaters March 6, 2015.

The sequel sees the return of Judi Dench, Bill Nighy and Maggie Smith. Fans of Smith can expect to see the 2-time Oscar winning actress on the big and little screen this autumn and I suspect during the upcoming Awards Season. She’s nominated again with an Emmy for Supporting Actress (Drama) for “Downton Abbey” and her work on the upcoming film MY OLD LADY, alongside Kevin Kline and Kristin Scott Thomas, is without a doubt Smith’s finest work in years and definitely worth some Oscar attention.

Read Jim Batts’ review of the first film HERE.

THE SECOND BEST EXOTIC MARIGOLD HOTEL is the expansionist dream of Sonny (Dev Patel), and it’s making more claims on his time than he has available, considering his imminent marriage to the love of his life, Sunaina (Tina Desai). Sonny has his eye on a promising property now that his first venture, The Best Exotic Marigold Hotel for the Elderly and Beautiful, has only a single remaining vacancy – posing a rooming predicament for fresh arrivals Guy (Richard Gere) and Lavinia (Tamsin Greig).

Evelyn and Douglas (Judi Dench and Bill Nighy) have now joined the Jaipur workforce, and are wondering where their regular dates for Chilla pancakes will lead, while Norman and Carol (Ronald Pickup and Diana Hardcastle) are negotiating the tricky waters of an exclusive relationship, as Madge (Celia Imrie) juggles two eligible and very wealthy suitors.

Perhaps the only one who may know the answers is newly installed co-manager of the hotel, Muriel (Maggie Smith), the keeper of everyone’s secrets. As the demands of a traditional Indian wedding threaten to engulf them all, an unexpected way forward presents itself.

John Madden will again direct with the script by Ol Parker.

http://www.foxsearchlight.com/thesecondbestexoticmarigoldhotel/

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