Tag: Kate McKinnon

THE ROSES – Review

Benedict Cumberbatch and Olivia Colman in THE ROSES. Photo by Jaap Buitendijk, Courtesy of Searchlight Pictures. © 2025 Searchlight Pictures All Rights Reserved.

If you are going to remake a movie, the dark comedy THE ROSES is the way to do it. The dark comedy THE ROSES proves that there is a right way to do a remake, telling the same story but in a refreshingly different way. With biting British-style humor, Benedict Cumberbatch and Olivia Colman are the perfect couple, battling or not, in this love story gone wrong.

Based on the novel, “The War of the Roses,” the original 1989 comedy/thriller of the same name starred Michael Douglas and Kathlees Turner as a successful American couple whose marriage turns sour, and then some. In that version, the romance was pretty conventional but sparks flew and the dark comedy came to the fore once the battle was on. In this one, Benedict Cumberbatch and Olivia Colman play a quirky British couple relocated to the US early on, a pair of snarky, unique individuals with a biting sense of humor. We get more of a sense of their own weird, very British humor, and creative natures, with more humor and quirky romance before they head for divorce and a showdown over the house like the original.

Centered on a couple of creatives who share that same sense of stinging humor means comedy is at the forefront from the start, not just when the battle begins. Humor is a very personal thing, individual tastes vary, and styles of humor differ culture to culture. With this couple being British, it also means that one has to have an appreciation for British humor, if not an outright love of it. The humor style is very British, although it is fully accessible American audiences, and not loaded with unfamiliar British references. The fact that these two unique individuals are so creative and off-kilter means not everyone gets them, so meeting and falling for someone who truly does get them gives this marriage something extra, with a lot more romantic spark between them.

Although the film is set in the US, the style of humor is tongue-in-cheek, snarky British. The audience gets a quick preview of the couple’s style of humor (and the film’s) in an opening scene where they are getting couple’s counseling with an American therapist. The therapist has given them an assignment to write down ten things they like about the other but these snarky souls can’t help themselves, and the “ten things I like about you” go from back-handed to pure snark. After Ivy reads her list, Theo bursts out laughing, and they laughingly trade more insults, while the therapist looks on in horror. “It’s called repartee,” Theo says, rolling his eyes. The Brits think this verbal sparring is hilarious and normal, but the American therapist recoils and ends the session. If your reaction to that scene is more like the therapist’s, you might not find this film as hilarious as I did.

The humor is snarky but less dark that the original film, although these creative people know how to bring the crazy to the fight too. Because these two are so unfiltered and satiric, they (and we) know they are the kind of couple who are made for each other, and no one else will really do. That doesn’t mean that they don’t know how to fight. Strong-willed, neither wants to lose an argument, and with two such sharp-tongued people, there are bound to be sparks and spats, even if underneath they love each and know no one else will ever get them like the other does.

THE ROSES has one the best meet-cutes ever, when architect Theo (Benedict Cumberbatch) becomes frustrated during a company meeting in a restaurant and storms away from the group – and into the kitchen. There he comes face to face with chef Ivy (Olivia Colman). The two trade quips, then their dreams, lock eyes, and fall in love. Cumberbatch and Colman do this beautifully, fully believable, romantic and charmingly funny. It’s like watching classic screwball comedy, the kind that starred Cary Grant and Katherine Hepburn, but with the personalities reversed.

Like in the original comedy, Theo and Ivy are financially successful couple but we get to see a lot more up-and-down of how they got there, which makes for a more interesting story. From the London meet-cute, we flash forward to the married couple living in California, in a modest house near a beach. Now with two kids, Ivy stays home to care the the kids, making fabulous meals for the family, while Theo pursues his architectural career. Worried that Ivy is feeling a bit unfulfilled, as her culinary efforts for the kids are getting more and more elaborate, Theo encourages her to open a little seafood restaurant in an old building nearby. She does, naming it, in her own style, “We’ve Got Crabs.” The crab shack draws only a handful of customers on the three days a week it is open (“Is it the name?” Theo wonders aloud, tongue-in-cheek), but Ivy is fine with that.

Two things happen to upset the dynamic in the marriage: a traumatic fail for Theo as he unveils a grand new building and Ivy’s crab shack getting a glowing review from a big city food critic. Suddenly the economic situation flips, as Theo, suddenly unemployed, decides to stay home with the kids while regrouping while Ivy concentrates on her suddenly successful restaurant. It’s supposed to be temporary, while Theo rebuilds his reputation and Ivy seizes an opportunity.

That shift provides the spark that leads to other changes, then conflict and resentments. The more money they have, thanks to Ivy’s widening success, the more tensions the couple have, as they are pulled in different directions. With two creative, competitive, sharp-tongued characters, sooner or later things will blow up.

Colman and Cumberbatch are absolutely marvelous in this film, with spot-on perfect verbal sparring and charmingly quirky romance. The characters are so alike, which is part of their problem, so compromise is hard. Director Jay Roach paces this growing battle perfectly, with more back-and-forth, on-and-off romance than the original, making the battle of the Roses feels fresh rather than like a retread. The humor is distinctly British and sharp, delivered by two of the most skilled professionals alive, making it both hilarious and a joy to watch. Jay Roach backs all that comic gold up with a perfect supporting cast, including Kate McKinnon and Andy Samburg, who are wonderful as the couple’s American best friends.

Writer Tony McNamara takes full advantage of the Brits in America situation, with plenty of fish-out-of-water, culture-clash humor and a bit of social commentary, especially in a hilarious scene at a shooting range.

Visually, the film is a delight as well. The film is beautifully shot by Florian Hoffmeister, highlighting the lovely California scenery, and appropriately showcasing the architecture. THE ROSES has some of the most tempting food photography I’ve seen, with one gorgeous plate or sculpted dessert after another. Another wow are the costumes Olivia Colman sports throughout, emphasizing her creative and unconventional spirit, so that one looks forward to seeing what creative outfit her Ivy will don in the next scene.

With the caveat that British humor isn’t everyone’s cup of tea, for those who enjoy that style of comedy,

THE ROSES is that rarest thing, a romantic comedy that is just an excellent film, and which hearkens back to the classic Hollywood era when romantic comedies were the best comedies. THE ROSES is the whole package, a dark romantic comedy that has plenty of comedy and romance before the mayhem begins, with a brilliantly matched lead couple, Benedict Cumberbatch and Olivia Colman, a perfectly-paced script with nearly non-stop laughs but lots of heart, wonderful supporting cast, gorgeous visuals, delightful costumes, and a perfect finish. It’s a film worth seeing more than once to laugh again, and proves that sometimes it is worth remaking a film. It also leads one to hope for more pairings between Cumberbatch and Colman.

THE ROSES opens in theaters on Friday, Aug. 29, 2025.

RATING: 4 out of 4 stars

BARBIE – Review

And now the topper to one of this movie year’s biggest trends. Sure, we’ve had comic book superheroes, action tentpoles, and even a couple of flicks based on TV shows. But who knew that 2023’s box office would be “turbo-charged” by “toy stories”. No, I’m not speaking of Woody and Buzz. No, we started the year with a horror hit based on a phony toy that’s not named Chuckie, M3GAN. Then came the true story “spy-like” thriller about the creation of the video game TETRIS (I consider it a toy, so nyah). the stakes were raised considerably by another pixel powerhouse, THE SUPER MARIO BROTHERS MOVIE, followed by a new Transformers entry (also in that “action tentpole” category). And now, at last, “the queen” has arrived. Yes, the perennial princess of the toy department shelves comes to the big screen (after a slew of “straight-to-video” releases and a few TV shows), and she looks fabulous at age 64 (cue the Beatles ditty). Of course, she’s “pretty in pink”. (Imagine Ed McMahon or Nicholson in THE SHINING) Herrre’s BARBIE!

After a terrific nod to a cinema classic via a prologue narrated by Helen Mirren (you may have caught it in an early teaser), we’re whisked away to the wondrous realm of “Barbieland”. In the prettiest of the pink houses lives “stereotypical” Barbie (Margot Robbie), who is just beginning her day. After floating into her convertible, she cruises through the town to wave good morning to the other Barbies, even President Barbie (Issa Rae). Oh, and she’s greeted by the “spin-off” toys, Skipper, Midge, and the awkward Allan (Michael Cera). Finally, we’re at the beach for a visit from the adoring but dim Ken (Ryan Gosling), who’s thrilled to see Barbie but furious at his rival, another Ken (Simu Lui), along with assorted other Kens. But he still gets an invite to Barbie’s big nighttime “rager”. But the singing and dancing are nearly derailed when Barbie warbles a lyric questioning her mortality. This “glitch” continues into the next day, when Barbie endures several odd occurrences like “morning bad breathe” and, to everyone’s disgust, “flat feet” when she steps out of her stylish high heels. Confiding in her Barbie BFFs, they implore her to seek help from “weird” Barbie (Kate McKinnon). Her prognosis: Barbie’s “human” handler isn’t “playing” with her “correctly”. And so Barbie must venture into the “real world” and find her. The trip gets ‘trippier” when Ken “stows away” in her car. The duo is in for a wild journey as they deal with a woman named Gloria (America Ferrera) who works at the doll HQ Mattel. She’s a dream compared to her snarky pre-teen daughter Sasha (Ariana Greenblatt) and the excitable CEO (Will Ferrell). But all this pales to the radical “rewiring” of Ken himself, a personality change that threatens all the denizen dolls of Barbieland.

Could there be a more perfect casting choice than Robbie in the title role? Ten years ago she almost set movie screens afire as the “trophy wife” in THE WOLF OF WALL STREET, but she was intent on being more than “eye candy”. Robbie has forged an impressive movie resume, carefully juggling dramatic and comedic roles. In this story, she really gets to showcase those skills. Sure Barbie is bubbly and perky, but we see her confusion as the dark thoughts seem to engulf her. Robbie expresses that panic as she is overwhelmed by the chaos of the “real world”. She’s more than up to the challenge, bouncing from zany comedy to getting her first pangs of heartache. Perfectly balancing her pathos is the inspired comic performance of Gosling. He’s grabbed laughs before in CRAZY STUPID LOVE and LA LA LAND, but here he totally gives himself over to the buffoonish antics of the ultimate “himbo”, Ken. Yet, for all his goofy behavior, there’s a child-like charm to him. Gosling somehow holds on to that even after Ken has a much different reaction to “reality”.Speaking of that “setting”, Ferrera as Gloria is the story’s real dramatic “anchor” as the adult “human” who still has a sense of wonder about Barbie, but is hardened to the ways of society, highlighted in her rousing monologue about what the world expects of her gender (a riveting “throw down the gauntlet” moment). Greenblatt as her daughter Sasha makes her more than a cliched surly movie teen. Sure she’s wanting to “spread her wings”, but we see how Sasha still yearns to be on an adventure with Mom, even beginning to admire and respect her. The film also benefits from the supporting work of several comic vets. Ferrell is still a manic “man-child” as the exec, but he never “takes over” the tale with shrill slapstick and makes his character more than the “suit villain”. McKinnon makes great use of her loopy, off-kilter persona as the Barbie “who’s been played too much”, giving her a zany “sing-song” line delivery and using a near-marionette ‘floppy” body language and movement (almost like a certain scarecrow). Cera also has lots of fun with his nerdy screen image earning chuckles every time he’s awkwardly waving at the “first string toys”. I won’t spoil the identity of her role, but it’s terrific to see Rhea Perlman as a warm, nurturing mystery woman.

Huzzaah to director Greta Gerwig for delivering an impressive solo directing hat trick, building on her terrific work on LADY BIRD and LITTLE WOMEN to give us this intelligent fantasy farce that’s also a keen social satire. I must mention that she also co-wrote this with Noah Baumbach (a fabulous filmmaker himself and her spouse). Bravo for addressing the many criticisms and controversies swirling around the iconic toy over the last few decades, using them to lay out a clear message of female empowerment, while never lecturing. Rather than having Barbie and her pals dashing around and evading the “people” ala the TOY STORY flicks, they venture among with almost no secrecy, making the story a “switcheroo” on THE WIZARD OF OZ with a pinch of SPLASH. Plus it really has fun with the history of the toy franchise as we meet characters who never really “caught on” while making playful jabs at the “product powerhouse”. Oh, did I mention the eye-popping visual treats, some that come close to the spider-verses? Barbie’s “suburban subdivision” recalls so many of the “big box” playsets with her closet resembling a full-scale “fashion accessory” flat box. Yes, the fashions are great ‘call-backs” to the classic looks, especially that black and white striped one-piece swimsuit in the opening prologue. The pace is breezy and bouncy thanks to a wonderful soundtrack of pop standards and hilarious original tunes. Now some of the themes and subplots may go over the heads of the youngest viewers, but those with memories of lazy afternoons creating adventures for the characters will really get a real nostalgic euphoria along with subtle societal parody. Really this is a great time at the movies, perfect for the Summer. And to paraphrase the old ad line from Mattel, BARBIE…it’s swell!!

3.5 Out of 4

BARBIE is playing in theatres everywhere

Win Passes To The St. Louis Advance Screening Of BARBIE

Don’t miss out on the the pinkest movie of the year when BARBIE opens in theaters nationwide on July 21, 2023. But wait! To live in Barbie Land is to be a perfect being in a perfect place. Unless you have a full-on existential crisis. Or you’re a Ken.

The Advance Screening is on July 18, 7pm at The Alamo Drafthouse (6PM Suggested Arrival Time)

The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed. Rated PG-13

ENTER AT THE LINK: http://wbtickets.com/ZiiUT52641

From Oscar-nominated writer/director Greta Gerwig (“Little Women,” “Lady Bird”) comes “Barbie,” starring Oscar-nominees Margot Robbie (“Bombshell,” “I, Tonya”) and Ryan Gosling (“La La Land,” “Half Nelson”) as Barbie and Ken, alongside America Ferrera (“End of Watch,” the “How to Train Your Dragon” films), Kate McKinnon (“Bombshell,” “Yesterday”), Issa Rae (“The Photograph,” “Insecure”), Rhea Perlman (“I’ll See You in My Dreams,” “Matilda”), and Will Ferrell (the “Anchorman” films, “Talladega Nights”). The film also stars Michael Cera (“Scott Pilgrim vs. the World,” “Juno”), Ariana Greenblatt (“Avengers: Infinity War,” “65”), Ana Cruz Kayne (“Little Women”), Emma Mackey (“Emily,” “Sex Education”), Hari Nef (“Assassination Nation,” “Transparent”), Alexandra Shipp (the “X-Men” films), Kingsley Ben-Adir (“One Night in Miami,” “Peaky Blinders”), Simu Liu (“Shang-Chi and the Legend of the Ten Rings”), Ncuti Gatwa (“Sex Education”), Scott Evans (“Grace and Frankie”), Jamie Demetriou (“Cruella”), Connor Swindells (“Sex Education,” “Emma.”), Sharon Rooney (“Dumbo,” “Jerk”), Nicola Coughlan (“Bridgerton,” “Derry Girls”), Ritu Arya (“The Umbrella Academy”), Grammy Award winning singer/songwriter Dua Lipa and Oscar-winner Helen Mirren (“The Queen”).

Gerwig directed “Barbie” from a screenplay by Gerwig & Oscar nominee Noah Baumbach (“Marriage Story,” “The Squid and the Whale”), based on Barbie by Mattel. The film’s producers are Oscar nominees David Heyman (“Once Upon a Time…in Hollywood,” “Marriage Story,” “Gravity”), Robbie (“Birds of Prey,” “Promising Young Woman,” “I, Tonya”), Tom Ackerley (“Promising Young Woman,” “I, Tonya”) and Robbie Brenner (“Dallas Buyers Club”), with Gerwig, Baumbach, Ynon Kreiz, Richard Dickson, Michael Sharp, Josey McNamara, Courtenay Valenti, Toby Emmerich and Cate Adams serving as executive producers

https://www.warnerbros.com/movies/barbie

Gerwig’s creative team behind the camera included Oscar-nominated director of photography Rodrigo Prieto (“The Irishman,” “Silence,” “Brokeback Mountain”), Oscar nominated production designer Sarah Greenwood (“Beauty and the Beast,” “Anna Karenina”), Oscar-winning costume designer Jacqueline Durran (“Little Women,” “Anna Karenina”), editor Nick Houy (“Little Women,” “Lady Bird”), visual effects supervisor Glen Pratt (“Paddington 2,” “Beauty and the Beast”) and music supervisor George Drakoulias (“White Noise,” “Marriage Story”), with a score by Oscar winners Mark Ronson and Andrew Wyatt (“A Star Is Born”), who also contributed to numerous songs on the film’s soundtrack. The soundtrack includes an impressive roster of today’s hottest music artists, including Lizzo, Dua Lipa, Nicki Minaj & Ice Spice with Aqua, Charli XCX, KAROL G feat. Aldo Ranks, Tame Impala, Dominic Fike, HAIM, The Kid LAROI, Khalid, PinkPantheress, GAYLE, Ava Max, FIFTY FIFTY and more.

Warner Bros. Pictures Presents a Heyday Films Production, a Lucky Chap Entertainment Production, an NB/GG Pictures Production, a Mattel Production, “Barbie.”

© 2023 Warner Bros. Entertainment Inc. All Rights Reserved.

Photo Credit: Courtesy Warner Bros. Pictures

BARBIE The Movie Gets a Fun New Trailer

BARBIE THE MOVIE might be hitting theaters this summer, but today we have this first look at the new posters and second trailer for the film that’s sure to be a splash!

To live in Barbie Land is to be a perfect being in a perfect place. Unless you have a full-on existential crisis. Or you’re a Ken.

From Oscar-nominated writer/director Greta Gerwig (“Little Women,” “Lady Bird”) comes “Barbie,” starring Oscar-nominees Margot Robbie (“Bombshell,” “I, Tonya”) and Ryan Gosling (“La La Land,” “Half Nelson”) as Barbie and Ken, alongside America Ferrera (“End of Watch,” the “How to Train Your Dragon” films), Kate McKinnon (“Bombshell,” “Yesterday”), Michael Cera (“Scott Pilgrim vs. the World,” “Juno”), Ariana Greenblatt (“Avengers: Infinity War,” “65”), Issa Rae (“The Photograph,” “Insecure”), Rhea Perlman (“I’ll See You in My Dreams,” “Matilda”), and Will Ferrell (the “Anchorman” films, “Talladega Nights”). The film also stars Ana Cruz Kayne (“Little Women”), Emma Mackey (“Emily,” “Sex Education”), Hari Nef (“Assassination Nation,” “Transparent”), Alexandra Shipp (the “X-Men” films), Kingsley Ben-Adir (“One Night in Miami,” “Peaky Blinders”), Simu Liu (“Shang-Chi and the Legend of the Ten Rings”), Ncuti Gatwa (“Sex Education”), Scott Evans (“Grace and Frankie”), Jamie Demetriou (“Cruella”), Connor Swindells (“Sex Education,” “Emma.”), Sharon Rooney (“Dumbo,” “Jerk”), Nicola Coughlan (“Bridgerton,” “Derry Girls”), Ritu Arya (“The Umbrella Academy”), Grammy Award-winning singer/songwriter Dua Lipa and Oscar-winner Helen Mirren (“The Queen”).

Gerwig directed “Barbie” from a screenplay by Gerwig & Oscar nominee Noah Baumbach (“Marriage Story,” “The Squid and the Whale”), based on Barbie by Mattel. The film’s producers are Oscar nominee David Heyman (“Marriage Story,” “Gravity”), Robbie, Tom Ackerley and Robbie Brenner, with Michael Sharp, Josey McNamara, Ynon Kreiz, Courtenay Valenti, Toby Emmerich and Cate Adams serving as executive producers.

Gerwig’s creative team behind the camera included Oscar-nominated director of photography Rodrigo Prieto (“The Irishman,” “Silence,” “Brokeback Mountain”), six-time Oscar-nominated production designer Sarah Greenwood (“Beauty and the Beast,” “Anna Karenina”), editor Nick Houy (“Little Women,” “Lady Bird”), Oscar-winning costume designer Jacqueline Durran (“Little Women,” “Anna Karenina”), visual effects supervisor Glen Pratt (“Paddington 2,” “Beauty and the Beast”), music supervisor George Drakoulias (“White Noise,” “Marriage Story”) and Oscar-winning composer Alexandre Desplat (“The Shape of Water,” “The Grand Budapest Hotel”).

Warner Bros. Pictures Presents a Heyday Films Production, a LuckyChap Entertainment Production, a Mattel Production, “Barbie.” The film will be distributed worldwide by Warner Bros. Pictures and released in theaters only nationwide on July 21, 2023 and beginning internationally on July 19, 2023.

DC LEAGUE OF SUPER-PETS Trailer Features The Voices Of Dwayne Johnson And Kevin Hart

Copyright: © 2021 Warner Bros. Entertainment Inc. All Rights Reserved.
Photo Credit: Courtesy Warner Bros. Pictures (L-R) KEVIN HART as Ace and DWAYNE JOHNSON as Krypto in Warner Bros. Pictures’ animated action adventure “DC LEAGUE OF SUPER-PETS,” a Warner Bros. Pictures release.

Check out the brand-new trailer for DC LEAGUE OF SUPER-PETS.

In the film, Krypto the Super-Dog and Superman are inseparable best friends, sharing the same superpowers and fighting crime in Metropolis side by side. When Superman and the rest of the Justice League are kidnapped, Krypto must convince a rag-tag shelter pack—Ace the hound, PB the potbellied pig, Merton the turtle and Chip the squirrel—to master their own newfound powers and help him rescue the superheroes.

Dwayne Johnson stars as the voice of Krypto the Super-Dog in Warner Bros. Pictures’ animated action adventure feature film “DC League of Super-Pets,” from director Jared Stern.

The film also stars the voices of Kevin Hart (the “Jumanji” and “Secret Life of Pets” films), Kate McKinnon (“Saturday Night Live,” the “Magic School Bus Rides Again” films, “Ferdinand”), John Krasinski (the “Quiet Place” films, “Free Guy”), Vanessa Bayer (“Saturday Night Live,” “Office Christmas Party,” “Trainwreck”), Natasha Lyonne (“Show Dogs,” “Ballmastrz 9009”), Diego Luna (“Rogue One: A Star Wars Story,” “Maya and the Three”), Marc Maron (“Joker,” “GLOW”), Thomas Middleditch (“Godzilla: King of the Monsters,” “Captain Underpants: The First Epic Movie”), Ben Schwartz (“Sonic the Hedgehog,” “Duck Tales”), and Keanu Reeves (the “Matrix” and “John Wick” films).

Stern, a veteran writer/consultant on the “LEGO®” movies, makes his animated feature film directorial debut, directing from a screenplay he wrote with frequent collaborator John Whittington, based on characters from DC, Superman created by Jerry Siegel and Joe Shuster.

The film is produced by Patricia Hicks, Dwayne Johnson, Dany Garcia, Hiram Garcia and Jared Stern. The executive producers are John Requa, Glenn Ficarra, Nicholas Stoller, Allison Abbate, Chris Leahy, Sharon Taylor and Courtenay Valenti. Stern’s creative team includes production designer Kim Taylor (“The LEGO® Ninjago Movie”) and editors David Egan (“Game Night,” “Vacation”) and Jhoanne Reyes (“Teen Titans GO!” “Young Justice”).

The music is by Steve Jablonsky (the “Transformers” films). Warner Bros. Pictures Presents A Seven Bucks Production, “DC League of Super-Pets.” The film will be released by Warner Bros. Pictures in theaters internationally beginning 18 May 2022 and in North America on May 20, 2022.

BOMBSHELL (2019) – Review

Wishing that your feature films inspired by true events were of a very recent nature? More so than last week’s RICHARD JEWELL (23 years), or those docudramas from last month, DARK WATERS and THE REPORT, both from the early part of this decade. Here’s one that reaches back about three years, and it’s still happening, although not dominating the media as it did. Last year a terrific documentary, DIVIDE AND CONQUER: THE STORY OF ROGER AILES from director Alexis Bloom, pulled back the curtains on the cable TV goliath Fox News, giving us an unflinching look at the history of it and its founder, Ailes. A big part of that film concerned his on-air talent with stories of the lawsuits leveled against him and his staff which added fuel to the “Me Too” and “Time’s Up” movements. Now comes the big-screen treatment, from a celebrated director and an Oscar-winning screenwriter and starring a cast lead by two other Oscar-winners (and a third one for support). All these ingredients combine to create an explosive BOMBSHELL.

In the heat of the presidential campaign of 2016, Fox News is changing course in order to ride the tide of its viewers’ increasing support for unlikely contender Donald J. Trump. Surprised Fox News head Roger Ailes (John Lithgow) assigns the network’s shining star, prime time queen Megyn Kelly (Charlize Theron) to moderate the next televised debate. But she pulls no punches and soon earns the Twitter wrath of Trump (along with his Fox News watching followers). As Megyn takes some time off to plot her next move, another female anchor is feeling a different kind of heat. Gretchen Carlson (Nicole Kidman) is tired of the sexist jabs and comments as the only woman co-host of the network’s morning show “Fox & friends”. In order to diffuse the situation, she is given her own daily show, though with a smaller budget and not in a great time slot. As Carlson begins to chafe at the intense editorial interference, she opts to consult her lawyer before the ax falls on her program (and career at the channel). Back in the editorial cubicles, AKA “the trenches”, an ambitious new hire, Kayla (Margot Robbie) begins her “dream job”. After briefly “learning the robes” from veteran staffer Jess (Kate McKinnon). Kayla begins the climb up the corporate ladder to go from behind the camera to anchor. But can she pass the private “audition” for Ailes? And what happens when Carlson’s legal team begins to “chip away” at the network? When Kelly hears of this, will she speaks out or will she remain “loyal”? As the newsroom turns into a war zone, how long will it take the owner, global media titan Rupert Murdoch (Malcolm McDowell) to step in?

The talented trio sinks their teeth in this script as though it were the finest gourmet dish. First and foremost, since the character is the network’s “queen” is Theron who brings a calculating cool to the often conflicted Kelly. She’s riding high until the quickly changing political tide begins to buffet her journalistic ideals (yes, she works there and has some left). Through her eyes, Theron shows us a person who is suddenly “woke”, knowing that her viewers and some in management are pushing against her. It all works toward a terrific character “arc finale” as she (in more ways than one) “testifies”. The other anchor that helps hasten her turnabout is Carlson played with controlled calm by Kidman. Her pleasant smile is a mask, hiding her mounting frustrations first as the “gal in the middle” than as the banished “reader” given little support from the “higher-ups”. These two vets make a great contrast to the “next-gen talent” represented by Robbie in the composite character Kayla. In her early scenes, she beams as though it was her eighth birthday, her bouncy walk sending her from one “magic” spot to the next. She’s ecstatic and so very ambitious, leading her straight to her dream job’s seedy side. This gives her a tragic air as she sees her dreams shatter. That destroyer is played by the superb Lithgow who makes Ailes a sinister but easily offended tyrant, a mix of Mr. Potter from that Yuletide classic and the alien overlord he hears people call him behind his back. This leads to his howling rants as the events of the film’s last act push this “wounded snake’ into a corner. The rest of the ensemble is filled to the brim with wonderful stars popping in for a quick moment, from Allison Janney as Ailes’ Long Island lawyer to Connie Britton as his stoic wife to McKinnon’s tragic secretive staffer to a wonderful comic actor, and inspired choice as Rudy G (yes, that one).

Director Jay Roach has made a name for himself for starting up several comedy franchises (MEET THE PARENTS and Austin Powers) while helming award-winning HBO topical political flicks (“Recount” and “Game Changer”). Here he combines those skills mixing the laughs with scathing social commentary, though never quite diving into whimsical satire like last year’s VICE, though the stakes here aren’t quite as high (the Fox offices are a war zone, but lawsuits rather than bullets whiz past). It helps that the smart script by Oscar-winner Charles Randolph (THE BIG SHORT) delicately balances the farce and tragedy. For instance, we get a peek at the ladies wardrobe room at Fox with anchorwomen straining to squeeze into all manner of high heels, girdles, corsets, push-ups bras, and too tiny skirts. It feels like an odd mash-up of backstage burlesque and soldiers donning armor before heading out to battle. We find some truth in the latter in the film’s dramatic centerpiece when Kayla has a “private’ audition/interview with Ailes. As he leers and barks to raise that dress “Higher! C’mon higher!”, Robbie conveys the degradation and humiliation that, as the “Me Too” has stated, is so very common. But we see the strength of these women as they fight back and even confront each other over ethics and integrity (the story’s main hero is taken to task for not sounding the alarm sooner). And special kudos must go to the makeup artists for evoking the real subjects without burying the actor is mounds of latex and masks, from the bloated Nero of Ailes to the remarkable nose and lips of Kelly. Another huzzah to the editing and effects techs who drop the actors into several scenes with real (still on air) reporters and political figures. They all give power to a BOMBSHELL, its explosion making a very loud “wake up call” to action.

3.5 Out of 4

Charlize Theron, Nicole Kidman, Margot Robbie Star In First Trailer For BOMBSHELL – Fox News Scandal

Photo credit: Lionsgate/Hilary Bronwyn Gayle

Starring Academy Award® winner Charlize Theron (Megyn Kelly), Academy Award® winner Nicole Kidman (Gretchen Carlson), Academy Award® nominee John Lithgow and Academy Award® nominee Margot Robbie (Kayla Pospisil), based on the real scandal, BOMBSHELL is a revealing look inside the most powerful and controversial media empire of all time; Fox News, and the explosive story of the women who brought down the infamous man who created it. Directed by Emmy® Award winner Jay Roach and written by Academy Award® winner Charles Randolph.

BOMBSHELL also stars Emmy® Award winner Kate McKinnon, Golden Globe® nominee Connie Britton, Emmy® Award winner Mark Duplass, Emmy® Award nominee Rob Delaney, Golden Globe® nominee Malcolm McDowell and Academy Award® winner Allison Janney.

Here are some companion pieces to consider before BOMBSHELL opens this December.

Showtime recently aired their seven-part limited series “The Loudest Voice” about Roger Ailes, the founder of Fox News. It focused on the past decade in which Ailes arguably became the Republican Party’s de facto leader, and the sexual harassment accusations that brought his career to an end. The film starred Russell Crowe, Naomi Watts, and Sienna Miller.

Crowe was on Stephen Colbert to discuss his role.

Additionally the documentary “Divide And Conquer: The Story of Roger Ailes”. The film charted the origin, rise and downfall of Fox News Chairman and CEO Roger Ailes.

Variously called a bulldog, a kingmaker, and the Ernest Hemingway of campaign advisors, Ailes was the wizard of Oz. But he collected talent like dolls, and became consumed by paranoia about his own personal security. “I think Roger thought he could control the little genie in the bottle,” said former Fox News personality Glenn Beck. “But he couldn’t.”

The son of a factory foreman, Ailes had a hand in political campaigns in almost every state in the country. He was a key advisor over the last half century to presidents Nixon, Reagan and George H.W. Bush. He was drawn to winners, and loved to be in their sphere—whether a small-town councilman in Cold Spring, New York, or the president of the United States. When President Obama called him “the most powerful man in media” he basked in the glow, and posed smiling alongside the Democratic president he had done everything to undermine.

Ailes hated what he called “the New York elite.” He was fueled by his resentments, and he bullied the people of Cold Spring – where he had a weekend house – as much as he bullied the people in his professional domain at Fox. He lived his life in fear of bleeding to death, say his longtime friends. Some say it helped him to better understand the fears of others, which he monetized on television, inaugurating the age of “anger TV.

He capitalized on other instincts too, insisting that Fox newswomen wear short, tight dresses, and displayed themselves as explicitly as possible. “We’re getting the same girls to dance around shinier poles,” he proudly said to the New York Times.

Ailes fashioned Fox News into a ratings powerhouse, with more viewers than all its direct competitors, combined. But he was forced out by the Murdoch family in 2016, amid multiple allegations of sexual harassment. He was eventually locked out of his own building, unable to collect his belongings. Ailes died in May 2017 at the age of 77.

http://www.magpictures.com/divideandconquer/watch-at-home/

The documentary was directed and produced by Alexis Bloom.

When asked about her project Bloom was asked:

Alexis, just how influential is Roger Ailes in our current political climate? He’s been the architect of modern presidential campaigns and some would say the person most responsible for Donald Trump becoming president. Does the specter of Roger Ailes still loom large? Is his influence still felt, even though he resigned in July 2016 and died in May 2017?

AB: Certainly he paved the way for someone like Trump, though I don’t know that Trump was his first choice. He certainly had the relationship with Trump and the history with him whereby he could pivot very quickly to Trump when it became obvious that Jeb Bush wasn’t going to make it. And he did put Trump on every Fox show, and a weekly call in – specifically talking about politics. That was telling in and of itself. Roger had these very deep roots in the Republican Party and could have supported or sunk any number of candidates. I think that sort of shaping is key. Yes, his influence is about Donald Trump, but it’s about much more than that. It’s about the tea party and flame throwing in political life, about making that viable and legitimate and profitable. He popularized flame-throwing political TV, and that has degraded political life.

Roger Ailes in The Fox Studios, 2011 in DIVIDE AND CONQUER: THE STORY OF ROGER AILES, a Magnolia Pictures release. Photo credit: Jake Chessum/ Supervision. Photo courtesy of Magnolia.

BOMBSHELL’s Jay Roach has previously directed TRUMBO starring Bryan Cranston and HBO’s GAME CHANGE (2012) starring Julianne Moore as Sarah Palin, Woody Harrelson, and Ed Harris as well as RECOUNT (2008) about the 2000 United States presidential election – Bush v Gore.

My personal favorite of Roach’s is MYSTERY, ALASKA from 1999. This film stars Russell Crowe, Hank Azaria, Mary McCormack, Lolita Davidovich, Ron Eldard, Colm Meaney, Maury Chaykin and Burt Reynolds. The story of an amateur ice hockey team, from the fictional small-town of Mystery, that plays an exhibition game against the New York Rangers, is a delightful gem and one to catch on a Saturday afternoon.

BOMBSHELL opens in theaters December 2019.

Visit the official site: https://bombshell.movie/

Mila Kunis, Kate McKinnon and Sam Heughan Star In First look At Susanna Fogel’s THE SPY WHO DUMPED ME

Mila Kunis, Kate McKinnon and Sam Heughan (Outlander series) star in the first preview for Lionsgate’s THE SPY WHO DUMPED ME.

Audrey (Mila Kunis) and Morgan (Kate McKinnon), two thirty-year-old best friends in Los Angeles, are thrust unexpectedly into an international conspiracy when Audrey’s ex-boyfriend shows up at their apartment with a team of deadly assassins on his trail. Surprising even themselves, the duo jump into action, on the run throughout Europe from assassins and a suspicious-but-charming British agent, as they hatch a plan to save the world.

THE SPY WHO DUMPED ME is helmed by Susanna Fogel, director of 2014’s LIFE PARTNERS which starred Leighton Meester, Gillian Jacobs and Adam Brody.

The film hits theaters August 3rd.

Visit the official site: thespywhodumpedme.movie

Justin Theroux as “Drew” in THE SPY WHO DUMPED ME.

Hasan Minhaj as “Duffer” and Sam Heughan as “Sebastian” in THE SPY WHO DUMPED ME.

FERDINAND (2017) – Review

 

With the big holiday school break fast approaching, parents may be looking for a way to keep the kiddies entertained. Maybe they can be dropped off at the mall’s multiplex while the folks do some last-minute shopping (or exchanging/returning a few weeks from now). Perhaps the pre-teen action of the JUMANJI reboot may be a bit overwhelming, along with the new adventure in that “galaxy far, far away”. Well, hopefully they’ve been dazzled by the wonders of the new Disney/Pixar masterwork COCO (you parents and teens should see it, too). Like that recent flick, this one has a distinct Latin flavor, but it’s fairly mild rather than spicy. And it’s based (inspired really) by a 1938 Oscar-winning cartoon short from the “house of mouse”. However, those doing the “re-imagining” (stretching it from eight minutes to over one hundred) are the upstarts from Blue Sky, the animated feature branch of Fox (former hits include some Seuss flicks, RIO, and the looong-running ICE AGE franchise). Charging off the screen (if you pony up for 3D) comes that bovine pacifist, the bull named FERDINAND.

 

We meet the title bull as a calf on a ranch in Spain. There the powerful papas try to train their sons to be chosen for the honor of facing a matador at the local arena. But young Ferdinand has no interest in such violent pursuits, he’d rather smell the flowers. He does adore his daddy and is happy when his pop is chosen. Ferdinand waits for his return…and waits…until the truth dawns on him that he’ll never return to the ranch. Somehow the young bull escapes and ends up at a farm run by a little girl, Nina, and her father. Oh, and it’s a flower farm. The place is heaven for Ferdinand, who Nina raises as a pet. Soon the little calf reaches adulthood. He’s so big that now he can’t accompany Nina and her pop to the town flower festival. But big ole’ Ferdinand (voice of John Cena) won’t be stopped…that is until an agitated bee causes him to wreck the village until the police capture him. And then he’s sent back to his old ranch, reuniting with old boyhood chums, the queasy Guapo (Peyton Manning), timid wise guy Bones (Anthony Anderson), and the surly Valiente (Bobby Carnavale). Plus there’s a few new faces like the near-sighted Angus (David Tennant) and the genetically modified “Franken-bull” Maquina. Ferdinand is given a “calming goat” the hyper Lupe (Kate McKinnon) who becomes his mentor/coach since one of the bulls will be picked by retiring superstar matador El Primero (Miguel Angel Silvestre) to be his final challenge. Luckily a trio of sneaky hedgehogs helps them escape in a vehicle, leading to a big chase through the city that eventually lands Ferdinand in the arena. Is there any way the gentle giant can survive the big showdown with El Primero?

 

 

After lending his pipes to several straight-to-home-video cartoons, Cena proves to be a terrific vocal performer in his first feature lead role. His husky, deep-toned line readings still have Ferdinand’s optimism and youthful exuberance. He’s powerful and equally playful. Anderson is an endearing “motor-mouth” who brings some much-needed energy to every scene. Manning’s a likable doofus particularly when Guapo struggles to suppress his nervous nausea. And Carnivale is “muy macho” to the max as the tough Valiente. Tennant seems to be doing a riff on his TV Uncle Scrooge McDuck gig as Angus (a Scottish bull in Spain,,, maybe a tribute to Shrek?). The only casting misfire may be the usually hilarious Ms. McKinnon (so great in the GHOSTBUSTERS reboot) as the annoying, abrasive Lupe. The character is so aggressively “in your face” that it makes certain scenes almost an audience “endurance test”. Take a breather, and a few lessons from great toon’ sidekicks like Jiminy Cricket.

 

Remember when I mentioned the first adaptation of this tale was an eight minute short. There’s a big part of this flick’s problems. That kids’ book from Munro Leaf and Robert Lawson is a great bedtime story, its reading (or performing as some parents prefer) is about as long as that Disney Oscar winner. Hence six (!) writers are brought in to pad and streeeetch it out to feature-length. This plagued Blue Sky’s previous Seuss flicks (and doesn’t bode well for the new take on the Grinch next year). So now Ferdinand needs to have four best pals and that “comfort goat”. And hedge hogs (guess helpful mice are too played out after CINDERELLA). And if that’s not enough future toys to eat up time, there’s a corral near the bulls with three truly obnoxious show horses (thinking the accents are German or Austrian) who prance and pose in some trite comic “bits”. They help the story stop dead for several minutes while the horses and the bulls engage in a “dance battle”. There’s a touch of adult humor dropped in when the bulls who don’t make the arena “cut” are put in a trailer bound for the ominous meat-packing plant overlooking the ranch (the trailer door has a silhouette diagram indicating the different meat cuts..”flank”, “prime rib”, etc.). At one point I was reminded of the superior SAUSAGE PARTY when the bulls believe the trip to the “big show” leads to the soft life rather than their demise. Director Carlos Saldanha tries to keep things rolling with lots of manic slapstick, but several set pieces (the car chase, the market mayhem) drag on too long, although he does a nice riff on the old “bull in a china shop” cliché. The character design work on the animals is engaging, but why do almost all of the humans have such wide noses (I may be nitpicking, but it was distracting). Perhaps this film has been released too close to COCO (with its similar setting) making it even more mediocre. FERDINAND may fascinate the youngest. least discriminating viewers, but animation fans may prefer a fragrant stroll through a garden to this frenzied matinée filler.

 

2.5 Out of 5

 

Win Passes To The Advance Screening Of LEAP! In St. Louis

Opening on Friday, August 25th is the film LEAP!

11-year-old orphan, Félicie (Elle Fanning) has one dream – to go to Paris and become a dancer. Her best friend Victor (Nat Wolff), an imaginative but exhausting boy with a passion for creating, has a dream of his own – to become a famous inventor. In a leap of faith, Victor and Félicie leave their orphanage in pursuit of their passions. But – there’s a catch, Félicie must pretend to be the child of a wealthy family in order to gain admittance to the prestigious and competitive Opera Ballet School in Paris. And with no professional dance training, she quickly learns that talent alone is not enough to overcome the ruthless, conniving attitudes of her fellow classmates, led by the devious Camille Le Haut (Maddie Ziegler).

Determined to succeed, Félicie finds her mentor in the tough and mysterious school custodian, Odette (Carly Rae Jepsen) who, along with Victor’s encouraging friendship, help her reach for the stars.

WAMG invites you to enter for the chance to win TWO (2) seats to the advance screening of LEAP! on Saturday, August 19 at 10AM in the St. Louis area.

Answer the Following:

In 2013, Elle Fanning was nominated for a Critics’ Choice Award for her performance in which Sally Potter film?

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

OFFICIAL RULES:

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

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

Rated PG

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Leap! Courtesy of The Weinstein Company