The Overnight is an American comedy film written and directed by Patrick Brice. i had the chance to see the movie as I was invited to a press screening and i will say that i enjoyed the film. I will give the details on the review.
The Overnight takes place over one adventurous night in the lives of Alex (Adam Scott) and Emily (Taylor Schilling), a couple who have recently relocated to Los Angeles with their young son. Uncertain if they’ll be able to make new friends, they happily accept a dinner invite from Kurt (Jason Schwartzman), a fellow parent they meet at the park. Upon arriving for dinner, Alex, Emily, and their son instantly hit it off with Kurt, his glamorous French wife Charlotte (Judith Godrèche), and their son. Entranced by the couple’s carefree spirit and their beautiful LA mansion, Alex and Emily go along with Kurt and Charlotte’s fun yet increasingly questionable and uncomfortable activities that kick off as soon as the kids are lulled to bed.
Even though the story’s crack at the sexual frustration of thirtysomething parents is a bit clumsy, the humor is on point and the film is more than worthwhile as a mere showcase for this perfectly balanced cast, who are totally game to push their uncomfortable scenes to the limits in order to achieve some genuinely surprising and sidesplitting moments. As the magnetic and magnanimous Kurt, Schwartzman fires on all comedic cylinders, never losing an ounce of charm through every twist and turn his character takes. Godrèche is absolutely alluring and holds her own amongst her seasoned comic castmates, whom have all proven their comedic talents on the small screen — Scott with Parks and Recreation, Schilling with Orange is the New Black, and Schwartzman with Bored to Death. Anchoring the picture are Scott and Schilling, who have great onscreen chemistry and play off Schwartzman and Godrèche equally as well as they are paired off in different combinations throughout the night.
The Overnight fits in well with executive producers Mark and Jay Duplass’ mumblecore catalogue (which includes Brice’s directorial debut, Creep). What gives this film an edge and a chance to garner a wider audience is the star power it has and its easily digestible, almost episodic feel (and runtime — 80 min.) that Netflix scrollers and binge watchers will find hard resist.
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IDW ENTERS AGREEMENT WITH PARAMOUNT PICTURES TO PUBLISH
THE GODFATHER TABLETOP GAMES THE FIRST RELEASE WILL BE THE GODFATHER CARD GAME DUE OUT THIS SUMMER
San Diego, CA (March 19, 2015) – Today, IDW announced it would release a line of The Godfathertabletop games ranging from quick-to-play card and dice games to big box strategic board games. Paramount Pictures’ The Godfather is widely recognized among the most revered films of all-time.
“The Godfather is more than a movie, it’s an icon,” says IDW’s Director of Business Development, Jerry Bennington. “We plan to give players as many options as possible when it comes to gaming in this rich environment. From quick dice fun to intense big box strategy this will be a line of games truly worthy of the name The Godfather.”
The Godfather game line will start with a card game due out this summer, and continue to branch out from there. The games will range in length and complexity, and take place in a variety of locations and timelines spanning the trilogy of films. Gamers can look forward to rising to power and doing everything they can to stay on top in a cutthroat world. These games will truly be an offer The Godfather fans can’t refuse.
The Godfather Card Game will hit stores August 2015. In the meantime, IDW Games will unveil more details about both the card and upcoming big box tabletop game on www.idwgames.com. For up-to-the-minute information, be sure to “like” facebook.com/idwgames and follow @idwgames on twitter.
Godfather ®, TM & ©2015 Paramount Pictures. All Rights Reserved.
About IDW Games
IDW is an award-winning publisher of comic books, graphic novels and trade paperbacks, based in San Diego, California. Renowned for its diverse catalog of licensed and independent titles, IDW publishes some of the most successful and popular titles in the industry, including: Hasbro’s The TRANSFORMERS, G.I. JOE, MY LITTLE PONY and JEM AND THE HOLOGRAMS; Paramount/CBS’s Star Trek; Nickelodeon’s Teenage Mutant Ninja Turtles; Toho’s Godzilla; Twentieth Century Fox’s The X-Files; Temple Street Productions’ Orphan Black; DISNEY Comics; Ragnarök from Eisner Award-winner Walter Simonson; and Zombies vs Robots from Chris Ryall and Ashley Wood.
Let’s get this out of the way—those going into Fifty Shades Of Grey expecting an erotic experience are going to be disappointed. The sex scenes are all tastefully shot and, save for the much-ballyhooed BDSM trappings, not especially provocative. (The French were right on this one.) But even if the film were NC-17-level explicit, it wouldn’t make that much of a difference. Leads Jamie Dornan and Dakota Johnson, both of whom spend the majority of the film supposedly desperately longing for each other, have so little chemistry that it gives the sexy goings-on a rather clinical feel.
Hardcore fans of the book may also be disappointed. Director Sam Taylor-Johnson, who reportedly clashed with author E.L. James over nearly every aspect of the film, brings an arch, irreverent take to the story that makes Fifty Shades Of Grey occasionally resemble the American Psycho of mommy porn. The film benefits greatly from discarding the authorial voice of the book (Anastasia Steele’s inner goddess remains silent, thank God), and where James’ frankly embarrassing dialogue does come through, it’s played for laughs. (There are no “holy crap”s, but there is one “holy cow.”) Ostensibly erotic moments, like a stolen kiss in an elevator, come with a punchline, reinforcing the notion that Taylor-Johnson doesn’t want us to take all this swooning romantic nonsense at face value. It’s got a Danny Elfman score, for god’s sake.
However, somewhere around the first sex scene the winking self-awareness begins to recede, and to its detriment, Fifty Shades Of Grey starts taking itself seriously. By the time we actually get to the light BDSM—images of women bound with rope that Ana finds horrifying are more Helmut Newton than Kink.com—the 125-minute running time begins itself to feel like a punishment. That’s also when Taylor-Johnson begins trying to shoehorn a feminist message about sexual agency into what is essentially a fairy tale with MacBook Pros (suave billionaire prince comes to sweep ordinary girl off her feet and tell her she’s special). The results are mixed—it’s more empowering than the book, though that’s not saying much—but you can’t fault her for trying.
Another aspect of the film that might be subversive, provided it was intentional, is Dornan’s performance as 27-year-old billionaire and kinky Prince Charming Christian Grey. Dornan appears to have mistaken lack of affect for mystery, and despite his assertion that he’s “50 shades of f***** up,” he has about three shades, four at best. The character’s creepier, more abusive tendencies, while impossible to remove entirely (can we just mention that he tracks Ana’s location by tracing her phone?), are downplayed, and Christian functions as a sort of well-dressed Wikipedia article about BDSM onto which Ana can project her inner conflict. The Fetlife crowd is right to object to the book’s (and film’s) continued insistence that Christian is kinky because he was abused as a child—somehow his protestations of “It’s just the way I am!” never quite stick—but the cinematic Christian Grey is too toothless to really be threatening.
Dakota Johnson, on the other hand, is the unexpected highlight of the film. She gives Ana a strength of personality that’s lacking in the book, subtly transforming the character from a breathy house-mouse who never makes eye contact into a glamorous, intelligent woman who knows what she wants and has no problem articulating it. The story begins when Ana visits Christian’s office to interview him for her college newspaper, a meeting that wouldn’t have happened if Ana’s roommate were not sick that day. Charmed by her shyness, Christian begins aggressively pursuing Ana, showing up unannounced at her workplace and at the bar where she drunk dials him one sodden night after her final exams. In the book, he maintains dominance throughout, pressuring her to sign an (unrealistic) D/s contract that will make her “his.” One telling change between the book and the film is in the negotiation of the contract between Christian and Ana; a dinner scene where Ana struggles to maintain composure is replaced by a playful “business meeting” proposed and controlled by Ana. She’s stringing him along, not the other way around.
These aspects of the film—making the hot guy (the ostensible draw) the most boring part of the movie while imbuing the female lead with personality, presenting the submissive as the partner truly in control of the situation—could be seen as subversive. They might even be empowering, as much as a story about a woman’s desire to fix a damaged man with the power of love can be. And we’ll see if Fifty Shades Of Grey is the subject of revisionist think pieces in the decades to come. It certainly won’t be remembered for its technical merits, as Taylor-Johnson has crafted a bland, slickly unexceptional-looking film with a soundtrack of cover songs as empty as the echoing expanse of Christian Grey’s high-rise.
The answers to these questions might lie in the ending of the film, which Taylor-Johnson wanted to change from James’ version. (Plot revelations ahead, obviously.) In the film, Ana runs out of Christian’s apartment after he finally, at Ana’s request, shows her the true extent of his sadism. He runs after her, and as the doors of the elevator close, she turns and yells “Stop!”, which turns into an exchange of pleasantries echoing their initial meeting. Taylor-Johnson wanted to change Ana’s assertion to “Red!”, their agreed-upon safe word. It might seem like a small change, but think about that for a minute. In Taylor-Johnson’s version, Ana knows this is all a game, and she can end it at any time. In James’ version, Ana is still in thrall to Christian, a more romantic and, not insignificantly, sequel-friendly version of events. In the end, James won the argument, and the movie stayed true to her vision. Maybe that’s why it fails.
I give this film a 1.5/10. Watching this was like watching The Undertaker lose at WrestleMania to AJ Styles. I would rather take a bad episode of WWE Monday Night Raw than this.
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Written and Directed by: Desiree Akhavan
Cast: Desiree Akhavan, Rebecca Henderson, Halley Feiffer, Scott Adsit, Anh Duong, Arian Moayed
OPENING THEATRICALLY IN NEW YORK, LA & ON VOD JANUARY 16TH
“Audacious and funny and unique”, Lena Dunham
“Winning first feature”, A.O. Scott – The New York Times
**2014 SUNDANCE FILM FESTIVAL – NEXT SECTION**
**GRAND JURY PRIZE WINNER FOR SCREENWRITING – OUTFEST**
DESIREE AKHAVAN HAS JUST RECEIVED A FILM INDEPENDENT SPIRIT AWARD NOMINATION FOR FIRST SCREENPLAY!
For Shirin (Desiree Akhavan), being part of a perfect Persian family isn’t easy. Acceptance eludes her from all sides: her family doesn’t know she’s bisexual, and her ex-girlfriend, Maxine (Rebecca Henderson), can’t understand why she doesn’t tell them. Even the six-year-old boys in her moviemaking class are too ADD to focus on her for more than a second. Following a family announcement of her brother’s betrothal to a parentally approved Iranian prize catch, Shirin embarks on a private rebellion involving a series of pansexual escapades, while trying to decipher what went wrong with Maxine.
Iranian-American filmmaker Desiree Akhavan is the co-creator and star of the award-winning web series The Slope, a comedy that follows a pair of superficial homophobic lesbians in love. She was recently featured as one of Filmmaker Magazine’s 25 New Faces of Film as well as Vanity Fair’s “Persia in New York” featuring the vibrant scene of Iranian artists flourishing in America, centered in New York. Akhavan can be seen next January on the fourth season of HBO’s Girls.
Gravitas Ventures Will Release “Appropriate Behavior” Theatrically & On VOD January 16th
Takes you Behind The Scenes of 2014’s Breakout Hit
A GIRL WALKS HOME ALONE AT NIGHT
The first Iranian Vampire Western ever made, Ana Lily Amirpour’s debut, A GIRL WALKS HOME ALONE AT NIGHT, basks in the sheer pleasure of pulp. A joyful mash-up of genre, archetype, and iconography, its prolific influences span spaghetti westerns, graphic novels, horror films, and the Iranian New Wave.
In this first episode of VICE’s behind the scenes series, they go to director Ana Lily’s home to talk about her love of vampires, David Lynch and the unique Iranian/American hybrid world of Bad City she constructed for the film.
In the second episode of the behind the scenes series, VICE continue its conversation with Ana Lily on backstory of her characters and the influences that shaped the world of Bad City.
View the Two Part Documentary
Since Harry Potter was put out to grass, The Hunger Games franchise has assumed a massive new significance for Hollywood. The series of films adapted from Suzanne Collins’ novels have made Jennifer Lawrence into a global star and have transformed their producer Lionsgate into as big a player as the the traditional old studios.
GKIDS has three incredible films playing in theaters. Opening this Friday is the new Studio Ghibli doc, Kingdom of Dreams and Madness, which gets up close and personal with Hayao Miyazaki as he completes The Wind Rises, philosophizes on movies and life, plays with the Studio Ghibi cat, and makes a surprise announcement of his retirement. Song of the Sea, Tomm Moore’s long-anticipated follow up to The Secret of Kells, starts Dec 19 and tickets are moving fast for special opening weekend screenings with free posters and the director in person. Meanwhile, Studio Ghibli’s The Tale of The Princess Kaguya continues strong after five weeks and is still the number one reviewed movie in America. Hope you can make it to all three! Plenty of info below or click here for tickets.
THE KINGDOM OF DREAMS
A YEAR INSIDE THE WORLD OF STUDIO GHIBLI
“Like being granted a guided tour of Santa’s workshop.
Magic happens here.”
The Kingdom of Dreams and Madness is a fascinating, never-before-seen look inside the quirky and wonderful world of Studio Ghibli, creators of masterpieces like Princess Mononoke, My Neighbor Totoro and the Oscar-winning Spirited Away. Granted near-unfettered access to the notoriously insular Studio Ghibli, director Mami Sunada follows the eminent director Hayao Miyazaki, producer Toshio Suzuki and the elusive and influential “other director” Isao Takahata for a year as the studio rushes to complete two films, Miyazaki’s The Wind Rises and Takahata’s The Tale of the Princess Kaguya. The result is a rare fly-on-the -wall glimpse of the inner workings of one of the world’s most celebrated animation studios and a rare insight into the dreams, passion and singular dedication of these remarkable creators. Plus you get to meet Ushiko, the Studio Ghibli cat!
Opening November 28 at IFC Center
SONG OF THE SEA
The new film from Tomm Moore,
Oscar nominated director of The Secret of Kells
“One of the most blissfully beautiful animated films ever made.”
Opening December 19 at IFC Center
THE TALE OF
THE PRINCESS KAGUYA
100% FRESH! – Rotten Tomatoes
Kumiko, The Treasure Hunter
Racks Up Three Independent Spirit Award Nominations
Opens in Theaters February 27, 2015 via Amplify Releasing
It was announced today that David and Nathan Zellner’s Kumiko, The Treasure Hunter was nominated for three Independent Spirit Awards:
Best Director (David Zellner)
Best Actress (Rinko Kikuchi)
18th Annual Piaget Producers Award (Chris Ohlson)
The 18th Annual Piaget Producers Award nomination for Producer Chris Ohlson, sponsored by Piaget, honors emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity and vision required to produce quality, independent films. The award includes a $25,000 unrestricted grant funded by Piaget.
About Kumiko, The Treasure Hunter
In this darkly comedic odyssey, Academy Award nominee Rinko Kikuchi (Babel, Pacific Rim) stars as Kumiko, a frustrated Office Lady whose imagination transcends the confines of her mundane life. Kumiko becomes obsessed with a mysterious, battered VHS tape of a popular film she’s mistaken for a documentary, fixating on a scene where a suitcase of stolen cash is buried in the desolate, frozen landscape of North Dakota. Believing this treasure to be real, she leaves behind Tokyo and her beloved rabbit Bunzo to recover it – and finds herself on a dangerous adventure unlike anything she’s seen in the movies.
With Kumiko, The Treasure Hunter, indie mavericks the Zellner Bros. spin a strangely touching underdog fable, populated by eccentrics and elevated to sonic heights by a Sundance award-winning score from electro-indie outfit The Octopus Project and executive produced by Alexander Payne (The Descendants, Sideways), that will leave audiences rooting for the impossible.
Kumiko, The Treasure Hunter will be released by Amplify Releasing on February 27th
ART BY: LUCAS FEREYRA
COVER BY: LUCAS FEREYRA
PUBLISHER: Titan Comics
COVER PRICE: $3.99
RELEASE DATE: November 26, 2015
DreamWorks’ Penguins of Madagascar are getting their own brand new 4-issue comic series! Yep, Skipper, Kowalski, Rico and Private are jumping from the big and small screen to the CMYK panels!
Written by comedy genius Alex Matthews (Phoenix, Dandy) with eye-popping art from Lucas Fereyra, feathers are set to fly in this unique and exciting – and very funny – new series.
For more information visit: