War For The Planet of the Apes fends of the competition of Marvel's Spider-Man to take the no.1 spot in the US Box Office
It was a busier weekend than usual at the box office with two monumental blockbusters going head-to-head. This weekend was dominated by 'War for the Planet of the Apes' and 'Spider-Man: Homecoming', with the former taking the no.1 spot.
The latest installment in the Apes franchise still underachieved compared to early predictions with the film grossing $56.5m from 4,022 locations, after being predicted to be around the $60m mark. This puts the film at the same level of 'Rise of the Planet of the Apes', but below the intermitting 'Dawn of the Planet of the Apes' which scored a huge $72.6m domestic opening.
Continue reading: War For The Planet Of The Apes Beats Of Competition At Box Office
When Kumail and Emily meet, they're instantly drawn toward one another. Emily is a student and Kumail is an aspiring comedian who also works part time as an Uber driver to make money. After spending the night together, Emily awakes and decides to make an early exist only to ring an Uber and for Kumail to, obviously, be the nearest driver.
As the pair become more and more endeared to one another they spend more time together and things look like they could get more serious but for Kumail, things aren't quiet as straight forward boy meets girl, boy and girl fall in love and marry. Being Muslim from a Pakistani background, Kumail's parents expect him to have an arranged marriage and as he grows older his mother becomes more and more obsessed with finding the right person to share his life with.
Kumail can no longer keep his new Beau secret and confides in his brother that he's been dating a white girl and his reaction isn't exactly as positive as he might've hoped. When Emily finds out about the plans for Kumail's arranged marriage, the pair have a talk and, even though in their heart of hearts neither want to, they break their relationship up.
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Since the loss of her mother, Doris hasn't really had much companionship. She has her best friend and work colleagues but love has always been something that's alluded her. She once had an offer of marriage but knowing that this would separate her from her mother, she declined.
After meeting the new director of art at her place of work, Doris automatically feels a connection with him. Sure, John might be a few years her junior and into very different things to herself, but Doris has a niggling feeling she can't leave alone. Doris might be a little bookish and bespectacled but she decides to explore new methods to attract her man.
Along the way Doris befriends some of John's friends, who at first might seem entirely different to Doris but in actuality have a lot of similarities. Doris must find a way to balance her new and old friends and also win her man. Hello, My Name is Doris actually started out as an eight minute short called Doris and the Intern, written and directed by Laura Terruso. Director Michael Showalter instantly saw the potential in the initial footage and started work on a large scale version of the film.
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Miles Teller and Analeigh Tipton are smart enough actors to make the most of this uneven romantic comedy, which never manages to disguise the standard formula, even with a gimmicky premise. So while the plot and characters are simplistic and artificial, at least there's some charisma on the screen to keep us entertained. There's also a spark of lively chemistry that makes the hokey romance somewhat amusing.
It's set in New York, where Megan (Tipton) has moved in with her loved-up friends (Jessica Szohr and Scott Mescudi) to recover from a bad break-up. After a run-in with her ex (Josh Salatin), she goes online in a moment of desperation and then heads to Brooklyn for a one-night stand with Alec (Teller). But when she tries to sneak out in the morning, she finds that they're snowed-in, unable to leave the building. Super-defensive for no real reason, she creates a war-zone in the flat, and they eventually agree to be ruthlessly honest with each other. If they're going to be trapped together, they might as well learn something useful.
There's never a question of where this is heading, although the script makes Megan such an angry shrew that we really don't like her at all for much of the film. She only calms down when Alec produces some weed (a misogynistic plot point), and as they finally begin to communicate Tipton and Teller are able to inject an enjoyable mixture of intelligence and wit into their rambling conversation. This makes them feel more realistic, and lets the film make some sharp observations about the nature of courtship in the world of dating apps. Yes, looking for a partner online is difficult even when "the bar is set so very low".
Continue reading: Two Night Stand Review
How do you spoof a genre that's already a joke? Filmmakers David Wain and Michael Showalter clearly think the answer is to go for broke with a nonstop barrage of silliness, because some of the jokes are bound to stick. They did the same thing for teen summer-camp comedies more than a decade ago with Wet Hot American Summer, which stars many of the same actors. And while this movie is just as hilarious, it never quite transcends its own jokiness. Because as a rom-com it's never very engaging.
The story plays out as Joel and Molly (Paul Rudd and Amy Poehler) meet up with their friends (Bill Hader and Ellie Kemper) and regale them with the story of their romance. Everything about their courtship is just like in the movies, from the meet-cute to the fact that New York is another character in their story. Molly runs an adorable candy shop, while Joel is a "not too handsome or too Jewish" corporate raider sent to shut her down, but they hit it off, engage in a wildly energetic first sexual encounter, then go through the usual montage sequences on their way to the usual rough patches ("Your dreams don't pay the rent!"), breakups and mad-dash reunions.
Since it's told in flashbacks, the film feels almost like a collection of comedy sketches, most of which are ridiculously funny. The jokes are clever and pointed, with riotous side characters including sassy best friends, inappropriate relatives, idiotic coworkers and clingy ex-lovers. So every scene is a zany mixture of goofy slapstick, surreal visual gags and hysterically overstated emotion. Thankfully, the cast is more than adept at wringing every moment for laughter. Rudd and Poehler have impeccable timing, and they're supported by a terrific cast of seasoned comical actors, including amusing cameos from the likes of Adam Scott, Michael Shannon and Norah Jones.
Continue reading: They Came Together Review
But there is hope at your local video store -- Wet Hot American Summer, a hysterical spoof on 1980s pop culture featuring several members of The State, the sketch comedy troupe which had its own, brilliant MTV show in the mid-1990s. (Note to younger readers: That was before Cribs and The Real World were run in a continuous loop.)
Continue reading: Wet Hot American Summer Review
The guy in question here is Elliot Sherman (Showalter), a dishwater dull C.P.A. whose grandmother had a word for nice guys like him who never got the girl: a Baxter. Played by Showalter as a nerdy bore with a basically decent disposition, Elliot is on the verge of starting a minor flirtation with Cecil (Michelle Williams), the temp filling in for his sick secretary, when in walks his WASP-ily gorgeous new client Caroline (Elizabeth Banks), who promptly sweeps him off his feet with her Ralph Lauren-ad-ready looks. Although it's difficult to see why such a bombshell as Caroline would fall for a guy the film spends so much time trying to make look like a first-degree schlub, the oddball pairing does make for some decent comic contretemps, and easily sets up Elliot's downfall when Caroline's ex-boyfriend, Bradley, shows up. A darkly handsome, adventurous, and wealthy scientist who likes to quote Keats and isn't afraid of showing his sensitive side, Bradley (Justin Theroux, slyly magnificent) is like kryptonite to a Baxter, and the rest of the film is just biding time until the inevitable happens.
Continue reading: The Baxter Review
Never before have I seen a movie try so hard to be deliberately awful -- and succeed so wildly -- as "Wet Hot American Summer," a nickel-budget sketch-comedy spoof of early '80s teen sex-at-camp romps like "Little Darlings" and "Meatballs."
Created by veterans of cable "Saturday Night Live" knock-offs "The State" and "Upright Citizens' Brigade," it's a loose jumble of too-obvious jabs at the genre through stock characters in grossly under-rehearsed vignettes that are absentmindedly filmed and edited together without rhythm and apparently at random.
You've got your dorky virgin (Michael Showalter) making an ass of himself for the unattainable girl (Marguerite Moreau). She prefers the inimical, self-styled stud in the jean jacket (the under-appreciated Paul Rudd in the movie's only truly funny performance). He, in turn, prefers the company of your ubiquitous pubescent sluts in tube tops.
Continue reading: Wet Hot American Summer Review
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