AUGGIE (Jacob Tremblay) and JACK WILL (Noah Jupe) in WONDER. Photo courtesy of Lionsgate Entertainment.
Lionsgate has released the first trailer for WONDER starring Julia Roberts, Owen Wilson, Jacob Tremblay and Mandy Patinkin.
Based on the New York Times bestseller, WONDER tells the incredibly inspiring and heartwarming story of August Pullman, a boy with facial differences who enters fifth grade, attending a mainstream elementary school for the first time.
Definitely look for this film come awards season.
Based on the New York Times bestseller, WONDER tells the inspiring and heartwarming story of August Pullman.
Born with facial differences that, up until now, have prevented him from going to a mainstream school, Auggie becomes the most unlikely of heroes when he enters the local fifth grade.
As his family, his new classmates, and the larger community all struggle to find their compassion and acceptance, Auggie’s extraordinary journey will unite them all and prove you can’t blend in when you were born to stand out.
From L to R: Owen Wilson as “Nate,” Jacob Tremblay as “Auggie,” Izabela Vidovic as “Via” and Julia Roberts as “Isabel” in WONDER. Photo by Dale Robinette.
WONDER is directed by Stephen Chbosky who is best known for writing The New York Times bestselling coming-of-age novel The Perks of Being a Wallflower (1999), as well as for screenwriting and directing the film version of the same book, starring Logan Lerman, Emma Watson, and Ezra Miller. He also wrote the screenplay for the 2005 film RENT, and Disney’s 2017 live-action adaptation of BEAUTY AND THE BEAST alongside with Evan Spiliotopoulos and was co-creator, executive producer, and writer of the CBS television series “Jericho”.
“Tra-la-lalala”A simple tune that quickly transformed into an earwig which burrowed into the brains of a generation (“Generation X” to be more precise). Yes, it’s the rallying song of that big, blue behemoth of kid-friendly franchises, the Smurfs. Those petite (three apples high) magical imps were introduced by Belgian cartoonist Peyo (AKA Pierre Colliford) way, way back in 1958. They were a merchandising phenom in Europe, but didn’t truly achieve worldwide superstar status until they descended on the US thanks to TV cartoon titans Bill Hanna and Joe Barbara (the creators of The Flintstones and Scooby Doo also co-wrote that too-catchy theme song with Hoyt Curtin) and became the anchor for NBC’s Saturday morning line-up in 1981 through 1989. Tons of toys and imitations (remember the Snorks?) followed, but things were quiet in their hidden spot in the magic forest for the next twenty years or so. And then Sony Pictures decided to exploit the nostalgic affection that thirty-somethings still had for them. And they’ve got kids of their own now, so let’s return to the woods. The result was the 2011 box office hit, THE SMURFS mixing live-action stars led by Neil Patrick Harris with the now CGI-animated blue pixies. Of course a sequel followed two years later. But now Sony is returning them to their animated adventure roots, much like the dubbed import THE SMURFS AND THE MAGIC FLUTE back in 1983. They’re still computer-delinated, but there ‘s no cavorting in front of second-unit shot real backdrops. We’re exploring that vast forest in SMURFS: THE LOST VILLAGE.
But first we’ll drop in on a typical day in a “found” village, the home of the Smurfs. Everyone seems to be having a happy “smurfy’ day, all but one, the lone blue (skin and mood) lady, Smurfette (voiced by Demi Lovato). While most of her pals are named for their personality (Vain Smurf, Nosy Smurf, etc) or job (Farmer Smurf, Baker Smurf, etc.), her own name denotes nothing specific (“What’s an ‘ette'”?). Naturally she breaks the rules and ventures into the lush Forbidden Forest in search of answers. Luckily(?) three of her pals and protectors, Clumsy Smurf (Jack McBrayer), Brainy Smurf (Danny Pudi), and Hefty Smurf (Joe Manganiello), sneak off just behind her. Of course they’re discovered by their arch foe, the crafty wizard Gargamel (Rainn Wilson), who desires them for his “dark magic”. Soon after finding a mysterious yellow cap and spotting an entrance to a walled off section of the woods, Smurfette and company are scooped up by Gargamel’s “hench-bird” (is it a vulture/dodo hybrid?). The sorcerer spies the cap right before Papa Smurf (Mandy Patinkin) launches a rescue. Back at home base, the angry patriarch “grounds” the quartet, but Smurfette is concerned that Gargamel will locate the hidden village. The four friends sneak out and rush back to the woods to warn those behind that wall about the wizard. It’s too late since Garagamel, his bird, and his devious feline sidekick Azrael are in hot pursuit. Can our heroes get there in time and thwart his evil schemes?
As with far too many animated features, this film resorts to “stunt casting”, using well-known vocal talent from TV and movies, perhaps to lure in the adult crowd. I’ll admit to playing an audio guessing game (is that …mmm..no, it’s …) as my mind wandered during most of the 89 minute running time. Fortunately many casting choices worked out well, often helping the overall tone. This is true of a trio of sitcom vets. Pudi (TV’s “Community” and “Powerless”) and McBrayer (“30 Rock”) bring a lot of manic energy to their roles of Brainy and Clumsy. But the movie MVP may be the wonderful Wilson as the snickering sneering sorcerer who not nearly as menacing as he believes himself to be. You may want to rush to the exits at the final fade-out, but try to stick around for the end credits as Wilson riffs (could it be “ad-libs”) on the words and phrases scrolling over his bare noggin (“Matte Painting?! Is that really a thing?!”). I wished there was more of that in the middle of the flick! Lovato and Manganiello are plucky and sweet as story’s (almost) romantic couple (not to worry parents, it’s just hinted). They bring more to their roles than the biggest names, though. Patinkin seems too somber and cranky, making us miss Papa’s previous voice, the late great Jonathan Winters, even more. And Julie Roberts is far too low energy as the queen of said “lost village” SmurfWillow (oops, a teeny spoiler), though another sitcom pro Elle Kemper (“The Unbreakable Kimmy Schmidt”) amps up the final act considerably.
Like their original TV episodes this new feature adventure is bouncy and colorful, while not being too achingly saccharine (it comes mighty close). There are a few spooky scenes, but nothing to upset the wee ones (though their older sibs are sure to get antsy). Dreamworks had a lot more fun with another set of whimsical imps in last year’s TROLLS which was aiming for a slightly more mature audience. This new film is a fairly good way to introduce children to the theatre experience, since it’s really aimed squarely at the “pre-K” crowd. It certainly lands on the gentler side of family flicks with none of the wild “in your face” aggressive hi-jinks of the HOODWINKED films or last year’s ANGRY BIRDS MOVIE (the “teaser” for the upcoming EMOJI MOVIE played before the feature…uh oh). I attended a “flat” screening, so I can’t say if many of the action sequences (with lots off leaping and flying about) that looked to be designed for 3D worked. Luckily the blue folks have some visually interesting playmates. Florescent green bunnies bounce through dark caves while dragonflies that breathe fire (like..you know..) offer transport. Oh, and Brainy’s got a nifty ladybug pal that’s a camera (for ‘selfies’), a scanner, and a printer (bet it’ll be the big toy gizmo for Easter). After the edgy wonders from Disney, Pixar, and Dreamworks, this timid tale is a tad tedious, but for the parents of the very young SMURFS: THE MAGIC VILLAGE is an occasionally amusing, bland, but bearable kiddie matinée.
A big-hearted comedy invites us all to enjoy laughter, tears and love when MOTHER’S DAY arrives on Digital HD on July 19, 2016, and on Blu-ray™, DVD and On Demand on August 2, 2016, from Universal Pictures Home Entertainment.
Jennifer Aniston (Horrible Bosses, “Friends”), Kate Hudson (How to Lose a Guy in 10 Days, Almost Famous), Julia Roberts (Eat Pray Love, Erin Brockovich) and Jason Sudeikis (“The Last Man on Earth,” “Saturday Night Live”) lead an incredible cast in a film that connects the lives of a group of people maneuvering their way through relationships and family dysfunction in the week leading up to Mother’s Day. The Blu-ray™, DVD and Digital HD feature even more funny and feel-good moments with a gag reel and deleted scenes.
From Garry Marshall, the director of Pretty Woman and Valentine’s Day, comes MOTHER’S DAY, an all-star comedy that celebrates parenthood and family. The star-studded ensemble film follows three separate-but-connected families and explores the many types of relationships among children and their mothers. It’s a comedy that will make you laugh, cry and cheer!
Also starring Shay Mitchell (“Pretty Little Liars”), Timothy Olyphant (“Justified,” Live Free or Die Hard), Britt Robertson(Tomorrowland, The Longest Ride) and Hector Elizondo (Pretty Woman, The Princess Diaries), MOTHER’S DAY tells a fun and relatable story that can be enjoyed by all generations, making it the perfect family night movie!
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BONUS FEATURES on BLU-RAY™ and DVD
Deleted Scenes with introductions by Garry Marshall
FILMMAKERS: Cast:Jennifer Aniston, Kate Hudson, Julia Roberts, Jason Sudeikis, Britt Robertson, Timothy Olyphant, Hector Elizondo, Jack Whitehall Casting By:Barbara J. McCarthy, Gail Goldberg Music Supervisor:Julianne Jordan Music By:John Debney Edited By:Bruce Green, Robert Malina Production Designer:Missy Stewart Cinematographer:Charles Minsky Line Producer:Cherelle George Co-Producers:Mark B. Johnson, Heather Hall Executive Producers:Kevin Frakes, Ankur Rungta, Matthew Hooper, Jared D. Underwood, Danny Mandel, Rodger May, Fred Grimm, Bill Heavener, Scott Lipsky, Leon Corcos, Deborah E. Chaussé, William Bindley Produced By:Mike Karz, Wayne Rice, Daniel Diamond, Brandt Andersen, Howard Burd, Mark Disalle Story By:Lily Hollander, Matt Walker, Tom Hines, Garry Marshall Screenplay By:Anya Kochoff Romano, Matt Walker, Tom Hines Directed By:Garry Marshall
TECHNICAL INFORMATION BLU-RAY™: Street Date:August 2, 2016 Copyright: 2016 Universal Pictures Home Entertainment Selection Number: 55178072 Layers: BD-50 Aspect Ratio: Widescreen 1.85:1 Rating: Rated PG-13 for language and some suggestive material Languages/Subtitles: English SDH, Spanish and French Subtitles Sound: English DTS-HD Master Audio 5.1/Dolby Digital 2.0 Run Time: 1 hour 59 Minutes
TECHNICAL INFORMATION DVD: Street Date:August 2, 2016 Copyright: 2016 Universal Pictures Home Entertainment Selection Number: 55178069 Layers: Dual Aspect Ratio: Anamorphic Widescreen 1.85:1 Rating: Rated PG-13 for language and some suggestive material Languages/Subtitles: English SDH, Spanish and French Subtitles Sound: English Dolby Digital 5.1/Dolby Digital 2.0 Run Time: 1 hour 59 Minutes
On Tuesday July 19, Hollywood lost a giant in the world of comedy with the passing of beloved director/writer/producer/actor Gary Marshall at the age of 81. While most of the news outlets focused in on his considerable work in television (he practically owned Tuesday nights in the 1970’s with his “Happy Days” empire), this site would like to salute Mr. Marshall’s work on both sides of the camera.
After impressive writing credits on many of the classic sitcoms of the 1960’s, it was inevitable that the movie studios would tap him to contribute to several screenplays. The first was produced in 1968, a marriage comedy starring James Garner and Debbie Reynolds, HOW SWEET IT IS. A youth-oriented romantic comedy starring Jacqueline Bisset, THE GRASSHOPPER, was released in 1970. TV triumphs quickly followed, so Marshall’s movie career was put on hold for more than a dozen years.
1982 was the year that Marshall began his feature film directing career, with an “AIRPLANE-style” parody of medical dramas, YOUNG DOCTORS IN LOVE. It’s the first of his 18 features, all co-starring Hector Elizondo, who became Marshall’s movie “good luck” charm. The largely autobiographical (yes, he wrote it) THE FLAMINGO KID starring Matt Dillon followed two years later. Marshall went for laughs and family drama in 1986 with Tom Hanks in NOTHING IN COMMON, guiding the last great movie performance of comedy legend Jackie Gleason.
Real life couple Goldie Hawn and Kurt Russell created on-screen sparks in the “rom-com” OVERBOARD, Then Marshall scored his biggest hit with a true “tear-jerker”, a look at the ups and downs of the life-long friendship between Bette Midler and Barbara Hershey in BEACHES. But its box office returns would pale compared to Marshall’s most popular, and enduring film, PRETTY WOMAN, the hit that established Julia Roberts as a major movie star (it gave a jolt to Richard Gere’s career, too).
Those two stars would later re-team with Marshall for RUNAWAY BRIDE. But before that flick there was FRANKIE AND JOHNNY (pairing Al Pacino and Michelle Pfieffer post SCARFACE), EXIT TO EDEN (a crime comedy set in the world of bondage?), THE OTHER SISTER, and DEAR GOD. After BRIDE, Marshall pursued teenage audiences with the two PRINCESS DIARIES flicks starring Anne Hathaway and Julie Andrews. Two family “dramadies” RAISING HELEN and GEORGIA RULE would be mixed in with the DIARIES. In 2010 Marshall began a romantic comedy ensemble trilogy built around holidays with VALENTINE’S DAY. NEW YEAR’S DAY followed the next year. MOTHER’S DAY concluded the trio just this past April, and would be Marshall’s final film.
And let’s not forget Marshall’s scene-stealing work as a superb comic supporting actor. Hey, he started off with a true classic! Supposedly he’s got an uncredited role as a gangster in one of the best (in some circles it’s considered THE best!) Bond thrillers, GOLDFINGER! Over the years, Marshall would have roles in his sister Penny’s films, notably a cop in JUMPIN’ JACK FLASH, and candy kingpin/ baseball team owner Walter Harvey in A LEAGUE OF THEIR OWN.
He even acted for his son Scott in the feature film KEEPING UP WITH THE STEINS. Of all of his roles, the funniest may be this memorable scene as a Vegas casino exec dealing with Albert Brooks in his 1985 classic LOST IN AMERICA. With this final clip we hope to honor Mr.Gary Marshall by adhering to that old comedian’s motto, “Alway’s leave ’em laughing!”. You made our time in front of the tube and at the multiplex “happy days” indeed, sir!
MONEY MONSTER has all the ingredients of a timely thriller: an explosive hostage situation, a critique of our current economic system, and major movie stars in the form of George Clooney and Julia Roberts. However, what unfolds onscreen is a simplistic and obvious expose about the manipulative power of both Wall Street and the media that by now is so familiar that its cynical perspective is unlikely to upset or provoke anyone. Perhaps a decade or two ago MONEY MONSTER would have been a compelling film experience but in this day and age it’s just picking obvious targets.
MONEY MONSTER stars Julia Roberts as Patty Fenn, a TV producer who spends the entire film in a control room full of consoles, monitors and engineers. Down on the studio floor Clooney plays Lee Gates, the hyperactive host of a show called Money Monster (based not-so-loosely on Jim Cramer’s CNN Mad Money show). Lee offers financial guidance and stock recommendations while behaving like a madman, hip-hopping with dancing girls and illustrating the treacherous labyrinth of Wall Street trading by running clips of Joan Crawford in STRAIGHT-JACKET. During a live broadcast Kyle Budwell (Jack O’Connell), a disgruntled working-class type, sneaks into the studio. He’s armed with a pistol, an explosives-packed vest he straps to Lee, and a list of demands. Kyle’s upset that he took advice from this TV host and lost his life savings. It’s a siege on live TV, and Patty, who can speak to Lee through a tiny earpiece that Kyle is unaware of, takes control. She not only continues to direct the situation, she fingers Walt Camby (Dominic West), a corrupt CEO, as the one who manipulated the financial crisis that screwed Kyle.
Directed by Jodie Foster, MONEY MONSTER is told in real time, which help its 95 minutes zip by but the film, obviously striving for a DOG DAY AFTERNOON-style atmosphere of anarchy and pandemonium, fails as both black comedy and drama. Foster’s attempt at a potent finale is embarrassingly heavy-handed as Kyle and Lee (still wearing his bomb vest) march down a busy Manhattan street while the crowds line up on the sidewalk to cheer them on. We’re supposed to believe the cops are going to let this armed and unhinged man have a sit down to confront evil Walt Camby a few blocks away from the TV station. MONEY MONSTER has nothing new to add to the many hostage films that Hollywood has given us over the years. The problem is that it’s revelations are never quite as shocking as the self-important screenplay, one that favors message over plausibility, holds them out to be. The assertion that the little guy can get bamboozled and that television panders to sensationalism is obvious to anyone who has merely glanced at cable news or their bank statement in the last eight years. I guess the audience is expected to sympathize with Kyle’s dilemma and his anger; you’d be hard put to find anyone who wouldn’t. But this man, who in a better movie might be drawn as a decent but deeply flawed and disturbed person, is shoved down our throats as a hero. MONEY MONSTER comes awfully close to saying that the answer to a personal grievance is, well, terrorism, when you get right down to it. My empathy for someone who loses the farm based on what some clown on cable TV says is limited. The acting by the stars is no more than adequate. Clooney acquits himself honorably in a part that’s not particularly challenging. It’s an indication of the script’s limitations that even a resourceful actor like Clooney has a hard time nailing down a character unlike one he’s played so many times before. Julia Roberts does little but furrow her brow and bark orders. Apparently she was never actually with Clooney on the set (except for an early scene and one at the end), and it shows as she never really seems to be in the same location as the action. British actor Jack O’Connell is intense enough, but his working class Noo Yauk accent, while consistent, is unconvincing. There is one great scene and performance in MONEY MONSTER and it doesn’t involve any of these three stars. Emily Meade shows up halfway through as Molly, Kyle’s pregnant girlfriend who is dragged into the studio supposedly to negotiate with her husband on behalf of the police, but instead of teary pleading, she goes off on him, cussing and screaming about what a loser he is before her mic is quickly yanked. It’s an uproarious moment, the only time the film goes in an unexpected direction and with this one sequence Ms Meade manages to steal the film from its cast of megastars. MONEY MONSTER is a wanna-be movie event that simply reinvents the wheel.
In the real-time, high stakes thriller MONEY MONSTER, George Clooney and Julia Roberts star as financial TV host Lee Gates and his producer Patty, who are put in an explosive situation when an irate investor who has lost everything (Jack O’Connell) forcefully takes over their studio. During a tense standoff broadcast to millions on live TV, Lee and Patty must work furiously against the clock to unravel the mystery behind a conspiracy at the heart of today’s fast-paced, high-tech global markets.
Directed by Jodie Foster, the film also features Dominic West, Caitriona Balfe and Giancarlo Esposito.
MONEY MONSTER opens in theaters on May 13.
WAMG invites you to enter for a chance to win a pass (Good for 2) to the advance screening of MONEY MONSTER on May 11 at 7PM in the St. Louis area.
We will contact the winners by email.
Answer the following:
How many Academy Awards do Julia Roberts and George Clooney have combined?
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Sappiness overflows in MOTHER’S DAY, an assembly-line rom-com with little on its mind beyond clichés and predictable formula. 81-year old director Garry Marshall, still mining the calendar after the similar NEW YEAR’S EVE and VALENTINE’S DAY, has gathered a bouquet of celebrity movie stars including Julia Roberts, Jennifer Aniston, Jason Sudeikis, and Kate Hudson, and shuffled them into tiresome skits about motherhood gone right and wrong. MOTHER’S DAY is a shallow and sickly-sweet offering best avoided.
Jennifer Aniston has the largest role in MOTHER’S DAY as Sandy, a divorced mother of two sons whose ex-husband Henry (Timothy OIyphant) has married the much younger Tina (Shay Mitchell), who tries too hard to be a cool stepmom. The story jumps between Sandy’s dilemma and those of a dozen others, such as childless Miranda (Julia Roberts), an uptight QVC superstar who has motherhood forced on her by the sudden appearance of Kristin (Britt Robertson), the daughter she gave up for adoption as a teen. Kristin is a mom herself, yet has commitment issues with her Brit boyfriend Zack (Jake Whitehall), a bartender who aspires to be a stand-up comic. Gabi and Jesse (Sarah Chalke and Kate Hudson) are sisters who live next door to each other and who have for years hidden their respective mates from their narrow-minded parents (Margo Martindale and Robert Pine) who unexpectedly show up at their door (Gabi is married to another woman and Jesse to an Indian doctor). Then there’s gym owner Bradley (Jason Sudeikis), struggling to move on with his love life a year after the death of his wife (Jennifer Garner in a bizarre cameo) while trying to figure the best way to celebrate Mother’s Day with his two young daughters, the older of which (Jessi Case) is having her own first go at romance. There are other characters on hand including John Lovitz as a sad sack comedy club owner, Loni Love as Bradley’s sassy black friend (‘cuz every lame comedy must have one) and, since this is a Gerry Marshall film, 80-year old Hector Elizondo as Lance, Miranda’s sage personal assistant who doles out the expected platitudes about motherly love.
MOTHER’S DAY, one of those bland Hollywood star machines that bears no resemblance to the real world, feels like it’s been cynically conceived by a studio marketing brain trust. Director Marshall seems to hope that with all the sugary distractions you won’t notice that every skit is lame, every line of dialogue is stale, and every joke falls flat – even the ones at the comedy club (heck, especially the ones at the comedy club!). Although the cast manages to inject some personality from time to time, each plot strand is so constrained by the rom-com structure that it has nowhere to go. There’s no real conflict or edge. The film’s sole serious crisis involves a missing inhaler for an asthmatic kid who’s endangered for about 30 seconds. This is lazy screenwriting by the numbers. Is it really still funny to mock old people’s lack of computer savvy? We get the scene where Bradley’s at the store buying his teen girl’s tampons and the checkout girl has to compound his embarrassment by getting a price check over the P.A. (Michael Keaton did this exact gag better in MR. MOM in 1983 but at least this time they’re eco-friendly organic cotton tampons – how progressive!). MOTHER’S DAY is so desperate for laughs that it runs outtakes/bloopers during the closing credits, a device that hasn’t been funny since Burt Reynolds stopped doing it in the late ‘70s. Margo Martindale and Robert Pine have some funny moments as Gabi and Jesse’s bigoted parents (they’re from Texas of course), but they seem like they’ve dropped in from a different, broader comedy. “You’ve got a towel-head for a husband!?!” shouts dad, but I guess since he’s referring to an Indian, that is considered (by the screenwriters) loveable racism (good thing they didn’t make Jesse’s husband a black guy!). Pine is introduced sucking on a fried chicken leg and Martindale has a cute scene with her half-Indian grandson (“I see why they call you Tanner”). They spend most of the film parked in front of their daughter’s homes in a massive RV which leads to a unique chase through an Atlanta suburb involving that vehicle and a parade float built by the lesbian couple that’s a giant pink birth canal.
It’s easy to be cynical about a movie like MOTHER’S DAY, one that I’m sure a lot of women will end up enjoying. There are some tart lines mixed with the schmaltz, and it’s certainly easy on the eyes, with a supersized collection of pretty stars (though Ms Roberts looks clownish in that weird red wig). Ultra-sweet, safe and sporadically heartwarming, MOTHER’S DAY will no doubt be bulletproof at the box office.
MOTHER’S DAY is the latest star studded ensemble comedy from director Garry Marshall (“Pretty Woman,” “Valentine’s Day”). Bringing together Jennifer Aniston, Kate Hudson, Julia Roberts, Jason Sudeikis, Shay Mitchell, Britt Robertson & Timothy Olyphant, it’s a celebration of mothers everywhere.
This big-hearted comedy invites us all to enjoy the laughter, tears and love as three generations come together in the week leading up to Mother’s Day.
MOTHER‘S DAY opens in theaters April 29th.
WAMG invites you to enter for a chance to win a pass (Good for 2) to the advance screening of MOTHER’S DAY on Tuesday, April 26 at 7PM in the St. Louis area.
We will contact the winners by email.
Answer the following:
There’s a long list of Mother’s Day movies. From TERMS OF ENDEARMENT to STEEL MAGNOLIAS,Hollywood has consistently offered great films with strong maternal figures.
Tell us your favorite Mother’s Day-themed movie and why.
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.
Mother’s Day in the US will be celebrated on May 8, 2016. Did you know in the United Kingdom, the holiday was celebrated on Sunday, March 26? Mothering Sunday has been celebrated in the UK on the fourth Sunday in Lent since at least the 16th century. Mothering Sunday in the UK is the equivalent of Mother’s Day in many other countries.
As a way to say thanks for all the things our mothers do for us, check out the brand new trailer for the studded ensemble comedy from director Garry Marshall (PRETTY WOMAN) bringing together Jennifer Aniston, Kate Hudson, Julia Roberts, Jason Sudeikis, Shay Mitchell, Britt Robertson, Hector Elizondo and Timothy Olyphant.
Opening in cinemas on April 29, this big-hearted comedy invites us all to enjoy the laughter, tears and love as three generations come together in the week leading up to Mother’s Day.
Check out the movie on Pinterest for some great gift ideas, breakfast in bed recipes and fun coupons for that special Mom: https://www.pinterest.com/SeeMothersDay/
Sony Pictures has released the first poster featuring George Clooney for director Jodie Foster’s compelling thriller MONEY MONSTER.
In the real-time, high stakes thriller MONEY MONSTER, George Clooney and Julia Roberts star as financial TV host Lee Gates and his producer Patty, who are put in an explosive situation when an irate investor who has lost everything (Jack O’Connell) forcefully takes over their studio.
During a tense standoff broadcast to millions on live TV, Lee and Patty must work furiously against the clock to unravel the mystery behind a conspiracy at the heart of today’s fast-paced, high-tech global markets.
A two-time Oscar winner, Foster has previously directed LITTLE MAN TATE (1991), HOME FOR THE HOLIDAYS (1995) and THE BEAVER (2011).
Clooney is presently starring in the Coen Brothers’ movie HAIL, CAESAR! while Roberts will be featured alongside Jennifer Aniston and Kate Hudson in director Garry Marshall’s MOTHER’S DAY – in theaters April 29th.
MONEY MONSTER opens in cinemas on May 13 and will screen the second night of the 69th Cannes Film Festival.
