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Ask any Hollywood star or wardrobe stylist for their onscreen or offscreen fashion secrets, and they’ll likely reveal that thrifting and borrowing are among their favorite pastimes.
“I appreciate the recycling aspect of previously-owned clothing,” Westworld costume designer Shay Cunliffe has told The Hollywood Reporter, while April Napier (Lady Bird), Ayanna James (Insecure) and Staci Greenbaum (Broad City) have also revealed that treasures from thrift stores and vintage markets have helped to tell characters’ sartorial stories.
Others who have promoted sustainable retail therapy include celebrity stylist Karla Welch, Olivia Wilde and designer Christian Siriano, who previously collaborated with online resale platform ThredUp. And Hollywood stylist Mimi Cuttrell (who dresses Priyanka Chopra), Monica Rose and Dani Michelle has opted to borrow pieces from designer rental showroom Janet Mandell,...
Ask any Hollywood star or wardrobe stylist for their onscreen or offscreen fashion secrets, and they’ll likely reveal that thrifting and borrowing are among their favorite pastimes.
“I appreciate the recycling aspect of previously-owned clothing,” Westworld costume designer Shay Cunliffe has told The Hollywood Reporter, while April Napier (Lady Bird), Ayanna James (Insecure) and Staci Greenbaum (Broad City) have also revealed that treasures from thrift stores and vintage markets have helped to tell characters’ sartorial stories.
Others who have promoted sustainable retail therapy include celebrity stylist Karla Welch, Olivia Wilde and designer Christian Siriano, who previously collaborated with online resale platform ThredUp. And Hollywood stylist Mimi Cuttrell (who dresses Priyanka Chopra), Monica Rose and Dani Michelle has opted to borrow pieces from designer rental showroom Janet Mandell,...
- 3/22/2023
- by Danielle Directo-Meston
- The Hollywood Reporter - Movie News
Streaming on HBO Max November 17 is A Christmas Story Christmas.
From Warner Bros. Pictures and HBO Max comes the long-awaited follow-up to annual holiday favorite, “A Christmas Story.” This time, Ralphie is all grown up and must deal with Christmas and all that comes with it…as a dad. Peter Billingsley returns to the role that has made kids of all ages anticipate Christmas morning like no other.
In the original 1983 film, set in the 1940s and showed annually for 24 hours on TBS & TNT, little Ralphie tries to convince his parents to get him a Red Ryder range-model Bb gun for Christmas, only to hear, “You’ll shoot your eye out, kid.” TNT began the Christmas Story marathon in 1997, and TBS took it over in 2004 when TNT shifted to drama programming.
Peter Billingsley plays Ralphie, a boy who desperately wants a Bb gun for Christmas. Melinda Dillon plays his mother and Darren McGavin his father.
From Warner Bros. Pictures and HBO Max comes the long-awaited follow-up to annual holiday favorite, “A Christmas Story.” This time, Ralphie is all grown up and must deal with Christmas and all that comes with it…as a dad. Peter Billingsley returns to the role that has made kids of all ages anticipate Christmas morning like no other.
In the original 1983 film, set in the 1940s and showed annually for 24 hours on TBS & TNT, little Ralphie tries to convince his parents to get him a Red Ryder range-model Bb gun for Christmas, only to hear, “You’ll shoot your eye out, kid.” TNT began the Christmas Story marathon in 1997, and TBS took it over in 2004 when TNT shifted to drama programming.
Peter Billingsley plays Ralphie, a boy who desperately wants a Bb gun for Christmas. Melinda Dillon plays his mother and Darren McGavin his father.
- 11/1/2022
- by Michelle Hannett
- WeAreMovieGeeks.com
“Ma Rainey’s Black Bottom” and “Promising Young Woman” were among the film winners at the 23rd annual Costume Designers Guild Awards Tuesday night. TV winners included “The Queen’s Gambit” (Netflix) and the filmed version of “Hamilton” (Disney+).
Broadcast online, the awards celebrated the best in film, TV, and short-form costume design in eight categories that spanned fantasy, contemporary, and period works. Streamed live on Twitter, the virtual ceremony was hosted by Lana Condor (“To All the Boys I’ve Loved Before”).
Oscar frontrunner Ann Roth’s work on “Ma Rainey’s Black Bottom” bested other period film nominees at the CDG Awards, heading toward a likely Oscar win, beating “Judas and the Black Messiah,” “One Night in Miami,” and two other Oscar nominees, “Emma,” and “Mank.”
The 89-year-old Roth (an Oscar winner for “The English Patient”) bolstered Viola Davis’ powerful performance as the trailblazing ’20s blues singer. Davis, who picked up a...
Broadcast online, the awards celebrated the best in film, TV, and short-form costume design in eight categories that spanned fantasy, contemporary, and period works. Streamed live on Twitter, the virtual ceremony was hosted by Lana Condor (“To All the Boys I’ve Loved Before”).
Oscar frontrunner Ann Roth’s work on “Ma Rainey’s Black Bottom” bested other period film nominees at the CDG Awards, heading toward a likely Oscar win, beating “Judas and the Black Messiah,” “One Night in Miami,” and two other Oscar nominees, “Emma,” and “Mank.”
The 89-year-old Roth (an Oscar winner for “The English Patient”) bolstered Viola Davis’ powerful performance as the trailblazing ’20s blues singer. Davis, who picked up a...
- 4/14/2021
- by Chris Lindahl and Bill Desowitz
- Indiewire
“Ma Rainey’s Black Bottom” and “Mulan” led the 23rd annual Costume Designers Guild Awards.
In the excellence in period film category, Oscar nominee Ann Roth won for her work on “Ma Rainey’s Black Bottom.” Bina Daigeler, who is also an Oscar nominee, was recognized for her work on “Mulan,” winning the excellence in sci-fi/fantasy film award.
For the first time in Cdga history, the annual awards show was livestreamed for fans worldwide exclusively on Twitter @CostumeAwards for audiences to enjoy.
Salvador Perez, President of the Costume Designers Guild ( IATSE Local 892) greeted the worldwide audience by mentioning the show’s pivot to a virtual Twitter live stream: “The bright spot is that our awards evening is now available for the world to enjoy, and we welcome you all to the party.”
Perez also recalled how costume designers had rallied during the pandemic’s PPE shortage, mentioning how costume designers had “made over 45,000 masks for hospitals,...
In the excellence in period film category, Oscar nominee Ann Roth won for her work on “Ma Rainey’s Black Bottom.” Bina Daigeler, who is also an Oscar nominee, was recognized for her work on “Mulan,” winning the excellence in sci-fi/fantasy film award.
For the first time in Cdga history, the annual awards show was livestreamed for fans worldwide exclusively on Twitter @CostumeAwards for audiences to enjoy.
Salvador Perez, President of the Costume Designers Guild ( IATSE Local 892) greeted the worldwide audience by mentioning the show’s pivot to a virtual Twitter live stream: “The bright spot is that our awards evening is now available for the world to enjoy, and we welcome you all to the party.”
Perez also recalled how costume designers had rallied during the pandemic’s PPE shortage, mentioning how costume designers had “made over 45,000 masks for hospitals,...
- 4/14/2021
- by Jazz Tangcay
- Variety Film + TV
“Ma Rainey’s Black Bottom,” “Mulan” and “Promising Young Woman” have been named the best-dressed films of 2020 at the Costume Designers Guild Awards, which were presented in a virtual ceremony on Tuesday evening.
Ann Roth won for “Ma Rainey” in the Excellence in Period Film category, the Cdga category that most closely corresponds to the Oscar for Best Costume Design. Bina Daigeler won for “Mulan” and Nancy Steiner for “Promising Young Woman” in the Excellence in Sci-Fi/Fantasy Film and Excellence in Contemporary Film categories, respectively.
Over the last 20 years, one of the Cdga winners has gone on to win the Oscar for Best Costume Design 10 times, though the two shows have agreed just once in the last four years. The Oscar winner comes most often from the Cdga’s period category, which has produced seven winners, followed by the sci-fi/fantasy category, with three.
“Ma Rainey” and “Mulan” are both nominated for costume-design Oscars,...
Ann Roth won for “Ma Rainey” in the Excellence in Period Film category, the Cdga category that most closely corresponds to the Oscar for Best Costume Design. Bina Daigeler won for “Mulan” and Nancy Steiner for “Promising Young Woman” in the Excellence in Sci-Fi/Fantasy Film and Excellence in Contemporary Film categories, respectively.
Over the last 20 years, one of the Cdga winners has gone on to win the Oscar for Best Costume Design 10 times, though the two shows have agreed just once in the last four years. The Oscar winner comes most often from the Cdga’s period category, which has produced seven winners, followed by the sci-fi/fantasy category, with three.
“Ma Rainey” and “Mulan” are both nominated for costume-design Oscars,...
- 4/14/2021
- by Steve Pond
- The Wrap
Ma Rainey’s Black Bottom, Promising Young Woman and Mulan took the marquee film prizes at the 23rd annual Costume Designers Guild Awards, which were handed out in a virtual ceremony tonight. Check out the full winners list below.
Ma Rainey’s Black Bottom designer Ann Roth won for Period Film, Contemporary went to Promising Young Woman‘s Nancy Steiner, and Bina Daigeler scooped the Sci-Fi/Fantasy trophy for Mulan.
Roth, whose 125-plus credits range from Midnight Cowboy to the upcoming Wicked and who won the BAFTA Award on Sunday, now could be considered the front-runner for the Oscar for Best Costume Design. She won the Oscar for The English Patient and has amassed four other nominations.
Since the CDGAs launched in 1999, the Academy Award for Costume Design has gone to a period film every year but twice — with only Mad Max: Fury Road (2016) and Black Panther (2019) bucking the trend.
Ma Rainey’s Black Bottom designer Ann Roth won for Period Film, Contemporary went to Promising Young Woman‘s Nancy Steiner, and Bina Daigeler scooped the Sci-Fi/Fantasy trophy for Mulan.
Roth, whose 125-plus credits range from Midnight Cowboy to the upcoming Wicked and who won the BAFTA Award on Sunday, now could be considered the front-runner for the Oscar for Best Costume Design. She won the Oscar for The English Patient and has amassed four other nominations.
Since the CDGAs launched in 1999, the Academy Award for Costume Design has gone to a period film every year but twice — with only Mad Max: Fury Road (2016) and Black Panther (2019) bucking the trend.
- 4/14/2021
- by Erik Pedersen
- Deadline Film + TV
Nominees for the 23rd annual Costume Designer Guild Awards (to be livestreamed April 13 on Twitter @CostumeAwards at 5:30 pm Pt / 8:30 pm Et) include Oscar frontrunner “Ma Rainey’s Black Bottom” and other period contenders “Emma,” “Mank,” “Judas and the Black Messiah,” and “One Night in Miami.”
Contemporary nods went to “Barb and Star Go to Vista Del Mar,” “Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn),” “Da 5 Bloods,” “Promising Young Woman,” and “The Prom.” And the sci-fi/fantasy nominees included “Dolittle,” “Jingle Jangle: A Christmas Journey,” “Mulan,” “Pinocchio,” and “Wonder Woman 1984.”
Netflix was the big winner with five nominations, followed by Warner Bros. and Universal/Focus Features with three. Disney scored with “Mulan,” Amazon with “One Night in Miami,” Lionsgate with “Barb and Star Go to Vista Del Mar,” and Roadside Attractions with “Pinocchio.”
And it’s a great display of diversity with five Black-themed films.
Contemporary nods went to “Barb and Star Go to Vista Del Mar,” “Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn),” “Da 5 Bloods,” “Promising Young Woman,” and “The Prom.” And the sci-fi/fantasy nominees included “Dolittle,” “Jingle Jangle: A Christmas Journey,” “Mulan,” “Pinocchio,” and “Wonder Woman 1984.”
Netflix was the big winner with five nominations, followed by Warner Bros. and Universal/Focus Features with three. Disney scored with “Mulan,” Amazon with “One Night in Miami,” Lionsgate with “Barb and Star Go to Vista Del Mar,” and Roadside Attractions with “Pinocchio.”
And it’s a great display of diversity with five Black-themed films.
- 3/4/2021
- by Bill Desowitz
- Indiewire
The costume designers responsible for the frocks in “Emma.,” the suits in “Mank” and the ’70s duds in “Judas and the Black Messiah” have been nominated for the 23rd annual Costume Designers Guild Awards, the guild announced on Thursday.
Those three films will be competing against “Ma Rainey’s Black Bottom” and “One Night in Miami” in the Cdga’s Excellence in Period Film category, one of three feature-film categories honored by the guild.
In the Excellence in Sci-Fi/Fantasy Film category, the nominees are “Dolittle,” “Jingle Jangle: A Christmas Journey,” “Mulan,” “Pinocchio” and “Wonder Woman 1984.” The Excellence in Contemporary Film nominees are “Barb and Star Go to Vista Del Mar,” “Birds of Prey,” “Da 5 Bloods,” “Promising Young Woman” and “The Prom.”
Television nominees include “The Mandalorian,” “Snowpiercer,” “What We Do in the Shadows,” “I May Destroy You,” “Emily in Paris,” “Bridgerton,” “The Crown” and “The Queen’s Gambit.”
In recent years,...
Those three films will be competing against “Ma Rainey’s Black Bottom” and “One Night in Miami” in the Cdga’s Excellence in Period Film category, one of three feature-film categories honored by the guild.
In the Excellence in Sci-Fi/Fantasy Film category, the nominees are “Dolittle,” “Jingle Jangle: A Christmas Journey,” “Mulan,” “Pinocchio” and “Wonder Woman 1984.” The Excellence in Contemporary Film nominees are “Barb and Star Go to Vista Del Mar,” “Birds of Prey,” “Da 5 Bloods,” “Promising Young Woman” and “The Prom.”
Television nominees include “The Mandalorian,” “Snowpiercer,” “What We Do in the Shadows,” “I May Destroy You,” “Emily in Paris,” “Bridgerton,” “The Crown” and “The Queen’s Gambit.”
In recent years,...
- 3/4/2021
- by Steve Pond
- The Wrap
The Costume Designers Guild has stitched together the nominees for its 23rd annual CDG Awards for film, TV and shortform. Winners in the eight categories will be announced during the virtual trophy show on Tuesday, April 13, which be streamed on Twitter for the first time.
Read the full list of nominees below.
The designers behind Dolittle, Jingle Jangle: A Christmas Journey, Mulan, Pinocchio and Wonder Woman 1984 will vie for the Excellence in Sci-Fi/Fantasy Film nod.
The Contemporary Film hopefuls are Barb and Star Go to Del Mar, Birds of Prey, Da 5 Bloods, Promising Young Woman and The Prom.
Up for the Period Film trophy are Emma, Judas and the Black Messiah, Ma Rainey’s Black Bottom, Mank and One Night in Miami.
“I would like to congratulate all of the nominees of the 23rd Costume Designers Guild Awards,” said Salvador Perez, President of the guild, IATSE Local 892. “We...
Read the full list of nominees below.
The designers behind Dolittle, Jingle Jangle: A Christmas Journey, Mulan, Pinocchio and Wonder Woman 1984 will vie for the Excellence in Sci-Fi/Fantasy Film nod.
The Contemporary Film hopefuls are Barb and Star Go to Del Mar, Birds of Prey, Da 5 Bloods, Promising Young Woman and The Prom.
Up for the Period Film trophy are Emma, Judas and the Black Messiah, Ma Rainey’s Black Bottom, Mank and One Night in Miami.
“I would like to congratulate all of the nominees of the 23rd Costume Designers Guild Awards,” said Salvador Perez, President of the guild, IATSE Local 892. “We...
- 3/4/2021
- by Erik Pedersen
- Deadline Film + TV
Ann Roth is on her way to making Oscar history as the oldest best costume design nominee after receiving a Costume Designers Guild Award nomination for her work on “Ma Rainey’s Black Bottom.”
The Cdga (Costume Designers Guild Awards) have announced their nominations for the 23rd CDGAs. Also recognized were Francine Jamison Tanchuck for “One Night in Miami” and Charlese Antoinette Jones for “Judas and the Black Messiah.”
Costume designer Bina Daigeler landed a double nomination for her work on the FX series, “Mrs. America,” and “Mulan” was also recognized. Other designers to receive guild nominations were Trish Summerville for “Mank” and “Emma’s” Alexandra Byrne.
For the first time in Cdga history, the annual awards show will be livestreamed for fans worldwide exclusively on Twitter @CostumeAwards at 5:30pm Pt / 8:30pm Et. This year’s host, presenters and honorees will be announced in the coming weeks.
“I would...
The Cdga (Costume Designers Guild Awards) have announced their nominations for the 23rd CDGAs. Also recognized were Francine Jamison Tanchuck for “One Night in Miami” and Charlese Antoinette Jones for “Judas and the Black Messiah.”
Costume designer Bina Daigeler landed a double nomination for her work on the FX series, “Mrs. America,” and “Mulan” was also recognized. Other designers to receive guild nominations were Trish Summerville for “Mank” and “Emma’s” Alexandra Byrne.
For the first time in Cdga history, the annual awards show will be livestreamed for fans worldwide exclusively on Twitter @CostumeAwards at 5:30pm Pt / 8:30pm Et. This year’s host, presenters and honorees will be announced in the coming weeks.
“I would...
- 3/4/2021
- by Jazz Tangcay
- Variety Film + TV
Refresh for updates… Christopher Plummer’s The Sound of Music costar Julie Andrews has joined those paying tribute to the late actor, saying in a statement, “The world has lost a consummate actor today and I have lost a cherished friend. I treasure the memories of our work together and all the humor and fun we shared through the years. My heart and condolences go out to his lovely wife Elaine, and his daughter Amanda.”
Though Plummer often lamented being known most widely for his portrayal of the musical’s Capt. von Trapp, Ted Chapin, president of the Rodgers & Hammerstein Organization, said today that the Oscar-winning actor eventually came to embrace the legacy, thanks in large part to costar Andrews.
“Christopher Plummer was, well, the Captain,” Chapin said in a statement. “Although he had a love/not-so-much relationship with his role in The Sound of Music, he gradually came around...
Though Plummer often lamented being known most widely for his portrayal of the musical’s Capt. von Trapp, Ted Chapin, president of the Rodgers & Hammerstein Organization, said today that the Oscar-winning actor eventually came to embrace the legacy, thanks in large part to costar Andrews.
“Christopher Plummer was, well, the Captain,” Chapin said in a statement. “Although he had a love/not-so-much relationship with his role in The Sound of Music, he gradually came around...
- 2/5/2021
- by Tom Tapp
- Deadline Film + TV
Christopher Plummer, the Canadian-born Shakespearean actor, died peacefully at his home in Connecticut Friday morning. The Oscar winner was best known for his roles in “The Sound of Music,” “Beginners” and Rian Johnson’s recent film “Knives Out.” He was 91.
Following the news of Plummer’s death, the actor’s co-stars and other prominent entertainment figures shared tributes and reflected on his long career in Hollywood.
In a statement to Variety, filmmaker Ridley Scott and his wife, Giannina, paid tribute to the actor. They worked together on “All the Money in the World” in 2017.
“What a guy. What a talent. What a life. And I was fortunate enough to work with him less than 2 years ago and had a wonderful experience. My heartfelt condolences go to [Plummer’s wife] Elaine. He will be really missed.”
Helen Mirren also gave a statement to Variety about the death of Plummer, reminiscing on their time working...
Following the news of Plummer’s death, the actor’s co-stars and other prominent entertainment figures shared tributes and reflected on his long career in Hollywood.
In a statement to Variety, filmmaker Ridley Scott and his wife, Giannina, paid tribute to the actor. They worked together on “All the Money in the World” in 2017.
“What a guy. What a talent. What a life. And I was fortunate enough to work with him less than 2 years ago and had a wonderful experience. My heartfelt condolences go to [Plummer’s wife] Elaine. He will be really missed.”
Helen Mirren also gave a statement to Variety about the death of Plummer, reminiscing on their time working...
- 2/5/2021
- by Antonio Ferme
- Variety Film + TV
Whether it was the dystopian society of “The Handmaid’s Tale” or the alternate history of “Watchmen,” the Emmy nominated costume designers in the fantasy/sci-fi category sought to ground their looks in reality. This meant relying on historical research, such as art and photo references of specific time periods, to help transport audiences into different worlds, and to convey emotion through their designs.
Carnival Row
(Amazon)
Post-industrial Victorian England served as an influence on the clothes of Amazon’s neo-noir fairy drama. But because many characters are mythological creatures, historical styles had to mix with more mystical and magical silhouettes. “You have to present a reality in order to have to have the flip side which is the fantasy,” says costume designer and self-proclaimed history nerd Joanna Eatwell. The first step for her and her team (assistant costume designer Clare Vyse and costume supervisor Jennifer Lander) was understanding the rules,...
Carnival Row
(Amazon)
Post-industrial Victorian England served as an influence on the clothes of Amazon’s neo-noir fairy drama. But because many characters are mythological creatures, historical styles had to mix with more mystical and magical silhouettes. “You have to present a reality in order to have to have the flip side which is the fantasy,” says costume designer and self-proclaimed history nerd Joanna Eatwell. The first step for her and her team (assistant costume designer Clare Vyse and costume supervisor Jennifer Lander) was understanding the rules,...
- 8/17/2020
- by Jazz Tangcay
- Variety Film + TV
The global film sensation sparked by El James’ best-selling book trilogy returns with the seminal final chapter of the darkly alluring tale that captivated the world. Stay in, complete your collection and experience the climax of this worldwide phenomenon with the ultimate at-home movie night when Fifty Shades Freed arrives on Digital and the all-new digital movie app Movies Anywhere on April 24, 2018 and on 4K Ultra HD, Blu-ray, DVD and On Demand on May 8, 2018 from Universal Pictures Home Entertainment.
Now you can own Fifty Shades Freed on Blu-ray. We Are Movie Geeks has 4 copies to give away. All you have to do is leave a comment answering this question: What is your movie starring Dakota Johnson’s mother? (mine is Body Double!). It’s so easy! Good Luck!
Official Rules:
Believing they have left behind shadowy figures from their past, newlyweds Christian and Ana fully embrace an inextricable connection and shared life of luxury.
Now you can own Fifty Shades Freed on Blu-ray. We Are Movie Geeks has 4 copies to give away. All you have to do is leave a comment answering this question: What is your movie starring Dakota Johnson’s mother? (mine is Body Double!). It’s so easy! Good Luck!
Official Rules:
Believing they have left behind shadowy figures from their past, newlyweds Christian and Ana fully embrace an inextricable connection and shared life of luxury.
- 5/1/2018
- by Tom Stockman
- WeAreMovieGeeks.com
The global film sensation sparked by El James’ best-selling book trilogy returns with the seminal final chapter of the darkly alluring tale that captivated the world. Stay in, complete your collection and experience the climax of this worldwide phenomenon with the ultimate at-home movie night when Fifty Shades Freed arrives on Digital and the all-new digital movie app Movies Anywhere on April 24, 2018 and on 4K Ultra HD, Blu-ray, DVD and On Demand on May 8, 2018 from Universal Pictures Home Entertainment.
Believing they have left behind shadowy figures from their past, newlyweds Christian and Ana fully embrace an inextricable connection and shared life of luxury. But just as she steps into her role as Mrs. Grey and he relaxes into an unfamiliar stability, new threats could jeopardize their happy ending before it even begins. Directed by James Foley, Fifty Shades Freed also features returning cast members Eric Johnson, Rita Ora (Fifty Shades...
Believing they have left behind shadowy figures from their past, newlyweds Christian and Ana fully embrace an inextricable connection and shared life of luxury. But just as she steps into her role as Mrs. Grey and he relaxes into an unfamiliar stability, new threats could jeopardize their happy ending before it even begins. Directed by James Foley, Fifty Shades Freed also features returning cast members Eric Johnson, Rita Ora (Fifty Shades...
- 4/16/2018
- by Tom Stockman
- WeAreMovieGeeks.com
After more than a decade, the unsolved murder of a young woman comes to a shocking conclusion in Secret in Their Eyes, coming to Digital HD on February 9, 2016, and Blu-ray combo pack, DVD and On Demand on February 23, 2016, from Universal Pictures Home Entertainment.
From Stx Entertainment (The Gift), Secret in Their Eyes is a powerful and unforgettable thriller based on the Academy Award-winning film El Secreto de sus ojos (Best Foreign Language Film, 2010) that will have audiences riveted until the last mind-bending twist. With a star-studded cast and an Oscar-nominated writer-director at the helm, Secret in Their Eyes on Blu-ray and DVD includes feature commentary by the filmmakers, a look behind the scenes at the making of the movie and an exclusive interview with actress Julia Roberts.
Academy Award-nominee Chiwetel Ejiofor (12 Years a Slave) and Academy Award-winners Nicole Kidman (The Hours) and Julia Roberts (Erin Brockovich) star in this intense...
From Stx Entertainment (The Gift), Secret in Their Eyes is a powerful and unforgettable thriller based on the Academy Award-winning film El Secreto de sus ojos (Best Foreign Language Film, 2010) that will have audiences riveted until the last mind-bending twist. With a star-studded cast and an Oscar-nominated writer-director at the helm, Secret in Their Eyes on Blu-ray and DVD includes feature commentary by the filmmakers, a look behind the scenes at the making of the movie and an exclusive interview with actress Julia Roberts.
Academy Award-nominee Chiwetel Ejiofor (12 Years a Slave) and Academy Award-winners Nicole Kidman (The Hours) and Julia Roberts (Erin Brockovich) star in this intense...
- 1/6/2016
- by Michelle McCue
- WeAreMovieGeeks.com
Opening in theaters on November 20 is Secret In Their Eyes.
Written and directed by Academy Award nominee Billy Ray (Captain Phillips, The Hunger Games), the film is based on El Secreto de Sus Ojos, the 2010 Academy Award winner for Best Foreign Language Film, directed by Juan Jose Campanella.
From Stx Entertainment, Secret In Their Eyes stars Academy Award winners Julia Roberts (Erin Brockovich) and Nicole Kidman (The Hours), and Academy Award nominee Chiwetel Ejiofor (Twelve Years a Slave). A tight-knit team of FBI investigators, along with their District Attorney supervisor, is suddenly torn apart when they discover that one of their own teenage daughters has been brutally murdered.
Weaving past and present, Secret In Their Eyes is a gripping mystery that asks the question: how far would you go to right an unfathomable wrong?
Da investigator Jess Cobb (Julia Roberts), FBI investigator Ray Kasten (Chiwetel Ejiofor), and Deputy District Attorney...
Written and directed by Academy Award nominee Billy Ray (Captain Phillips, The Hunger Games), the film is based on El Secreto de Sus Ojos, the 2010 Academy Award winner for Best Foreign Language Film, directed by Juan Jose Campanella.
From Stx Entertainment, Secret In Their Eyes stars Academy Award winners Julia Roberts (Erin Brockovich) and Nicole Kidman (The Hours), and Academy Award nominee Chiwetel Ejiofor (Twelve Years a Slave). A tight-knit team of FBI investigators, along with their District Attorney supervisor, is suddenly torn apart when they discover that one of their own teenage daughters has been brutally murdered.
Weaving past and present, Secret In Their Eyes is a gripping mystery that asks the question: how far would you go to right an unfathomable wrong?
Da investigator Jess Cobb (Julia Roberts), FBI investigator Ray Kasten (Chiwetel Ejiofor), and Deputy District Attorney...
- 11/6/2015
- by Michelle McCue
- WeAreMovieGeeks.com
Warner Bros. has revealed the first trailer for Will Ferrell’s upcoming comedy, Get Hard. From director Etan Cohen, the Gary Sanchez-produced pic looks primed to kickstart Ferrell’s slapstick antics, which have been sorely missing from the cinema calendar as of late.
In the movie, the former SNL star appears as hedge fund manager, James. When the millionaire is indicted for fraud, his impending stint in prison fills him with dread. Luckily, Kevin Hart’s Darnell is on hand to prepare James for all of the experiences that await him behind the bars of San Quentin.
With the first preview now available (via Yahoo! Movies), we’re able to get a sense of what’s in store for the timid chappie while he gets himself ready for prison life. As stories go, the premise overall isn’t that enticing. It simply sounds like a re-hash of countless other...
In the movie, the former SNL star appears as hedge fund manager, James. When the millionaire is indicted for fraud, his impending stint in prison fills him with dread. Luckily, Kevin Hart’s Darnell is on hand to prepare James for all of the experiences that await him behind the bars of San Quentin.
With the first preview now available (via Yahoo! Movies), we’re able to get a sense of what’s in store for the timid chappie while he gets himself ready for prison life. As stories go, the premise overall isn’t that enticing. It simply sounds like a re-hash of countless other...
- 12/19/2014
- by Gem Seddon
- We Got This Covered
Here’s your first look at the poster and photos from Get Hard. The film is scheduled to open nationwide on Friday, March 27, 2015.
When millionaire hedge fund manager James (Will Ferrell) is nailed for fraud and bound for a stretch in San Quentin, the judge gives him 30 days to get his affairs in order. Desperate, he turns to Darnell (Kevin Hart) to prep him for a life behind bars. But despite James’ one-percenter assumptions, Darnell is a hard-working small business owner who has never received a parking ticket, let alone been to prison.
Together, the two men do whatever it takes for James to “get hard” and, in the process, discover how wrong they were about a lot of things – including each other.
Will Ferrell and Kevin Hart join forces in the feature comedy Get Hard, also starring Tip “T.I.” Harris, Alison Brie, and Craig T. Nelson.
The film is directed by Etan Cohen,...
When millionaire hedge fund manager James (Will Ferrell) is nailed for fraud and bound for a stretch in San Quentin, the judge gives him 30 days to get his affairs in order. Desperate, he turns to Darnell (Kevin Hart) to prep him for a life behind bars. But despite James’ one-percenter assumptions, Darnell is a hard-working small business owner who has never received a parking ticket, let alone been to prison.
Together, the two men do whatever it takes for James to “get hard” and, in the process, discover how wrong they were about a lot of things – including each other.
Will Ferrell and Kevin Hart join forces in the feature comedy Get Hard, also starring Tip “T.I.” Harris, Alison Brie, and Craig T. Nelson.
The film is directed by Etan Cohen,...
- 11/25/2014
- by Michelle McCue
- WeAreMovieGeeks.com
(via Kevin Hart’s Facebook page)
Will Ferrell and Kevin Hart are headlining the new comedy, Get Hard, for director Etan Cohen.
The movie is scheduled to open nationwide on Friday, March 27, 2015.
When millionaire hedge fund manager James King (Ferrell) is nailed for fraud and bound for a stretch in San Quentin, the judge gives him 30 days to get his affairs in order. Desperate, he turns to Darnell Lewis (Hart) to prep him for a life behind bars. But despite James’ one-percenter assumptions, Darnell is a hard-working small business owner who has never received a parking ticket, let alone been to prison. Together, the two men do whatever it takes for James to ‘get hard’ and, in the process, discover how wrong they were about a lot of things – including each other.
The film also stars Craig T. Nelson, Alison Brie, and rapper Tip “T.I.” Harris. The movie began...
Will Ferrell and Kevin Hart are headlining the new comedy, Get Hard, for director Etan Cohen.
The movie is scheduled to open nationwide on Friday, March 27, 2015.
When millionaire hedge fund manager James King (Ferrell) is nailed for fraud and bound for a stretch in San Quentin, the judge gives him 30 days to get his affairs in order. Desperate, he turns to Darnell Lewis (Hart) to prep him for a life behind bars. But despite James’ one-percenter assumptions, Darnell is a hard-working small business owner who has never received a parking ticket, let alone been to prison. Together, the two men do whatever it takes for James to ‘get hard’ and, in the process, discover how wrong they were about a lot of things – including each other.
The film also stars Craig T. Nelson, Alison Brie, and rapper Tip “T.I.” Harris. The movie began...
- 3/19/2014
- by Michelle McCue
- WeAreMovieGeeks.com
On the verge of having their conspiracy exposed, members of the government.s intelligence community will stop at nothing to erase all evidence of their top secret programs in The Bourne Legacy, coming to Blu-ray. Combo Pack, DVD and On Demand December 11, 2012 from Universal Studios Home Entertainment. The film is also available via Digital Download. Inspired by master storyteller Robert Ludlum.s immensely popular books, The Bourne Legacy takes the action-packed Bourne series to an explosive new level. With his life in jeopardy, agent Aaron Cross (Jeremy Renner) must use his genetically-engineered skills to survive the ultimate game of cat-and-mouse and finish what Jason Bourne started. Presented in incomparable high-definition picture and perfect DTS master audio 7.1 surround sound, The Bourne Legacy Blu-ray. includes an array of behind-the-scenes bonus features that take viewers inside the making of this global action-thriller.
For more than a decade, movie audiences worldwide have been enthralled by undercover agent Jason Bourne.
For more than a decade, movie audiences worldwide have been enthralled by undercover agent Jason Bourne.
- 10/18/2012
- by Michelle McCue
- WeAreMovieGeeks.com
Principal photography is underway on New Line Cinema.s action comedy We’Re The Millers, starring Jennifer Aniston (.Horrible Bosses.) and Jason Sudeikis (.The Campaign.). The film is directed by Rawson Marshall Thurber (.Dodgeball: A True Underdog Story.).
David Burke (Sudeikis) is a small-time pot dealer whose clientele includes chefs and soccer moms, but no kids.after all, he has his scruples. So what could go wrong? Plenty. Preferring to keep a low profile for obvious reasons, he learns the hard way that no good deed goes unpunished when he tries to help out some local teens and winds up getting jumped by a trio of gutter punks. Stealing his stash and his cash, they leave him in major debt to his supplier, Brad (Ed Helms).
In order to wipe the slate clean.and maintain a clean bill of health.David must now become a big-time drug smuggler by bringing...
David Burke (Sudeikis) is a small-time pot dealer whose clientele includes chefs and soccer moms, but no kids.after all, he has his scruples. So what could go wrong? Plenty. Preferring to keep a low profile for obvious reasons, he learns the hard way that no good deed goes unpunished when he tries to help out some local teens and winds up getting jumped by a trio of gutter punks. Stealing his stash and his cash, they leave him in major debt to his supplier, Brad (Ed Helms).
In order to wipe the slate clean.and maintain a clean bill of health.David must now become a big-time drug smuggler by bringing...
- 8/31/2012
- by Michelle McCue
- WeAreMovieGeeks.com
It is with huge anticipation that we take an exclusive look at FilmCraft: Costume Design by Deborah Nadoolman Landis, arguably the most important person in the costume industry today.
As costume designer for Raiders of the Lost Ark (1981), Coming to America (1988), Burke and Hare (2010), and many other well known titles, in addition to former two-term president of the Cdg, academic scholar and now museum curator, Nadoolman Landis is ideally placed to write such a book. It reads to us like an update of her similarly titled ScreenCraft volume from 2003, but is not officially intended as such. This all new publication features a detailed introduction, plus interviews with some of the most famous names in movie costume.
Although Nadoolman Landis did not have long to put this project together, only six months from announcement to press, she has created an essential reference guide for students, aficionados, and really anyone with an...
As costume designer for Raiders of the Lost Ark (1981), Coming to America (1988), Burke and Hare (2010), and many other well known titles, in addition to former two-term president of the Cdg, academic scholar and now museum curator, Nadoolman Landis is ideally placed to write such a book. It reads to us like an update of her similarly titled ScreenCraft volume from 2003, but is not officially intended as such. This all new publication features a detailed introduction, plus interviews with some of the most famous names in movie costume.
Although Nadoolman Landis did not have long to put this project together, only six months from announcement to press, she has created an essential reference guide for students, aficionados, and really anyone with an...
- 6/25/2012
- by Chris Laverty
- Clothes on Film
Reviewed by Samantha Perez
(June 2011)
Directed by: Thomas Bezucha
Written by: Thomas Bezucha, April Blair and Maria Maggenti
Starring: Selena Gomez, Katie Cassidy, Leighton Meester, Cory Monteith, Andie MacDowell, Brett Cullen, Luke Bracey and Pierre Boulanger
It’s an all-too-familiar tale: Small-town girl on the cusp of adulthood decides to take a trip to some fabulous place where she can find herself. This time around, the small-town girl is played by Selena Gomez (“Ramona and Beezus”) and she’s accompanied by a couple of hot young faces of Hollywood in Thomas Bezucha’s “Monte Carlo.”
Grace (Gomez) has just graduated from high school ready to ditch her boring waitressing job in Texas and hop a plane to Paris with her best friend Emma (Katie Cassidy of TV’s “Melrose Place”). Things start to go wrong almost immediately when Grace’s mom and stepfather announce that Meg (Leighton Meester of TV...
(June 2011)
Directed by: Thomas Bezucha
Written by: Thomas Bezucha, April Blair and Maria Maggenti
Starring: Selena Gomez, Katie Cassidy, Leighton Meester, Cory Monteith, Andie MacDowell, Brett Cullen, Luke Bracey and Pierre Boulanger
It’s an all-too-familiar tale: Small-town girl on the cusp of adulthood decides to take a trip to some fabulous place where she can find herself. This time around, the small-town girl is played by Selena Gomez (“Ramona and Beezus”) and she’s accompanied by a couple of hot young faces of Hollywood in Thomas Bezucha’s “Monte Carlo.”
Grace (Gomez) has just graduated from high school ready to ditch her boring waitressing job in Texas and hop a plane to Paris with her best friend Emma (Katie Cassidy of TV’s “Melrose Place”). Things start to go wrong almost immediately when Grace’s mom and stepfather announce that Meg (Leighton Meester of TV...
- 7/1/2011
- by admin
- Moving Pictures Magazine
Reviewed by Samantha Perez
(June 2011)
Directed by: Thomas Bezucha
Written by: Thomas Bezucha, April Blair and Maria Maggenti
Starring: Selena Gomez, Katie Cassidy, Leighton Meester, Cory Monteith, Andie MacDowell, Brett Cullen, Luke Bracey and Pierre Boulanger
It’s an all-too-familiar tale: Small-town girl on the cusp of adulthood decides to take a trip to some fabulous place where she can find herself. This time around, the small-town girl is played by Selena Gomez (“Ramona and Beezus”) and she’s accompanied by a couple of hot young faces of Hollywood in Thomas Bezucha’s “Monte Carlo.”
Grace (Gomez) has just graduated from high school ready to ditch her boring waitressing job in Texas and hop a plane to Paris with her best friend Emma (Katie Cassidy of TV’s “Melrose Place”). Things start to go wrong almost immediately when Grace’s mom and stepfather announce that Meg (Leighton Meester of TV...
(June 2011)
Directed by: Thomas Bezucha
Written by: Thomas Bezucha, April Blair and Maria Maggenti
Starring: Selena Gomez, Katie Cassidy, Leighton Meester, Cory Monteith, Andie MacDowell, Brett Cullen, Luke Bracey and Pierre Boulanger
It’s an all-too-familiar tale: Small-town girl on the cusp of adulthood decides to take a trip to some fabulous place where she can find herself. This time around, the small-town girl is played by Selena Gomez (“Ramona and Beezus”) and she’s accompanied by a couple of hot young faces of Hollywood in Thomas Bezucha’s “Monte Carlo.”
Grace (Gomez) has just graduated from high school ready to ditch her boring waitressing job in Texas and hop a plane to Paris with her best friend Emma (Katie Cassidy of TV’s “Melrose Place”). Things start to go wrong almost immediately when Grace’s mom and stepfather announce that Meg (Leighton Meester of TV...
- 7/1/2011
- by admin
- Moving Pictures Network
Starring: Kathy Bates, Jennifer Jason Leigh, Judy Parfitt
Directed By: Taylor Hackford
Dolores Claiborne (1995) is gripping and meticulously structured, its multiple subplots held together by yet another screen bursting performance from Kathy Bates.
House maid Dolores’ (Kathy Bates) arrest for the apparent murder of her elderly, cankerous and wealthy employer Vera (Judy Parfitt) provides the premise, though the actual story branches off to incorporate several different subplots, principally one involving the return of Dolores’ estranged daughter, New York journalist Selena (Jennifer Jason Leigh) after fifteen years of absence, and the suggestion that her beleaguered mother may have already killed before.
Shay Cunliffe’s costumes infuse the atmospheric cross-cutting of Taylor Hackford’s direction. With filters employed to represent different eras of the story, such as cold blue for the present and a warm orangey glow for the past, Cunliffe adds to the clarity by broadly varying her costume choices, chiefly for Dolores,...
Directed By: Taylor Hackford
Dolores Claiborne (1995) is gripping and meticulously structured, its multiple subplots held together by yet another screen bursting performance from Kathy Bates.
House maid Dolores’ (Kathy Bates) arrest for the apparent murder of her elderly, cankerous and wealthy employer Vera (Judy Parfitt) provides the premise, though the actual story branches off to incorporate several different subplots, principally one involving the return of Dolores’ estranged daughter, New York journalist Selena (Jennifer Jason Leigh) after fifteen years of absence, and the suggestion that her beleaguered mother may have already killed before.
Shay Cunliffe’s costumes infuse the atmospheric cross-cutting of Taylor Hackford’s direction. With filters employed to represent different eras of the story, such as cold blue for the present and a warm orangey glow for the past, Cunliffe adds to the clarity by broadly varying her costume choices, chiefly for Dolores,...
- 9/6/2010
- by Chris Laverty
- Clothes on Film
Paddy Considine plays The Guardian journalist Simon Ross in The Bourne Ultimatum (2007). And thanks to costume designer Shay Cunliffe, he wears a Belstaff man bag.
Nothing unusual about him carrying a bag, he is a reporter after all. Except that, somehow, there is; even in this day and age when gender blending style has never been more prominent, it still looks ‘wrong’. But why?
Male journalists tend to fall into two categories: those that shave on a regular basis, and those that don’t. Ross is the former, a squeaky clean type in inoffensive brown fine stripe moleskin jacket, white and blue stripe shirt and dark rinse jeans.
The man bag is essential for Ross. Being a broadsheet journo he writes about important things like top secret military experiments and has sources beyond Google. Ross needs something to carry his work around in, yet the man bag, while not exactly unacceptable,...
Nothing unusual about him carrying a bag, he is a reporter after all. Except that, somehow, there is; even in this day and age when gender blending style has never been more prominent, it still looks ‘wrong’. But why?
Male journalists tend to fall into two categories: those that shave on a regular basis, and those that don’t. Ross is the former, a squeaky clean type in inoffensive brown fine stripe moleskin jacket, white and blue stripe shirt and dark rinse jeans.
The man bag is essential for Ross. Being a broadsheet journo he writes about important things like top secret military experiments and has sources beyond Google. Ross needs something to carry his work around in, yet the man bag, while not exactly unacceptable,...
- 8/3/2010
- by Chris Laverty
- Clothes on Film
Movie Jungle has new video interviews with Jennifer Aniston, Bradley Cooper, Scarlett Johansson, Drew Barrymore, Greg Behrendt, Ginnifer Goodwin, Justin Long, Kevin Connolly, Ken Kwapis, Kris Kristofferson and Michael Beugg. There are also plenty new video clips available! The film opens on February 6th. Based on the wildly popularbestseller from "Sex and the City" scribes Greg Behrendt and Liz Tuccillo, "He's Just Not That Into You" tells the stories of a group of interconnected, Baltimore-based twenty- and thirtysomethings as they navigate their various relationships from the shallow end of the dating pool through the deep, murky waters of married life, trying to readthe signsof the opposite sex... and hoping to be the exceptions to the "no-exceptions" rule. The film boasts an all-star cast, including Academy Award® winner Ben Affleck as Neil; Jennifer Aniston as Beth; Drew Barrymore as Mary; Academy Award® winner Jennifer Connelly as Janine; Kevin Connolly as Conor...
- 1/31/2009
- Upcoming-Movies.com
Chicago – This 31-image slideshow contains the official press images for “He’s Just Not That Into You”, which was directed by Ken Kwapis and stars Jennifer Aniston, Ben Affleck, Drew Barrymore, Jennifer Connelly, Kevin Connolly, Bradley Cooper, Ginnifer Goodwin, Scarlett Johansson, Kris Kristofferson, and Justin Long. The New Line release opens on Friday, February 6th, 2009.
Synopsis: “Based on the wildly popular bestseller from “Sex and the City” scribes Greg Behrendt and Liz Tuccillo, “He’s Just Not That Into You” tells the stories of a group of interconnected, Baltimore-based twenty- and thirtysomethings as they navigate their various relationships from the shallow end of the dating pool through the deep, murky waters of married life, trying to read the signs of the opposite sex… and hoping to be the exceptions to the “no-exceptions” rule.
The film boasts an all-star cast, including Academy Award® winner Ben Affleck as Neil; Jennifer Aniston as...
Synopsis: “Based on the wildly popular bestseller from “Sex and the City” scribes Greg Behrendt and Liz Tuccillo, “He’s Just Not That Into You” tells the stories of a group of interconnected, Baltimore-based twenty- and thirtysomethings as they navigate their various relationships from the shallow end of the dating pool through the deep, murky waters of married life, trying to read the signs of the opposite sex… and hoping to be the exceptions to the “no-exceptions” rule.
The film boasts an all-star cast, including Academy Award® winner Ben Affleck as Neil; Jennifer Aniston as...
- 1/28/2009
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Movie Jungle has new images in from Warner Bros. Pictures' "He's Just Not That Into You," starring Ben Affleck, Jennifer Aniston, Drew Barrymore, Jennifer Connelly, Kevin Connolly, Bradley Cooper, Ginnifer Goodwin, Scarlett Johansson, Kris Kristofferson and Justin Long. The comedy drama airs on February 6th. "He's Just Not That Into You" is directed by Ken Kwapis from a screenplay by Abby Kohn & Marc Silverstein, based on the book by Greg Behrendt and Liz Tuccillo. Nancy Juvonen produced the film, with Drew Barrymore, Toby Emmerich, Michele Weiss and Michael Beugg serving as executive producers and Michael Disco and Gwenn Stroman co-producing. The behind-the-scenes creative team is led by director of photography John Bailey, production designer Gae Buckley, editor Cara Silverman, costume designer Shay Cunliffe, composer Cliff Eidelman, and Grammy Award-winning music supervisor Danny Bramson. Check out the images here. What's it about? Based on the wildly popular bestseller from "Sex...
- 1/15/2009
- Upcoming-Movies.com
This review was written for the theatrical release of "The Bourne Ultimatum"."The Bourne Ultimatum", the culminating film of the trilogy begun five years ago with "The Bourne Identity", gets under way with a burst of nervous energy and extreme urgency and never lets up. It's a 114-minute chase film, dashing through streets and rooftops of any number of international urban sprawls with Matt Damon's redoubtable Jason Bourne hot on the trail of -- himself. That might be the genius of the series: A James Bond-like character who can escape any pickle and thwart any villain, but all in a quest for his own identity. Jason is not out to save the world -- though he might do that -- he'd just like to know his real name.
Director Paul Greengrass, who only made the astonishing "United 93" in the interim, returns for his second "Bourne" film (after 2004's "The Bourne Supremacy") to bring the roller coaster ride to an end in a dead heat where all the plot points and (surviving) characters of the three films converge. Audiences will eat it up: This is a postmillennial spy-action movie pitched to a large international audience. You hardly need subtitles.
Article Templatehttp://link.brightcove.com/services/link/bcpid1119669402http://www.brightcove.com/channel.jsp?channel=769341148 var config = new Array();config["videoId"] = 1135484455;config["lineupId"] = null;config["videoRef"] = null;config["playerTag"] = null;config["autoStart"] = false;config["preloadBackColor"] = "#FFFFFF";config["width"] = 286; config["height"] = 277; config["playerId"] = 1119669402; createExperience(config, 8); The cool thing about this movie is that the real revenge is not against bad guys in the CIA, but against the high-tech world that maddens mere mortals. Your mobile phone drops calls? Your car needs towing after a parking-lot fender-bender? Well, Jason can switch phones and patch into the world from trains, subways, stairwells and undergrounds. Any car he steals leaps up sharp inclines, plunges off of roofs or smashes into other vehicles until reduced to smoldering metal yet can still outrace any car on the block.
And his body! Blow it up with a bomb, expose it to brutal hand-to-hand combat or throw it into the East River, and it gets up with a few manly scratches.Yes, there are a few plot holes. But few are likely to care. A smart cast of veteran actors gives the film just enough emotional heft to carry you through the silliness. Damon has definitely made Bourne his own. For all his physical dexterity and killing instincts, Damon brings a Hamlet-like quality to the CIA-trained assassin suffering from a five-year spell of amnesia who can never quite tell who his friends are, or rather, which of his enemies might be a true friend.
Joan Allen returns as the CIA investigator who has slowly come to see that Jason might be the real deal. And Julia Stiles as an in-over-her-head agent again shows up for no credible reason other than the producers want her back. (They're right.)
Newcomers include a flinty and increasingly antsy David Strathairn as a head of a black-ops program that has its real-life model in all the extralegal programs sponsored by the current administration. At one point, he declares "you can't make this stuff up," and you know the filmmakers are nodding toward today's Washington.
Scott Glenn appears as a law-ignoring CIA director, though he might remind you more of the current attorney general, and Albert Finney crops up toward at the end as a Dr. Mengele figure behind a behavior-mod program that created any number of Jason Bournes.
The movie swings through Moscow (filched from the previous film); Paris; Turin, Italy; London; Madrid; Tangiers, Morocco; and New York as Jason Hones in on who did this to him. (That's another thing -- he never has to endure airport security checks!)
A fatigue factor sets in somewhere; it might vary from person to person. Yet the sharp intelligence behind the screenplay by Tony Gilroy, Scott Z. Burns and George Nolfi (though other hands reportedly contributed) gives the plot, salvaged from the Robert Ludlum Cold War spy novel, a genuine buoyancy. The film is trying to get at something, no matter how crudely, about corruption within the American espionage system, with its secret reliance on renditions and torture in the name of freedom. This might not be the best way to illustrate the problem with credibility-stretchers at every turn. But then again, how many people look at documentaries?
Greengrass tops himself with each passing minute by staging terrific stunts and chases through crowded streets, buildings and rooftops. Cinematographer Oliver Wood and editor Christopher Rouse gives the film its lightning speed and jagged edges with a close, hand-held camera and quick edits while John Powell's score pulsates pure adrenaline.
THE BOURNE ULTIMATUM
Universal Pictures
Universal Pictures in association with MP Beta Prods. presents a Kennedy/Marshall production in association with Ludlum Entertainment
Credits:
Director: Paul Greengrass
Screenwriters: Tony Gilroy, Scott Z. Burns, George Nolfi
Screen story: Tony Gilroy
Based on the novel by: Robert Ludlum
Producers: Frank Marshall, Patrick Crowley, Paul L. Sandberg
Executive producers: Jeffrey M. Weiner, Henry Morrison, Doug Liman
Director of photography: Oliver Wood
Production designer: Peter Wenham
Costume designer: Shay Cunliffe
Music: John Powell
Editor: Christopher Rouse
Cast:
Jason Bourne: Matt Damon
Nicky Parsons: Julia Stiles
Noah Vosen: David Strathairn
Ezra Kramer: Scott Glenn
Sam Ross: Paddy Considine
Paz: Edgar Romeriz
Pamela: Joan Allen
Dr. Hirsch: Albert Finney
Running time -- 114 minutes
MPAA rating: PG-13...
Director Paul Greengrass, who only made the astonishing "United 93" in the interim, returns for his second "Bourne" film (after 2004's "The Bourne Supremacy") to bring the roller coaster ride to an end in a dead heat where all the plot points and (surviving) characters of the three films converge. Audiences will eat it up: This is a postmillennial spy-action movie pitched to a large international audience. You hardly need subtitles.
Article Templatehttp://link.brightcove.com/services/link/bcpid1119669402http://www.brightcove.com/channel.jsp?channel=769341148 var config = new Array();config["videoId"] = 1135484455;config["lineupId"] = null;config["videoRef"] = null;config["playerTag"] = null;config["autoStart"] = false;config["preloadBackColor"] = "#FFFFFF";config["width"] = 286; config["height"] = 277; config["playerId"] = 1119669402; createExperience(config, 8); The cool thing about this movie is that the real revenge is not against bad guys in the CIA, but against the high-tech world that maddens mere mortals. Your mobile phone drops calls? Your car needs towing after a parking-lot fender-bender? Well, Jason can switch phones and patch into the world from trains, subways, stairwells and undergrounds. Any car he steals leaps up sharp inclines, plunges off of roofs or smashes into other vehicles until reduced to smoldering metal yet can still outrace any car on the block.
And his body! Blow it up with a bomb, expose it to brutal hand-to-hand combat or throw it into the East River, and it gets up with a few manly scratches.Yes, there are a few plot holes. But few are likely to care. A smart cast of veteran actors gives the film just enough emotional heft to carry you through the silliness. Damon has definitely made Bourne his own. For all his physical dexterity and killing instincts, Damon brings a Hamlet-like quality to the CIA-trained assassin suffering from a five-year spell of amnesia who can never quite tell who his friends are, or rather, which of his enemies might be a true friend.
Joan Allen returns as the CIA investigator who has slowly come to see that Jason might be the real deal. And Julia Stiles as an in-over-her-head agent again shows up for no credible reason other than the producers want her back. (They're right.)
Newcomers include a flinty and increasingly antsy David Strathairn as a head of a black-ops program that has its real-life model in all the extralegal programs sponsored by the current administration. At one point, he declares "you can't make this stuff up," and you know the filmmakers are nodding toward today's Washington.
Scott Glenn appears as a law-ignoring CIA director, though he might remind you more of the current attorney general, and Albert Finney crops up toward at the end as a Dr. Mengele figure behind a behavior-mod program that created any number of Jason Bournes.
The movie swings through Moscow (filched from the previous film); Paris; Turin, Italy; London; Madrid; Tangiers, Morocco; and New York as Jason Hones in on who did this to him. (That's another thing -- he never has to endure airport security checks!)
A fatigue factor sets in somewhere; it might vary from person to person. Yet the sharp intelligence behind the screenplay by Tony Gilroy, Scott Z. Burns and George Nolfi (though other hands reportedly contributed) gives the plot, salvaged from the Robert Ludlum Cold War spy novel, a genuine buoyancy. The film is trying to get at something, no matter how crudely, about corruption within the American espionage system, with its secret reliance on renditions and torture in the name of freedom. This might not be the best way to illustrate the problem with credibility-stretchers at every turn. But then again, how many people look at documentaries?
Greengrass tops himself with each passing minute by staging terrific stunts and chases through crowded streets, buildings and rooftops. Cinematographer Oliver Wood and editor Christopher Rouse gives the film its lightning speed and jagged edges with a close, hand-held camera and quick edits while John Powell's score pulsates pure adrenaline.
THE BOURNE ULTIMATUM
Universal Pictures
Universal Pictures in association with MP Beta Prods. presents a Kennedy/Marshall production in association with Ludlum Entertainment
Credits:
Director: Paul Greengrass
Screenwriters: Tony Gilroy, Scott Z. Burns, George Nolfi
Screen story: Tony Gilroy
Based on the novel by: Robert Ludlum
Producers: Frank Marshall, Patrick Crowley, Paul L. Sandberg
Executive producers: Jeffrey M. Weiner, Henry Morrison, Doug Liman
Director of photography: Oliver Wood
Production designer: Peter Wenham
Costume designer: Shay Cunliffe
Music: John Powell
Editor: Christopher Rouse
Cast:
Jason Bourne: Matt Damon
Nicky Parsons: Julia Stiles
Noah Vosen: David Strathairn
Ezra Kramer: Scott Glenn
Sam Ross: Paddy Considine
Paz: Edgar Romeriz
Pamela: Joan Allen
Dr. Hirsch: Albert Finney
Running time -- 114 minutes
MPAA rating: PG-13...
The Bourne Ultimatum, the culminating film of the trilogy begun five years ago with The Bourne Identity, gets under way with a burst of nervous energy and extreme urgency and never lets up. It's a 114-minute chase film, dashing through streets and rooftops of any number of international urban sprawls with Matt Damon's redoubtable Jason Bourne hot on the trail of -- himself. That might be the genius of the series: A James Bond-like character who can escape any pickle and thwart any villain, but all in a quest for his own identity. Jason is not out to save the world -- though he might do that -- he'd just like to know his real name.
Director Paul Greengrass, who only made the astonishing United 93 in the interim, returns for his second Bourne film (after 2004's The Bourne Supremacy) to bring the roller coaster ride to an end in a dead heat where all the plot points and (surviving) characters of the three films converge. Audiences will eat it up: This is a postmillennial spy-action movie pitched to a large international audience. You hardly need subtitles.
The cool thing about this movie is that the real revenge is not against bad guys in the CIA, but against the high-tech world that maddens mere mortals. Your mobile phone drops calls? Your car needs towing after a parking-lot fender-bender? Well, Jason can switch phones and patch into the world from trains, subways, stairwells and undergrounds. Any car he steals leaps up sharp inclines, plunges off of roofs or smashes into other vehicles until reduced to smoldering metal yet can still outrace any car on the block.
And his body! Blow it up with a bomb, expose it to brutal hand-to-hand combat or throw it into the East River, and it gets up with a few manly scratches.
Yes, there are a few plot holes. But few are likely to care. A smart cast of veteran actors gives the film just enough emotional heft to carry you through the silliness. Damon has definitely made Bourne his own. For all his physical dexterity and killing instincts, Damon brings a Hamlet-like quality to the CIA-trained assassin suffering from a five-year spell of amnesia who can never quite tell who his friends are, or rather, which of his enemies might be a true friend.
Joan Allen returns as the CIA investigator who has slowly come to see that Jason might be the real deal. And Julia Stiles as an in-over-her-head agent again shows up for no credible reason other than the producers want her back. (They're right.)
Newcomers include a flinty and increasingly antsy David Strathairn as a head of a black-ops program that has its real-life model in all the extralegal programs sponsored by the current administration. At one point, he declares "you can't make this stuff up," and you know the filmmakers are nodding toward today's Washington.
Scott Glenn appears as a law-ignoring CIA director, though he might remind you more of the current attorney general, and Albert Finney crops up toward at the end as a Dr. Mengele figure behind a behavior-mod program that created any number of Jason Bournes.
The movie swings through Moscow (filched from the previous film); Paris; Turin, Italy; London; Madrid; Tangiers, Morocco; and New York as Jason Hones in on who did this to him. (That's another thing -- he never has to endure airport security checks!)
A fatigue factor sets in somewhere; it might vary from person to person. Yet the sharp intelligence behind the screenplay by Tony Gilroy, Scott Z. Burns and George Nolfi (though other hands reportedly contributed) gives the plot, salvaged from the Robert Ludlum Cold War spy novel, a genuine buoyancy. The film is trying to get at something, no matter how crudely, about corruption within the American espionage system, with its secret reliance on renditions and torture in the name of freedom. This might not be the best way to illustrate the problem with credibility-stretchers at every turn. But then again, how many people look at documentaries?
Greengrass tops himself with each passing minute by staging terrific stunts and chases through crowded streets, buildings and rooftops. Cinematographer Oliver Wood and editor Christopher Rouse gives the film its lightning speed and jagged edges with a close, hand-held camera and quick edits while John Powell's score pulsates pure adrenaline.
THE BOURNE ULTIMATUM
Universal Pictures
Universal Pictures in association with MP Beta Prods. presents a Kennedy/Marshall production in association with Ludlum Entertainment
Credits:
Director: Paul Greengrass
Screenwriters: Tony Gilroy, Scott Z. Burns, George Nolfi
Screen story: Tony Gilroy
Based on the novel by: Robert Ludlum
Producers: Frank Marshall, Patrick Crowley, Paul L. Sandberg
Executive producers: Jeffrey M. Weiner, Henry Morrison, Doug Liman
Director of photography: Oliver Wood
Production designer: Peter Wenham
Costume designer: Shay Cunliffe
Music: John Powell
Editor: Christopher Rouse
Cast:
Jason Bourne: Matt Damon
Nicky Parsons: Julia Stiles
Noah Vosen: David Strathairn
Ezra Kramer: Scott Glenn
Sam Ross: Paddy Considine
Paz: Edgar Romeriz
Pamela: Joan Allen
Dr. Hirsch: Albert Finney
Running time -- 114 minutes
MPAA rating: PG-13...
Director Paul Greengrass, who only made the astonishing United 93 in the interim, returns for his second Bourne film (after 2004's The Bourne Supremacy) to bring the roller coaster ride to an end in a dead heat where all the plot points and (surviving) characters of the three films converge. Audiences will eat it up: This is a postmillennial spy-action movie pitched to a large international audience. You hardly need subtitles.
The cool thing about this movie is that the real revenge is not against bad guys in the CIA, but against the high-tech world that maddens mere mortals. Your mobile phone drops calls? Your car needs towing after a parking-lot fender-bender? Well, Jason can switch phones and patch into the world from trains, subways, stairwells and undergrounds. Any car he steals leaps up sharp inclines, plunges off of roofs or smashes into other vehicles until reduced to smoldering metal yet can still outrace any car on the block.
And his body! Blow it up with a bomb, expose it to brutal hand-to-hand combat or throw it into the East River, and it gets up with a few manly scratches.
Yes, there are a few plot holes. But few are likely to care. A smart cast of veteran actors gives the film just enough emotional heft to carry you through the silliness. Damon has definitely made Bourne his own. For all his physical dexterity and killing instincts, Damon brings a Hamlet-like quality to the CIA-trained assassin suffering from a five-year spell of amnesia who can never quite tell who his friends are, or rather, which of his enemies might be a true friend.
Joan Allen returns as the CIA investigator who has slowly come to see that Jason might be the real deal. And Julia Stiles as an in-over-her-head agent again shows up for no credible reason other than the producers want her back. (They're right.)
Newcomers include a flinty and increasingly antsy David Strathairn as a head of a black-ops program that has its real-life model in all the extralegal programs sponsored by the current administration. At one point, he declares "you can't make this stuff up," and you know the filmmakers are nodding toward today's Washington.
Scott Glenn appears as a law-ignoring CIA director, though he might remind you more of the current attorney general, and Albert Finney crops up toward at the end as a Dr. Mengele figure behind a behavior-mod program that created any number of Jason Bournes.
The movie swings through Moscow (filched from the previous film); Paris; Turin, Italy; London; Madrid; Tangiers, Morocco; and New York as Jason Hones in on who did this to him. (That's another thing -- he never has to endure airport security checks!)
A fatigue factor sets in somewhere; it might vary from person to person. Yet the sharp intelligence behind the screenplay by Tony Gilroy, Scott Z. Burns and George Nolfi (though other hands reportedly contributed) gives the plot, salvaged from the Robert Ludlum Cold War spy novel, a genuine buoyancy. The film is trying to get at something, no matter how crudely, about corruption within the American espionage system, with its secret reliance on renditions and torture in the name of freedom. This might not be the best way to illustrate the problem with credibility-stretchers at every turn. But then again, how many people look at documentaries?
Greengrass tops himself with each passing minute by staging terrific stunts and chases through crowded streets, buildings and rooftops. Cinematographer Oliver Wood and editor Christopher Rouse gives the film its lightning speed and jagged edges with a close, hand-held camera and quick edits while John Powell's score pulsates pure adrenaline.
THE BOURNE ULTIMATUM
Universal Pictures
Universal Pictures in association with MP Beta Prods. presents a Kennedy/Marshall production in association with Ludlum Entertainment
Credits:
Director: Paul Greengrass
Screenwriters: Tony Gilroy, Scott Z. Burns, George Nolfi
Screen story: Tony Gilroy
Based on the novel by: Robert Ludlum
Producers: Frank Marshall, Patrick Crowley, Paul L. Sandberg
Executive producers: Jeffrey M. Weiner, Henry Morrison, Doug Liman
Director of photography: Oliver Wood
Production designer: Peter Wenham
Costume designer: Shay Cunliffe
Music: John Powell
Editor: Christopher Rouse
Cast:
Jason Bourne: Matt Damon
Nicky Parsons: Julia Stiles
Noah Vosen: David Strathairn
Ezra Kramer: Scott Glenn
Sam Ross: Paddy Considine
Paz: Edgar Romeriz
Pamela: Joan Allen
Dr. Hirsch: Albert Finney
Running time -- 114 minutes
MPAA rating: PG-13...
- 7/25/2007
- The Hollywood Reporter - Movie News
This review was written for the theatrical release of "Because I Said So". Like the architectural-wonder cakes Diane Keaton's character constructs in "Because I Said So", the film is a stylishly gooey piece of work that demands to be oohed and aahed over. With its magazine-spread interiors and pretty dresses, this romantic comedy about a meddling mom and her unlucky-in-love youngest daughter might get what it wants. Using a recipe overloaded with adorable, too reliant on slapstick and spiced up with "modern" ideas about sex, the movie is as predictable as a crowd-pleaser can get. But crowds are likely to be pleased nonetheless, especially women who connect with its pat observations about the mother-daughter bond.
It's dispiriting to see a great actress like Keaton buying into this nonsense with such gusto. Still, as Daphne, the control-freak cake entrepreneur nearing her 60th birthday, she's the closest thing to a three-dimensional person in the film. Mandy Moore is an appealing performer, but ultimately she can't turn Milly, the object of Daphne's pathological concern, into more than a collection of comely pouts and tantrums.
The script by Karen Leigh Hopkins and Jessie Nelson, two of the writers of 1998's "Stepmom", is a compendium of cliches. Chief among these is the montage of comical interviewees -- that overused shorthand for L-O-S-E-R that parades across the screen for our condescending enjoyment, a succession of inadequate candidates for a job or a date. In this case, the would-be boyfriends are interviewed not by their potential mate but by her mother. Having placed an online ad, "Mother looking for life partner for daughter" (have more menacing words ever been printed?), Daphne holds court in a hotel lobby bar, driven to drink by the bad and the ugly. The good arrive, too. Jason, Tom Everett Scott) is an architect -- the movie occupation du jour, signaling financially successful and creative -- and Daphne couldn't be more thrilled. There's also bystander Johnny (Gabriel Macht), a musician working in the bar. He observes Daphne with interest, and for a moment it seems this might turn into a younger man/older woman romance. But against Daphne's wishes, the faux bohemian guitarist (he wears a fedora and vest) pursues Milly, a caterer with a snorting laugh not unlike Annie Hall's. After an inventive meet-cute with Johnny involving static cling, Milly finds herself dating both him and Jason.
Who Milly will end up with is as obvious as the contrasts between the two men. Johnny's the single father of a precocious boy (Ty Panitz), and they live with his single dad (Stephen Collins) in a fashionably cluttered house on the Venice canals. Against all that humanity, Jason lives in minimalist splendor and takes Milly to sleek downtown eateries. The dream-date deck is stacked. When Milly accidentally breaks one of Jason's family heirlooms, he gets a bit testy, the brute. But Johnny is all hugs and forgiveness after the accident-prone caterer shatters a plate that he probably got on sale at Pier 1.
Still, they're both decent guys, and what's a girl to do but sleep with both of them? The film pushes a cheery attitude toward sex, complete with cell-phone conference calls about uncircumcised penises between Daphne, Milly and her two married sisters. The sole characteristic of middle sis Mae (Piper Perabo) is her love of sex. It's clear from the get-go that Daphne's sense of urgency over Milly's love life is really about her own regrets as a single woman, but the script milks the notion for all its cheap, orgasm-centric psychology.
Director Michael Lehmann ("Heathers"), who keeps the story moving if not believable, isn't above using Daphne's pet dog for frequent reaction shots. Director of photography Julio Macat showcases L.A. dream locales -- not counting a woeful Korean spa scene -- while the creations of production designer Sharon Seymour and costume designer Shay Cunliffe have pizzazz but never feel lived-in. David Kitay's music score aids and abets the script in pushing emotional buttons.
Amongst the cardboard-cutout supporting characters, Lauren Graham brings a welcome deadpan sensibility to the overeager proceedings as oldest sibling Maggie, a wry psychologist.
BECAUSE I SAID SO
Universal Pictures
A Universal Pictures and Gold Circle Films presentation
Credits:
Director: Michael Lehmann
Screenwriters: Karen Leigh Hopkins, Jessie Nelson
Producers: Paul Brooks, Jessie Nelson
Executive producers: Scott Niemeyer, Norm Waitt, Michael Flynn
Director of photography: Julio Macat
Production designer: Sharon Seymour
Music: David Kitay
Co-producer: Wendy Rhoads
Costume designer: Shay Cunliffe
Editors: Paul Seydor, Troy Takaki
Cast:
Daphne: Diane Keaton
Milly: Mandy Moore
Johnny: Gabriel Macht
Jason: Tom Everett Scott
Maggie: Lauren Graham
Mae: Piper Perabo
Joe: Stephen Collins
Lionel: Ty Panitz
Running time -- 101 minutes
MPAA rating: PG-13...
It's dispiriting to see a great actress like Keaton buying into this nonsense with such gusto. Still, as Daphne, the control-freak cake entrepreneur nearing her 60th birthday, she's the closest thing to a three-dimensional person in the film. Mandy Moore is an appealing performer, but ultimately she can't turn Milly, the object of Daphne's pathological concern, into more than a collection of comely pouts and tantrums.
The script by Karen Leigh Hopkins and Jessie Nelson, two of the writers of 1998's "Stepmom", is a compendium of cliches. Chief among these is the montage of comical interviewees -- that overused shorthand for L-O-S-E-R that parades across the screen for our condescending enjoyment, a succession of inadequate candidates for a job or a date. In this case, the would-be boyfriends are interviewed not by their potential mate but by her mother. Having placed an online ad, "Mother looking for life partner for daughter" (have more menacing words ever been printed?), Daphne holds court in a hotel lobby bar, driven to drink by the bad and the ugly. The good arrive, too. Jason, Tom Everett Scott) is an architect -- the movie occupation du jour, signaling financially successful and creative -- and Daphne couldn't be more thrilled. There's also bystander Johnny (Gabriel Macht), a musician working in the bar. He observes Daphne with interest, and for a moment it seems this might turn into a younger man/older woman romance. But against Daphne's wishes, the faux bohemian guitarist (he wears a fedora and vest) pursues Milly, a caterer with a snorting laugh not unlike Annie Hall's. After an inventive meet-cute with Johnny involving static cling, Milly finds herself dating both him and Jason.
Who Milly will end up with is as obvious as the contrasts between the two men. Johnny's the single father of a precocious boy (Ty Panitz), and they live with his single dad (Stephen Collins) in a fashionably cluttered house on the Venice canals. Against all that humanity, Jason lives in minimalist splendor and takes Milly to sleek downtown eateries. The dream-date deck is stacked. When Milly accidentally breaks one of Jason's family heirlooms, he gets a bit testy, the brute. But Johnny is all hugs and forgiveness after the accident-prone caterer shatters a plate that he probably got on sale at Pier 1.
Still, they're both decent guys, and what's a girl to do but sleep with both of them? The film pushes a cheery attitude toward sex, complete with cell-phone conference calls about uncircumcised penises between Daphne, Milly and her two married sisters. The sole characteristic of middle sis Mae (Piper Perabo) is her love of sex. It's clear from the get-go that Daphne's sense of urgency over Milly's love life is really about her own regrets as a single woman, but the script milks the notion for all its cheap, orgasm-centric psychology.
Director Michael Lehmann ("Heathers"), who keeps the story moving if not believable, isn't above using Daphne's pet dog for frequent reaction shots. Director of photography Julio Macat showcases L.A. dream locales -- not counting a woeful Korean spa scene -- while the creations of production designer Sharon Seymour and costume designer Shay Cunliffe have pizzazz but never feel lived-in. David Kitay's music score aids and abets the script in pushing emotional buttons.
Amongst the cardboard-cutout supporting characters, Lauren Graham brings a welcome deadpan sensibility to the overeager proceedings as oldest sibling Maggie, a wry psychologist.
BECAUSE I SAID SO
Universal Pictures
A Universal Pictures and Gold Circle Films presentation
Credits:
Director: Michael Lehmann
Screenwriters: Karen Leigh Hopkins, Jessie Nelson
Producers: Paul Brooks, Jessie Nelson
Executive producers: Scott Niemeyer, Norm Waitt, Michael Flynn
Director of photography: Julio Macat
Production designer: Sharon Seymour
Music: David Kitay
Co-producer: Wendy Rhoads
Costume designer: Shay Cunliffe
Editors: Paul Seydor, Troy Takaki
Cast:
Daphne: Diane Keaton
Milly: Mandy Moore
Johnny: Gabriel Macht
Jason: Tom Everett Scott
Maggie: Lauren Graham
Mae: Piper Perabo
Joe: Stephen Collins
Lionel: Ty Panitz
Running time -- 101 minutes
MPAA rating: PG-13...
Like the architectural-wonder cakes Diane Keaton's character constructs in "Because I Said So", the film is a stylishly gooey piece of work that demands to be oohed and aahed over. With its magazine-spread interiors and pretty dresses, this romantic comedy about a meddling mom and her unlucky-in-love youngest daughter might get what it wants. Using a recipe overloaded with adorable, too reliant on slapstick and spiced up with "modern" ideas about sex, the movie is as predictable as a crowd-pleaser can get. But crowds are likely to be pleased nonetheless, especially women who connect with its pat observations about the mother-daughter bond.
It's dispiriting to see a great actress like Keaton buying into this nonsense with such gusto. Still, as Daphne, the control-freak cake entrepreneur nearing her 60th birthday, she's the closest thing to a three-dimensional person in the film. Mandy Moore is an appealing performer, but ultimately she can't turn Milly, the object of Daphne's pathological concern, into more than a collection of comely pouts and tantrums.
The script by Karen Leigh Hopkins and Jessie Nelson, two of the writers of 1998's "Stepmom", is a compendium of cliches. Chief among these is the montage of comical interviewees -- that overused shorthand for L-O-S-E-R that parades across the screen for our condescending enjoyment, a succession of inadequate candidates for a job or a date. In this case, the would-be boyfriends are interviewed not by their potential mate but by her mother. Having placed an online ad, "Mother looking for life partner for daughter" (have more menacing words ever been printed?), Daphne holds court in a hotel lobby bar, driven to drink by the bad and the ugly.The good arrive, too. Jason, Tom Everett Scott) is an architect -- the movie occupation du jour, signaling financially successful and creative -- and Daphne couldn't be more thrilled. There's also bystander Johnny (Gabriel Macht), a musician working in the bar. He observes Daphne with interest, and for a moment it seems this might turn into a younger man/older woman romance. But against Daphne's wishes, the faux bohemian guitarist (he wears a fedora and vest) pursues Milly, a caterer with a snorting laugh not unlike Annie Hall's. After an inventive meet-cute with Johnny involving static cling, Milly finds herself dating both him and Jason.
Who Milly will end up with is as obvious as the contrasts between the two men. Johnny's the single father of a precocious boy (Ty Panitz), and they live with his single dad (Stephen Collins) in a fashionably cluttered house on the Venice canals. Against all that humanity, Jason lives in minimalist splendor and takes Milly to sleek downtown eateries. The dream-date deck is stacked. When Milly accidentally breaks one of Jason's family heirlooms, he gets a bit testy, the brute. But Johnny is all hugs and forgiveness after the accident-prone caterer shatters a plate that he probably got on sale at Pier 1.
Still, they're both decent guys, and what's a girl to do but sleep with both of them? The film pushes a cheery attitude toward sex, complete with cell-phone conference calls about uncircumcised penises between Daphne, Milly and her two married sisters. The sole characteristic of middle sis Mae (Piper Perabo) is her love of sex. It's clear from the get-go that Daphne's sense of urgency over Milly's love life is really about her own regrets as a single woman, but the script milks the notion for all its cheap, orgasm-centric psychology.
Director Michael Lehmann ("Heathers"), who keeps the story moving if not believable, isn't above using Daphne's pet dog for frequent reaction shots. Director of photography Julio Macat showcases L.A. dream locales -- not counting a woeful Korean spa scene -- while the creations of production designer Sharon Seymour and costume designer Shay Cunliffe have pizzazz but never feel lived-in. David Kitay's music score aids and abets the script in pushing emotional buttons.
Amongst the cardboard-cutout supporting characters, Lauren Graham brings a welcome deadpan sensibility to the overeager proceedings as oldest sibling Maggie, a wry psychologist.
BECAUSE I SAID SO
Universal Pictures
A Universal Pictures and Gold Circle Films presentation
Credits:
Director: Michael Lehmann
Screenwriters: Karen Leigh Hopkins, Jessie Nelson
Producers: Paul Brooks, Jessie Nelson
Executive producers: Scott Niemeyer, Norm Waitt, Michael Flynn
Director of photography: Julio Macat
Production designer: Sharon Seymour
Music: David Kitay
Co-producer: Wendy Rhoads
Costume designer: Shay Cunliffe
Editors: Paul Seydor, Troy Takaki
Cast:
Daphne: Diane Keaton
Milly: Mandy Moore
Johnny: Gabriel Macht
Jason: Tom Everett Scott
Maggie: Lauren Graham
Mae: Piper Perabo
Joe: Stephen Collins
Lionel: Ty Panitz
Running time -- 101 minutes
MPAA rating: PG-13...
It's dispiriting to see a great actress like Keaton buying into this nonsense with such gusto. Still, as Daphne, the control-freak cake entrepreneur nearing her 60th birthday, she's the closest thing to a three-dimensional person in the film. Mandy Moore is an appealing performer, but ultimately she can't turn Milly, the object of Daphne's pathological concern, into more than a collection of comely pouts and tantrums.
The script by Karen Leigh Hopkins and Jessie Nelson, two of the writers of 1998's "Stepmom", is a compendium of cliches. Chief among these is the montage of comical interviewees -- that overused shorthand for L-O-S-E-R that parades across the screen for our condescending enjoyment, a succession of inadequate candidates for a job or a date. In this case, the would-be boyfriends are interviewed not by their potential mate but by her mother. Having placed an online ad, "Mother looking for life partner for daughter" (have more menacing words ever been printed?), Daphne holds court in a hotel lobby bar, driven to drink by the bad and the ugly.The good arrive, too. Jason, Tom Everett Scott) is an architect -- the movie occupation du jour, signaling financially successful and creative -- and Daphne couldn't be more thrilled. There's also bystander Johnny (Gabriel Macht), a musician working in the bar. He observes Daphne with interest, and for a moment it seems this might turn into a younger man/older woman romance. But against Daphne's wishes, the faux bohemian guitarist (he wears a fedora and vest) pursues Milly, a caterer with a snorting laugh not unlike Annie Hall's. After an inventive meet-cute with Johnny involving static cling, Milly finds herself dating both him and Jason.
Who Milly will end up with is as obvious as the contrasts between the two men. Johnny's the single father of a precocious boy (Ty Panitz), and they live with his single dad (Stephen Collins) in a fashionably cluttered house on the Venice canals. Against all that humanity, Jason lives in minimalist splendor and takes Milly to sleek downtown eateries. The dream-date deck is stacked. When Milly accidentally breaks one of Jason's family heirlooms, he gets a bit testy, the brute. But Johnny is all hugs and forgiveness after the accident-prone caterer shatters a plate that he probably got on sale at Pier 1.
Still, they're both decent guys, and what's a girl to do but sleep with both of them? The film pushes a cheery attitude toward sex, complete with cell-phone conference calls about uncircumcised penises between Daphne, Milly and her two married sisters. The sole characteristic of middle sis Mae (Piper Perabo) is her love of sex. It's clear from the get-go that Daphne's sense of urgency over Milly's love life is really about her own regrets as a single woman, but the script milks the notion for all its cheap, orgasm-centric psychology.
Director Michael Lehmann ("Heathers"), who keeps the story moving if not believable, isn't above using Daphne's pet dog for frequent reaction shots. Director of photography Julio Macat showcases L.A. dream locales -- not counting a woeful Korean spa scene -- while the creations of production designer Sharon Seymour and costume designer Shay Cunliffe have pizzazz but never feel lived-in. David Kitay's music score aids and abets the script in pushing emotional buttons.
Amongst the cardboard-cutout supporting characters, Lauren Graham brings a welcome deadpan sensibility to the overeager proceedings as oldest sibling Maggie, a wry psychologist.
BECAUSE I SAID SO
Universal Pictures
A Universal Pictures and Gold Circle Films presentation
Credits:
Director: Michael Lehmann
Screenwriters: Karen Leigh Hopkins, Jessie Nelson
Producers: Paul Brooks, Jessie Nelson
Executive producers: Scott Niemeyer, Norm Waitt, Michael Flynn
Director of photography: Julio Macat
Production designer: Sharon Seymour
Music: David Kitay
Co-producer: Wendy Rhoads
Costume designer: Shay Cunliffe
Editors: Paul Seydor, Troy Takaki
Cast:
Daphne: Diane Keaton
Milly: Mandy Moore
Johnny: Gabriel Macht
Jason: Tom Everett Scott
Maggie: Lauren Graham
Mae: Piper Perabo
Joe: Stephen Collins
Lionel: Ty Panitz
Running time -- 101 minutes
MPAA rating: PG-13...
With his observations about the clash between a tightly wound Manhattan careerist and her boyfriend' s loose-limbed New England clan, writer-director Thomas Bezucha puts a fresh slant on the dynamics of family-reunion Christmas movies. But "The Family Stone" spends too much time on unconvincing romantic-comedy contrivances to be consistently engaging.
Throughout the uneven film and its mixed bag of performances, the compelling point of focus is Diane Keaton's smart, funny, spot-on natural portrait of the formidable Stone matriarch. Fans of the actress and of Sarah Jessica Parker, in her first major post-"Sex and the City" film role, will flock to the holiday offering, which should be a draw for older audiences and women.
Unfortunately, Parker is one of the actors who fares least well here. Fans looking for Carrie Bradshaw's irreverence will find instead a multitasking, throat-clearing control freak. Parker does, however, deliver some strong moments late in the proceedings, when script mechanics release her character, Meredith, from the Stone family's sacrificial altar.
The story unfolds over three days in an unidentified New England town, where Meredith and her boyfriend, Everett (Dermot Mulroney), visit his artsy mother and professor father (Craig T. Nelson, lending low-key strength). The deck is stacked against her: Everett's outspoken younger sister Amy (Rachel McAdams), having already met Meredith, hates her. And Sybil (Keaton), a striking, casually dressed woman with a Susan Sontag-style shock of white hair, regards Meredith with a roll of the eyes and a sneer of disdain when she crosses the threshold in Black Power pumps that couldn't be more out of place. Who wouldn't feel intimidated?
Where Bezucha (whose other feature credit is the indie "Big Eden") gets it right is in his clear-eyed depiction of the way ultra-tolerant, "open-minded" people can be utterly intolerant -- and even delight in being mean, with McAdams and Keaton offering fine examples. But he layers his story with romantic alignments and realignments that all feel forced.
The roundelay begins when Meredith, under passive-aggressive siege, summons her sister to lend moral support. When Everett lays eyes on the luminous Julie (Claire Danes), as clear a contrast to the shrill Meredith as could be imagined, his mask of misery finally melts. Like Parker, Mulroney is constrained by a role that doesn't quite parse. However mismatched Everett and Meredith May be, any couple this appearance-conscious would at least try not to look as downright miserable as these two do. And as successful businesspeople, they would know how to work a room somewhat better than they manage here.
But families have a way of laying low our best defenses, and as this gathering unravels, Meredith's chief ally is not her boyfriend but his brother (Luke Wilson, in one of the film's best performances), a documentary film editor exuding a soulful -- and cannabis-enhanced -- serenity. Also seeing through Meredith's brittle demeanor to her self-doubt is Nelson's paterfamilias Kelly, providing counterpoint to Sybil and Amy's drama for flash judgments.
Rounding out the brood are married, pregnant daughter Susannah (Elizabeth Reaser) and youngest son Thad (Tyrone Giordano), perhaps Bezucha's most loaded construct. Thad is gay and deaf, his partner (Brian White) is black, and they're planning to adopt. All of which would be fine if Thad didn't exist merely as a setup for the dinner-table debacle in which Meredith, speaking her mind, plants both feet firmly in mouth and proceeds to do a Riverdance.
It's no wonder that Sybil is bracing herself against Everett's request for the heirloom ring -- the second meaning of the film's title -- that she had promised him for his intended, long before Meredith entered the picture. Keaton brings a bracing acerbity to Sybil, who reneges on that promise with an unapologetic, "Tough shit". Although she's not always likable, her toughness and honesty are her family's life force.
The production has a suitably unfussy sheen, with Jane Ann Stewart's production design and Shay Cunliffe's costumes conveying the Stone home's lived-in, bohemia-tinged comfort. New Jersey and Connecticut locations serve well as the snow-covered burg. A holiday-themed bonus awaits Keaton fans who stay to the end of the credits.
THE FAMILY STONE
20th Century Fox
Fox 2000 Pictures presents a Michael London production
Credits:
Director-screenwriter: Thomas Bezucha
Producer: Michael London
Executive producer: Jennifer Ogden
Director of photography: Jonathan Brown
Production designer: Jane Ann Stewart
Music: Michael Giacchino
Costume designer: Shay Cunliffe
Editor: Jeffrey Ford
Cast:
Sybil Stone: Diane Keaton
Julie Morton: Claire Danes
Meredith Morton: Sarah Jessica Parker
Everett Stone: Dermot Mulroney
Kelly Stone: Craig T. Nelson
Ben Stone: Luke Wilson
Amy Stone: Rachel McAdams
Thad Stone: Tyrone Giordano
Patrick Thomas: Brian White
Susannah: Elizabeth Reaser
MPAA rating PG-13
Running time 103 minutes...
Throughout the uneven film and its mixed bag of performances, the compelling point of focus is Diane Keaton's smart, funny, spot-on natural portrait of the formidable Stone matriarch. Fans of the actress and of Sarah Jessica Parker, in her first major post-"Sex and the City" film role, will flock to the holiday offering, which should be a draw for older audiences and women.
Unfortunately, Parker is one of the actors who fares least well here. Fans looking for Carrie Bradshaw's irreverence will find instead a multitasking, throat-clearing control freak. Parker does, however, deliver some strong moments late in the proceedings, when script mechanics release her character, Meredith, from the Stone family's sacrificial altar.
The story unfolds over three days in an unidentified New England town, where Meredith and her boyfriend, Everett (Dermot Mulroney), visit his artsy mother and professor father (Craig T. Nelson, lending low-key strength). The deck is stacked against her: Everett's outspoken younger sister Amy (Rachel McAdams), having already met Meredith, hates her. And Sybil (Keaton), a striking, casually dressed woman with a Susan Sontag-style shock of white hair, regards Meredith with a roll of the eyes and a sneer of disdain when she crosses the threshold in Black Power pumps that couldn't be more out of place. Who wouldn't feel intimidated?
Where Bezucha (whose other feature credit is the indie "Big Eden") gets it right is in his clear-eyed depiction of the way ultra-tolerant, "open-minded" people can be utterly intolerant -- and even delight in being mean, with McAdams and Keaton offering fine examples. But he layers his story with romantic alignments and realignments that all feel forced.
The roundelay begins when Meredith, under passive-aggressive siege, summons her sister to lend moral support. When Everett lays eyes on the luminous Julie (Claire Danes), as clear a contrast to the shrill Meredith as could be imagined, his mask of misery finally melts. Like Parker, Mulroney is constrained by a role that doesn't quite parse. However mismatched Everett and Meredith May be, any couple this appearance-conscious would at least try not to look as downright miserable as these two do. And as successful businesspeople, they would know how to work a room somewhat better than they manage here.
But families have a way of laying low our best defenses, and as this gathering unravels, Meredith's chief ally is not her boyfriend but his brother (Luke Wilson, in one of the film's best performances), a documentary film editor exuding a soulful -- and cannabis-enhanced -- serenity. Also seeing through Meredith's brittle demeanor to her self-doubt is Nelson's paterfamilias Kelly, providing counterpoint to Sybil and Amy's drama for flash judgments.
Rounding out the brood are married, pregnant daughter Susannah (Elizabeth Reaser) and youngest son Thad (Tyrone Giordano), perhaps Bezucha's most loaded construct. Thad is gay and deaf, his partner (Brian White) is black, and they're planning to adopt. All of which would be fine if Thad didn't exist merely as a setup for the dinner-table debacle in which Meredith, speaking her mind, plants both feet firmly in mouth and proceeds to do a Riverdance.
It's no wonder that Sybil is bracing herself against Everett's request for the heirloom ring -- the second meaning of the film's title -- that she had promised him for his intended, long before Meredith entered the picture. Keaton brings a bracing acerbity to Sybil, who reneges on that promise with an unapologetic, "Tough shit". Although she's not always likable, her toughness and honesty are her family's life force.
The production has a suitably unfussy sheen, with Jane Ann Stewart's production design and Shay Cunliffe's costumes conveying the Stone home's lived-in, bohemia-tinged comfort. New Jersey and Connecticut locations serve well as the snow-covered burg. A holiday-themed bonus awaits Keaton fans who stay to the end of the credits.
THE FAMILY STONE
20th Century Fox
Fox 2000 Pictures presents a Michael London production
Credits:
Director-screenwriter: Thomas Bezucha
Producer: Michael London
Executive producer: Jennifer Ogden
Director of photography: Jonathan Brown
Production designer: Jane Ann Stewart
Music: Michael Giacchino
Costume designer: Shay Cunliffe
Editor: Jeffrey Ford
Cast:
Sybil Stone: Diane Keaton
Julie Morton: Claire Danes
Meredith Morton: Sarah Jessica Parker
Everett Stone: Dermot Mulroney
Kelly Stone: Craig T. Nelson
Ben Stone: Luke Wilson
Amy Stone: Rachel McAdams
Thad Stone: Tyrone Giordano
Patrick Thomas: Brian White
Susannah: Elizabeth Reaser
MPAA rating PG-13
Running time 103 minutes...
- 12/20/2005
- The Hollywood Reporter - Movie News
James L. Brooks is a humanist before he is a humorist. He is willing to study his characters for as long as it takes before the humor emerges. In "Spanglish", the writer-director takes a very typical Southland situation -- a Latina housekeeper gets hired in a troubled and pampered Anglo household -- then gets past the stereotypes as swiftly as possible to delve into issues of child-rearing and cultural estrangement in a comic take on "family values" that has nothing to do with the hijacking of that term by the radical right.
The picture belongs to Spanish actress Paz Vega, as dazzling as she is improbable as the poor Mexican maid. Yet there is genuinely fine acting -- yes, acting -- from Adam Sandler to go along with terrific supporting turns by Tea Leoni and Cloris Leachman. No doubt about it, Brooks is solidly in charge of this feel-good fairy tale as he gets terrific performances from everyone including two super-talented child actors. "Spanglish" looks like a holiday hit for Sony.
The film doesn't act like a fairy tale, but how else to explain the frequent suspension of reality? Take the simple matter of language -- which, as the title indicates, is the basis for much of the confusion, comedy and cultural clashes. Flor (Vega), an illegal immigrant, speaks not a word of English, yet is hired on the spot by Deborah Clasky (Leoni) to take care of the family's Bel-Air home and two young children.
One can at least ascribe this implausible hiring to the whims of an insecure wife going through a nutty stage of life. But what explains her husband, John (Sandler), a top chef in New York and now L.A., speaking no Spanish? No chef can operate in restaurant kitchens in either city without a working knowledge of Spanish.
Yet unless Brooks turns a blind eye to reality, he will lose the movie's funniest and most touching scene: A heated argument erupts between John and Flor, which her daughter, Cristina (Shelbie Bruce), must rapidly translate back and forth with the skill of a U.N. translator along with the abrupt gesture and attitudes of each adult.
The film is told in flashback by Cristina, a narration (delivered by Aimee Garcia) supposedly lifted from her admission letter for a scholarship to Princeton. She tells of her mother's determination not to get involved with the lives of her employers, a resolution eroded by time. When Deborah, suffering from low self-esteem after losing her job, deliberately buys clothes a size too small for her slightly overweight daughter Bernice (Sarah Steele), Flor is appalled and quickly alters the clothes so they fit.
When the Claskys rent a beach house in Malibu for the summer, Deborah demands that Flor move in. Learning for the first time that Flor has a daughter, she insists that Cristina move in, too. The minute Cristina, as gorgeous as her mother, walks into the house, a competition for her affection erupts between Deborah and Flor. When Deborah takes her shopping, Cristina declares that Deborah is "the most amazing white woman" she has ever met. Meanwhile, Flor is furious because Deborah never asked permission to take her daughter.
John intervenes, which causes Flor to see a side in a male she has never seen before. Here is a man comfortable with his own emotions and compassion for others. "To someone with firsthand knowledge of Latin machismo," says the narrator, "he seemed to have the emotions of a Mexican ... woman."
Observing all of this like a witty Greek chorus is Deborah's mom Evelyn (Leachman), who drinks all day but carefully disguises her inebriation. Alcohol does not cloud her eyes or judgment, though, as she sees trouble in the family with more clarity than anyone else. Her daughter, suffering from a weird combination of narcissism and self-loathing, is a Loose Cannon about to sabotage her own marriage.
Pressure builds when a New York restaurant critic drops by John's establishment and commits the foul deed of declaring in his review that John is the best chef in America. Suddenly, the demand for tables and John's time grows exponentially. He resists though, forking over 20% of his restaurant to his sous chef to keep time for his family.
Brooks lets these conflicts and competing desires play out without pushing things. While dealing with serious themes, the movie seems almost easygoing. Ultimately, the film is about how two culturally different families approach parenting, and the discovery that here there is no language barrier. Along the way, the movie explores the problem of assimilation. Does one fit in by becoming a Latin version of an Anglo? Or does one embrace parts of an alien culture while maintaining a hold on one's own?
As a writer, Brooks has never fully escaped his TV sitcom background. But the situations and comedy are fresh enough here that this is a most forgivable sin. The crisis, where Deborah's self-destructive behavior momentarily frees John to give into in his growing affection for Flor, arrives logically without artifice or fake melodrama.
All tech credits are top notch, especially Ida Random's production design and Hans Zimmer's music, both of which incorporate Mexican and American influences.
SPANGLISH
Columbia Pictures
Gracie Films
Credits:
Director-screenwriter: James L. Brooks
Producers: James L. Brooks, Richard Sakai, Julie Ansell
Executive producer: Joan Bradshaw, Christy Haubegger
Director of photography: John Seale
Production designer: Ida Random
Music: Hans Zimmer
Costume designer: Shay Cunliffe, Louise Mingenbach
Editor: Richard Marks
Cast:
John Clasky: Adam Sandler
Deborah Clasky: Tea Leoni
Flor: Paz Vega
Evelyn: Cloris Leachman
Cristina: Shelbie Bruce
Bernice: Sarah Steele
MPAA rating PG-13
Running time --131 minutes...
The picture belongs to Spanish actress Paz Vega, as dazzling as she is improbable as the poor Mexican maid. Yet there is genuinely fine acting -- yes, acting -- from Adam Sandler to go along with terrific supporting turns by Tea Leoni and Cloris Leachman. No doubt about it, Brooks is solidly in charge of this feel-good fairy tale as he gets terrific performances from everyone including two super-talented child actors. "Spanglish" looks like a holiday hit for Sony.
The film doesn't act like a fairy tale, but how else to explain the frequent suspension of reality? Take the simple matter of language -- which, as the title indicates, is the basis for much of the confusion, comedy and cultural clashes. Flor (Vega), an illegal immigrant, speaks not a word of English, yet is hired on the spot by Deborah Clasky (Leoni) to take care of the family's Bel-Air home and two young children.
One can at least ascribe this implausible hiring to the whims of an insecure wife going through a nutty stage of life. But what explains her husband, John (Sandler), a top chef in New York and now L.A., speaking no Spanish? No chef can operate in restaurant kitchens in either city without a working knowledge of Spanish.
Yet unless Brooks turns a blind eye to reality, he will lose the movie's funniest and most touching scene: A heated argument erupts between John and Flor, which her daughter, Cristina (Shelbie Bruce), must rapidly translate back and forth with the skill of a U.N. translator along with the abrupt gesture and attitudes of each adult.
The film is told in flashback by Cristina, a narration (delivered by Aimee Garcia) supposedly lifted from her admission letter for a scholarship to Princeton. She tells of her mother's determination not to get involved with the lives of her employers, a resolution eroded by time. When Deborah, suffering from low self-esteem after losing her job, deliberately buys clothes a size too small for her slightly overweight daughter Bernice (Sarah Steele), Flor is appalled and quickly alters the clothes so they fit.
When the Claskys rent a beach house in Malibu for the summer, Deborah demands that Flor move in. Learning for the first time that Flor has a daughter, she insists that Cristina move in, too. The minute Cristina, as gorgeous as her mother, walks into the house, a competition for her affection erupts between Deborah and Flor. When Deborah takes her shopping, Cristina declares that Deborah is "the most amazing white woman" she has ever met. Meanwhile, Flor is furious because Deborah never asked permission to take her daughter.
John intervenes, which causes Flor to see a side in a male she has never seen before. Here is a man comfortable with his own emotions and compassion for others. "To someone with firsthand knowledge of Latin machismo," says the narrator, "he seemed to have the emotions of a Mexican ... woman."
Observing all of this like a witty Greek chorus is Deborah's mom Evelyn (Leachman), who drinks all day but carefully disguises her inebriation. Alcohol does not cloud her eyes or judgment, though, as she sees trouble in the family with more clarity than anyone else. Her daughter, suffering from a weird combination of narcissism and self-loathing, is a Loose Cannon about to sabotage her own marriage.
Pressure builds when a New York restaurant critic drops by John's establishment and commits the foul deed of declaring in his review that John is the best chef in America. Suddenly, the demand for tables and John's time grows exponentially. He resists though, forking over 20% of his restaurant to his sous chef to keep time for his family.
Brooks lets these conflicts and competing desires play out without pushing things. While dealing with serious themes, the movie seems almost easygoing. Ultimately, the film is about how two culturally different families approach parenting, and the discovery that here there is no language barrier. Along the way, the movie explores the problem of assimilation. Does one fit in by becoming a Latin version of an Anglo? Or does one embrace parts of an alien culture while maintaining a hold on one's own?
As a writer, Brooks has never fully escaped his TV sitcom background. But the situations and comedy are fresh enough here that this is a most forgivable sin. The crisis, where Deborah's self-destructive behavior momentarily frees John to give into in his growing affection for Flor, arrives logically without artifice or fake melodrama.
All tech credits are top notch, especially Ida Random's production design and Hans Zimmer's music, both of which incorporate Mexican and American influences.
SPANGLISH
Columbia Pictures
Gracie Films
Credits:
Director-screenwriter: James L. Brooks
Producers: James L. Brooks, Richard Sakai, Julie Ansell
Executive producer: Joan Bradshaw, Christy Haubegger
Director of photography: John Seale
Production designer: Ida Random
Music: Hans Zimmer
Costume designer: Shay Cunliffe, Louise Mingenbach
Editor: Richard Marks
Cast:
John Clasky: Adam Sandler
Deborah Clasky: Tea Leoni
Flor: Paz Vega
Evelyn: Cloris Leachman
Cristina: Shelbie Bruce
Bernice: Sarah Steele
MPAA rating PG-13
Running time --131 minutes...
- 12/30/2004
- The Hollywood Reporter - Movie News
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