[This story contains major spoilers to the season two finale of And Just Like That, “The Last Supper Part Two: Entrée.”]
When the And Just Like That writers started chatting about the end of the season two finale, even they admitted they were dreading reliving the conversation between Carrie (Sarah Jessica Parker) and Aidan (John Corbett), the former love of her life with whom she reconciled with earlier in the season.
“She looks out the window and there is Aidan, throwing a rock up at the window, much like she threw a rock up at his window in Sex and the City when she visited him at night after his second return,” said showrunner/writer/director Michael Patrick King about the callback in episode 11, “The Last Supper Part Two: Entrée.” King, speaking on Max’s official companion podcast for the series, And Just Like That … The Writers Room with EPs Julie Rottenberg and Elisa Zuritsky and producers/writers Susan Fales-Hill and Samantha Irby,...
When the And Just Like That writers started chatting about the end of the season two finale, even they admitted they were dreading reliving the conversation between Carrie (Sarah Jessica Parker) and Aidan (John Corbett), the former love of her life with whom she reconciled with earlier in the season.
“She looks out the window and there is Aidan, throwing a rock up at the window, much like she threw a rock up at his window in Sex and the City when she visited him at night after his second return,” said showrunner/writer/director Michael Patrick King about the callback in episode 11, “The Last Supper Part Two: Entrée.” King, speaking on Max’s official companion podcast for the series, And Just Like That … The Writers Room with EPs Julie Rottenberg and Elisa Zuritsky and producers/writers Susan Fales-Hill and Samantha Irby,...
- 8/25/2023
- by Jackie Strause
- The Hollywood Reporter - Movie News
Spoiler Alert: This interview contains spoilers from “The Last Supper Part Two: Entrée,” the Season 2 finale of “And Just Like That,” now streaming on Max.
“And just like that … I ordered two more Cosmopolitans” — that’s Carrie Bradshaw’s last line, delivered in her signature voiceover, in the Season 2 finale of “And Just Like That.”
Carrie (Sarah Jessica Parker) delivers that proclamation as she relaxes on a beautiful beach, alongside her friend Seema (Sarita Choudhury). “We ran at love,” Seema says earlier in the scene. “And where did that get us?” Carrie answers simply, “Greece.”
Both women have fallen in love during the second season of the “Sex and the City” revival, and for now, are seemingly at peace with the challenges ahead of them. Carrie has accepted that Aidan (John Corbett) — her old love, now renewed — needs to be home in Virginia for his kids for the next five years.
“And just like that … I ordered two more Cosmopolitans” — that’s Carrie Bradshaw’s last line, delivered in her signature voiceover, in the Season 2 finale of “And Just Like That.”
Carrie (Sarah Jessica Parker) delivers that proclamation as she relaxes on a beautiful beach, alongside her friend Seema (Sarita Choudhury). “We ran at love,” Seema says earlier in the scene. “And where did that get us?” Carrie answers simply, “Greece.”
Both women have fallen in love during the second season of the “Sex and the City” revival, and for now, are seemingly at peace with the challenges ahead of them. Carrie has accepted that Aidan (John Corbett) — her old love, now renewed — needs to be home in Virginia for his kids for the next five years.
- 8/25/2023
- by Kate Aurthur
- Variety Film + TV
Warning: This post contains spoilers from the “And Just Like That…” season 2 finale (episode 11)
Kim Cattrall improvised a memorable moment in her “And Just Like That…” cameo.
Michael Patrick King, the showrunner for the beloved “Sex and the City” revival, confessed on “The Writers Room” podcast that the “amazing” moment when “Samantha kisses the phone” after saying goodbye to Carrie [Sarah Jessica Parker] was “not in the script.
“It was totally [an instance of] of an actor playing a moment. And it’s really nice,” he admitted.
Read More: Kim Cattrall Returns As Samantha Jones In ‘And Just Like That’ Season 2 Finale: What Happened In Her Cameo
Sarah Jessica Parker in “And Just Like That…” season 2, episode 11. — Photo: Courtesy of Warner Bros. Discovery
Cattrall, 67, appeared in the opening minutes of “And Just Like That”‘s season 2 finale, released early Thursday on Max. In the much-anticipated scene, Samantha, who’s in London, calls Carrie...
Kim Cattrall improvised a memorable moment in her “And Just Like That…” cameo.
Michael Patrick King, the showrunner for the beloved “Sex and the City” revival, confessed on “The Writers Room” podcast that the “amazing” moment when “Samantha kisses the phone” after saying goodbye to Carrie [Sarah Jessica Parker] was “not in the script.
“It was totally [an instance of] of an actor playing a moment. And it’s really nice,” he admitted.
Read More: Kim Cattrall Returns As Samantha Jones In ‘And Just Like That’ Season 2 Finale: What Happened In Her Cameo
Sarah Jessica Parker in “And Just Like That…” season 2, episode 11. — Photo: Courtesy of Warner Bros. Discovery
Cattrall, 67, appeared in the opening minutes of “And Just Like That”‘s season 2 finale, released early Thursday on Max. In the much-anticipated scene, Samantha, who’s in London, calls Carrie...
- 8/24/2023
- by Melissa Romualdi
- ET Canada
After 11 episodes, a rekindled romance and a highly anticipated cameo, “And Just Like That” Season 2 came to an end Thursday on Max.
Developed by Michael Patrick King, the Max original takes place 11 years after the “Sex and the City 2” movie. Instead of following four friends in their 30s, the spinoff follows three of the main friends in their 50s as they navigate friendship, careers, new romances and the complicated rules of dating later in life.
TheWrap already broke down Kim Cattrall’s return as Samantha Jones. But if you’re curious how the season ended for everyone else, here’s what you need to know.
Carrie (Sarah Jessica Parker) in “And Just Like That” (Photo Credit: Max) How did “And Just Like That” Season 2 end for Carrie and Aidan?
Prepare for heartbreak. “The Last Supper Part One: Appetizer” ended with Aidan (John Corbett) leaving New York ahead of Carrie...
Developed by Michael Patrick King, the Max original takes place 11 years after the “Sex and the City 2” movie. Instead of following four friends in their 30s, the spinoff follows three of the main friends in their 50s as they navigate friendship, careers, new romances and the complicated rules of dating later in life.
TheWrap already broke down Kim Cattrall’s return as Samantha Jones. But if you’re curious how the season ended for everyone else, here’s what you need to know.
Carrie (Sarah Jessica Parker) in “And Just Like That” (Photo Credit: Max) How did “And Just Like That” Season 2 end for Carrie and Aidan?
Prepare for heartbreak. “The Last Supper Part One: Appetizer” ended with Aidan (John Corbett) leaving New York ahead of Carrie...
- 8/24/2023
- by Kayla Cobb
- The Wrap
Another episode of “And Just Like That,” another Bravo reference!
After name dropping Bravo talent twice earlier this season, Seema (Sarita Choudhury) literally said “Bravo TV” in the sixth episode of Season 2, titled “Bomb Cyclone.”
Seema and her new Bff Carrie (Sarah Jessica Parker) were shopping in an Apple store when Seema invited Carrie to share a house in the Hamptons.
“‘I have never asked another single woman to share another summer house,” Seema said. “It’s just too tragic. Too Bravo TV.”
“Are you proposing we go to the Hamptons together?” Carrie asks.
“I can’t spend another weekend sharing a room with a married friend’s kid’s surfboard. But you and me, with our own two bed-three bath on the beach. Fun, fabulous, not tragic at all.”
“Summer House,” of course, is the title of Bravo’s long-running unscripted series where a group of young Manhattan friends...
After name dropping Bravo talent twice earlier this season, Seema (Sarita Choudhury) literally said “Bravo TV” in the sixth episode of Season 2, titled “Bomb Cyclone.”
Seema and her new Bff Carrie (Sarah Jessica Parker) were shopping in an Apple store when Seema invited Carrie to share a house in the Hamptons.
“‘I have never asked another single woman to share another summer house,” Seema said. “It’s just too tragic. Too Bravo TV.”
“Are you proposing we go to the Hamptons together?” Carrie asks.
“I can’t spend another weekend sharing a room with a married friend’s kid’s surfboard. But you and me, with our own two bed-three bath on the beach. Fun, fabulous, not tragic at all.”
“Summer House,” of course, is the title of Bravo’s long-running unscripted series where a group of young Manhattan friends...
- 8/14/2023
- by Lawrence Yee
- The Wrap
Sex and the City fans were recently treated to a Bravo mashup between Ryan Serhant and the HBO series spin-off And Just Like That‘s … Seema Patel (Sarita Choudhury).
In And Just Like That … Season 2, episode 9, Seema scours the Manhattan landscape for the perfect pad for client Ravi Gordi (Armin Amiri). She finds a great apartment, represented by Serhant, who plays himself. Ravi doesn’t seem impressed, but he hasn’t seemed impressed with any of the listings.
Ultimately Serhant allows Seema and Ravi to explore the place, which is when the two realize they have hot chemistry, which they can no longer deny. They have sex in the apartment, something Seema has never done before with a client. As they leave, she lets Serhant know that they’ll take the place – and he can tell exactly how she “closed the deal.”
Serhant teased his role on the show in an Instagram video.
In And Just Like That … Season 2, episode 9, Seema scours the Manhattan landscape for the perfect pad for client Ravi Gordi (Armin Amiri). She finds a great apartment, represented by Serhant, who plays himself. Ravi doesn’t seem impressed, but he hasn’t seemed impressed with any of the listings.
Ultimately Serhant allows Seema and Ravi to explore the place, which is when the two realize they have hot chemistry, which they can no longer deny. They have sex in the apartment, something Seema has never done before with a client. As they leave, she lets Serhant know that they’ll take the place – and he can tell exactly how she “closed the deal.”
Serhant teased his role on the show in an Instagram video.
- 8/14/2023
- by Gina Ragusa
- Showbiz Cheat Sheet
Psychological horror-thriller launched in US via IFC Midnight in January.
Premiere Entertainment Group (Peg) has closed key international deals on psychological horror-thriller The Night, the US production about an Iranian couple starring Cannes 2016 best actor winner Shahab Hosseini and Niousha Noor.
Peg has licensed rights in Germany and Italy (Koch Media), France (Fip), Poland (M2), Cis (Voxell), Australia and New Zealand (Rialto), and Latin America (Star).
Deals also closed in South Korea (Entermode), Taiwan (Vie Vision), Malaysia (Suraya), Vietnam (Green Media), Thailand (Movie Copyright), Indonesia (Falcon), and the Middle East (E4).
As previously announced North American rights holder IFC Midnight...
Premiere Entertainment Group (Peg) has closed key international deals on psychological horror-thriller The Night, the US production about an Iranian couple starring Cannes 2016 best actor winner Shahab Hosseini and Niousha Noor.
Peg has licensed rights in Germany and Italy (Koch Media), France (Fip), Poland (M2), Cis (Voxell), Australia and New Zealand (Rialto), and Latin America (Star).
Deals also closed in South Korea (Entermode), Taiwan (Vie Vision), Malaysia (Suraya), Vietnam (Green Media), Thailand (Movie Copyright), Indonesia (Falcon), and the Middle East (E4).
As previously announced North American rights holder IFC Midnight...
- 4/9/2021
- by Jeremy Kay
- ScreenDaily
Exclusive: After its stateside theatrical release of the IFC Midnight’s The Night in January, the Kourosh Ahari-directed thriller is set to have its theatrical premiere in Iran on February 24. Mammoth Pictures and Ayat Film Company’s release of the pic marks a historic moment as it is the first U.S.-produced film to have a wide theatrical release in Iran since the country’s revolution 40 years ago.
The Night is the feature directorial debut of Kourosh Ahari and stars Iranian actor Shahab Hosseini (Cannes 2016 Best Actor Winner Oscar-winning The Salesman), Niousha Jafarian (Here and Now) and George Maguire (The Pursuit of Happyness). The film also marks Hosseini’s debut performance in a US-based production.
The psychological thriller is cut from the same cloth of The Shining and follows an exhausted married couple, Babak (Hosseini), Neda (Jafarian) and their baby who take shelter in the grand, but eerie...
The Night is the feature directorial debut of Kourosh Ahari and stars Iranian actor Shahab Hosseini (Cannes 2016 Best Actor Winner Oscar-winning The Salesman), Niousha Jafarian (Here and Now) and George Maguire (The Pursuit of Happyness). The film also marks Hosseini’s debut performance in a US-based production.
The psychological thriller is cut from the same cloth of The Shining and follows an exhausted married couple, Babak (Hosseini), Neda (Jafarian) and their baby who take shelter in the grand, but eerie...
- 2/23/2021
- by Dino-Ray Ramos
- Deadline Film + TV
Premiere Entertainment handles international sales.
IFC Midnight has picked up North American rights to Iranian psychological horror The Night starring Shahab Hosseini, winner of the Cannes best actor prize for The Salesman.
The distributor said The Night is the first US-produced film to receive a license for theatrical release in Iran since 1979, and also marks Hosseini’s debut performance in a US-based production.
Further details about the Iranian release were unavailable at time of writing.
Mammoth Pictures produced in association with 7Skies Entertainment, Indie Entertainment, Orama Filmworks, Leveller Media and Supernova8 Films.
IFC Midnight plans a January 2021 for the story...
IFC Midnight has picked up North American rights to Iranian psychological horror The Night starring Shahab Hosseini, winner of the Cannes best actor prize for The Salesman.
The distributor said The Night is the first US-produced film to receive a license for theatrical release in Iran since 1979, and also marks Hosseini’s debut performance in a US-based production.
Further details about the Iranian release were unavailable at time of writing.
Mammoth Pictures produced in association with 7Skies Entertainment, Indie Entertainment, Orama Filmworks, Leveller Media and Supernova8 Films.
IFC Midnight plans a January 2021 for the story...
- 9/16/2020
- by Jeremy Kay
- ScreenDaily
Exclusive: Kourosh Ahari’s The Night made history as the first U.S.-produced film to receive a license receive a theatrical release in Iran. Now, IFC Midnight has acquired the North American rights to the psychological thriller which will be released January 2021.
The Night marks Ahari’s feature directorial debut and stars Shahab Hosseini and Niousha Jafarian as an Iranian couple who find themselves locked inside an old hotel with their one-year-old daughter. While attempting to make the best of this creepy hotel, an outside force pushes them to share the secrets they’ve hidden from each other. How, and if, they check out depends on how carefully they question everything and anyone that comes across their path. The film also features George Maguire.
“We feel elated that we have found...
The Night marks Ahari’s feature directorial debut and stars Shahab Hosseini and Niousha Jafarian as an Iranian couple who find themselves locked inside an old hotel with their one-year-old daughter. While attempting to make the best of this creepy hotel, an outside force pushes them to share the secrets they’ve hidden from each other. How, and if, they check out depends on how carefully they question everything and anyone that comes across their path. The film also features George Maguire.
“We feel elated that we have found...
- 9/16/2020
- by Dino-Ray Ramos
- Deadline Film + TV
Exclusive: The Kourosh Ahari-directed psychological thriller The Night has landed a license for theatrical release in Iran. This is a historic benchmark for the country’s filmmaking community as it is the first U.S.-produced film to receive a license for theatrical release in Iran since the revolution.
Iran’s strict guidelines about what can be released theatrically in the country and its impact on artistic expression has received backlash from Iranian filmmakers including Mohammad Rasoulof (There Is No Evil), Asghar Farhadi (A Separation) as well as Rakhshan Bani Etemad. The country’s guidelines also require films to obtain a permit on a script before going into production. The Night, which is a U.S. and Iran co-production, managed to receive this permit before the Trump Administration’s new Iran sanctions at the end of 2018.
Shot stateside, The Night marks Ahari’s feature directorial debut and stars Shahab Hosseini...
Iran’s strict guidelines about what can be released theatrically in the country and its impact on artistic expression has received backlash from Iranian filmmakers including Mohammad Rasoulof (There Is No Evil), Asghar Farhadi (A Separation) as well as Rakhshan Bani Etemad. The country’s guidelines also require films to obtain a permit on a script before going into production. The Night, which is a U.S. and Iran co-production, managed to receive this permit before the Trump Administration’s new Iran sanctions at the end of 2018.
Shot stateside, The Night marks Ahari’s feature directorial debut and stars Shahab Hosseini...
- 7/14/2020
- by Dino-Ray Ramos
- Deadline Film + TV
Heroes alumni Greg Grunberg and Taylor Cole have been added to the cast of the Ali Atshani-directed comedy 1st Born, a U.S./Iranian co-production. The two join Val Kilmer, William Baldwin, Robert Knepper, Jay Abdo and Armin Amiri in the film, which follows a young mixed-nationality couple, Iranian born Ben and American Kate, who are experiencing complications in their first pregnancy. This forces the whole extended family to put aside their differences and come together…...
- 9/8/2017
- Deadline
Argo satirises the events of the Iran hostage crisis, yet, despite being branded 'an offensive act' and added to a list of 'anti-Iranian' films, Affleck's approach is strangely apologetic
In December 1979, a handmade placard outside the occupied Us embassy in Tehran read: "As an Iranian I want you corresponders + journalists + film-takers [to] tell the truth to the world." Whatever the truths of the Iranian revolution – most would agree it began as a popular uprising driven in part by plausible claims against Us policies – film-makers addressing its aftermath from inside Iran have had to depend on allegorical techniques, while those free to address it less obliquely from abroad have had much read into their motives.
Iran's rulers regard foreign productions on Iranian subjects – whether by émigrés or non-Iranians – with prejudice. Warnings of "soft war" and "psychological warfare" waged through culture and entertainment are a recurring theme in Iranian state media. Such...
In December 1979, a handmade placard outside the occupied Us embassy in Tehran read: "As an Iranian I want you corresponders + journalists + film-takers [to] tell the truth to the world." Whatever the truths of the Iranian revolution – most would agree it began as a popular uprising driven in part by plausible claims against Us policies – film-makers addressing its aftermath from inside Iran have had to depend on allegorical techniques, while those free to address it less obliquely from abroad have had much read into their motives.
Iran's rulers regard foreign productions on Iranian subjects – whether by émigrés or non-Iranians – with prejudice. Warnings of "soft war" and "psychological warfare" waged through culture and entertainment are a recurring theme in Iranian state media. Such...
- 11/8/2012
- by Roland Elliott Brown
- The Guardian - Film News
It's over for Socialista. The exclusive club/lounge was opened less than two years ago in the Jane Hotel by former Bungalow 8 door god Armin Amiri. On the Saturday before Christmas, it was raided and closed down by Health Department inspectors, who found cigarette butts on the floor and a puddle under the sink. "It wasn't anything major," said an insider. "Armin went that Monday to pay the fine and reopen, but they said, 'Where's Giuseppe Cipriani? He's on the liquor license. He has to be here.' " The Cipriani restaurant/catering empire seems to be collapsing while Giuseppe winters in Uruguay.
- 1/26/2009
- NYPost.com
The story of New York it girl, fashion icon and Andy Warhol muse Edie Sedgwick (1943-71) has taken on the proportions of a cult myth, as do most true tales of brief, intense lives. Focusing on the year or so in the mid-1960s when she burned brightest and crashed most dramatically, "Factory Girl" boasts its own bright intensity, fueled in large part by leads Sienna Miller and Guy Pearce. Director George Hickenlooper captures the energy and ultra-irony of Warhol's scene, but his attempts to give the film a conventional biopic arc end up wallowing in dime-store psychology. The central performances will generate strong word-of-mouth for the picture, which enters limited release today.
A work-in-progress version that the Weinstein Co. screened only weeks ago had a rawer, more immediate power than the final cut. In particular, the addition of a framing interview set in 1970 -- with Miller's Sedgwick in scrubbed California-girl mode, having abandoned Manhattan, heavy eyeliner and hard drugs -- has a defusing effect, explaining what already is evident, especially when it is used in voice-over. Intercut talking-head comments from the likes of George Plympton and one of Sedgwick's brothers, which provided far more interesting context and commentary than the current narration by Sedgwick, are now relegated to the end-credits sequence.
Some of the changes might have to do with Bob Dylan's objections to the original script and threatened legal action. He apparently was concerned that the film would draw a cause-and-effect line between the end of his relationship with Sedgwick and her suicide. (Sedgwick has long been viewed as a key inspiration to "Blonde on Blonde"-era Dylan, but whether they did indeed have a love affair appears less likely.) Coyly unnamed in the film, the famous, scruffy musician who temporarily draws Edie out of the Warhol orbit is clearly based on Dylan. If anything, though, the character, played by a charismatic Hayden Christensen, comes across as the sole voice of reason in Sedgwick's increasingly out-of-control life.
"Factory Girl" draws a too-easy opposition between the musician's authenticity and the artificiality of Warhol's world of surfaces. But at its strongest, it explores a timeless tension between style and substance, form and meaning. At the center of this tug of war is the blueblood gamine Sedgwick, a striking beauty and would-be artist whose unique glamour snags Warhol's heart, inasmuch as he will admit to having one.
Perhaps the cruelest irony of Sedgwick's story, as it is presented here, is that she escapes her troubled family, albeit on trust-fund purse strings, only to end up in the grip of another ultimately poisonous clan. If there is a villain here besides Edie's father (James Naughton), the part goes to Warhol (Pearce). After making Edie the "superstar" of his controversial movies, he jealously guilt-trips her over her involvement with the rock star. He is an unlikely Oedipal figure for Sedgwick, whose suspicions toward happy-family facades are explained in all-too-familiar melodramatic fashion.
Pearce, one of the most versatile of screen actors, is compelling and witty as the pallid Svengali, for whom society gossip seeps into even Catholic confession. His anxious, hungry gaze conveys envy, self-loathing and a childlike fascination with beauty. As the beauty who for a while captivated him beyond all others, Miller delivers a powerful performance, often baring all to give us Edie at her most candlelit exquisite as well as her most degraded. From the throaty laugh and old-money inflections to the extreme vulnerability, neediness and intelligence, she brings to life Sedgwick's legendary allure.
Supporting performances are a mixed bag, ranging from the awkward (a decidedly unflamboyant Jimmy Fallon as a "flamboyant socialite," Mena Suvari as rich girl Richie and Illeana Douglas as Diana Vreeland) to the convincing (Armin Amiri as fellow Factory girl Ondine, Beth Grant as Andy's mother and Edward Herrmann as the Sedgwick family attorney).
Screenwriter Captain Mauzner, who co-scripted the John Holmes-centered "Wonderland", indulges in too much explanatory psychologizing. But stripped of that overlay, his screenplay often sizzles with the self-conscious humor of smart nonconformists. DP Michael Grady ably helps Hickenlooper pay homage to Warhol's inventively bad-is-good filmmaking and renowned B&W screen tests. Playing '60s New York, Shreveport, La., lends a fitting vintage feel, while the production design by Jeremy Reed and John Dunn's costumes create an exuberant blend of high society and underground scene.
A work-in-progress version that the Weinstein Co. screened only weeks ago had a rawer, more immediate power than the final cut. In particular, the addition of a framing interview set in 1970 -- with Miller's Sedgwick in scrubbed California-girl mode, having abandoned Manhattan, heavy eyeliner and hard drugs -- has a defusing effect, explaining what already is evident, especially when it is used in voice-over. Intercut talking-head comments from the likes of George Plympton and one of Sedgwick's brothers, which provided far more interesting context and commentary than the current narration by Sedgwick, are now relegated to the end-credits sequence.
Some of the changes might have to do with Bob Dylan's objections to the original script and threatened legal action. He apparently was concerned that the film would draw a cause-and-effect line between the end of his relationship with Sedgwick and her suicide. (Sedgwick has long been viewed as a key inspiration to "Blonde on Blonde"-era Dylan, but whether they did indeed have a love affair appears less likely.) Coyly unnamed in the film, the famous, scruffy musician who temporarily draws Edie out of the Warhol orbit is clearly based on Dylan. If anything, though, the character, played by a charismatic Hayden Christensen, comes across as the sole voice of reason in Sedgwick's increasingly out-of-control life.
"Factory Girl" draws a too-easy opposition between the musician's authenticity and the artificiality of Warhol's world of surfaces. But at its strongest, it explores a timeless tension between style and substance, form and meaning. At the center of this tug of war is the blueblood gamine Sedgwick, a striking beauty and would-be artist whose unique glamour snags Warhol's heart, inasmuch as he will admit to having one.
Perhaps the cruelest irony of Sedgwick's story, as it is presented here, is that she escapes her troubled family, albeit on trust-fund purse strings, only to end up in the grip of another ultimately poisonous clan. If there is a villain here besides Edie's father (James Naughton), the part goes to Warhol (Pearce). After making Edie the "superstar" of his controversial movies, he jealously guilt-trips her over her involvement with the rock star. He is an unlikely Oedipal figure for Sedgwick, whose suspicions toward happy-family facades are explained in all-too-familiar melodramatic fashion.
Pearce, one of the most versatile of screen actors, is compelling and witty as the pallid Svengali, for whom society gossip seeps into even Catholic confession. His anxious, hungry gaze conveys envy, self-loathing and a childlike fascination with beauty. As the beauty who for a while captivated him beyond all others, Miller delivers a powerful performance, often baring all to give us Edie at her most candlelit exquisite as well as her most degraded. From the throaty laugh and old-money inflections to the extreme vulnerability, neediness and intelligence, she brings to life Sedgwick's legendary allure.
Supporting performances are a mixed bag, ranging from the awkward (a decidedly unflamboyant Jimmy Fallon as a "flamboyant socialite," Mena Suvari as rich girl Richie and Illeana Douglas as Diana Vreeland) to the convincing (Armin Amiri as fellow Factory girl Ondine, Beth Grant as Andy's mother and Edward Herrmann as the Sedgwick family attorney).
Screenwriter Captain Mauzner, who co-scripted the John Holmes-centered "Wonderland", indulges in too much explanatory psychologizing. But stripped of that overlay, his screenplay often sizzles with the self-conscious humor of smart nonconformists. DP Michael Grady ably helps Hickenlooper pay homage to Warhol's inventively bad-is-good filmmaking and renowned B&W screen tests. Playing '60s New York, Shreveport, La., lends a fitting vintage feel, while the production design by Jeremy Reed and John Dunn's costumes create an exuberant blend of high society and underground scene.
- 12/29/2006
- The Hollywood Reporter - Movie News
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