Oprah obsessed Alice Klieg suffers from Borderline Personality Disorder which causes her to be socially awkward, impulsive and stubborn, and she's about to find out that money truly can buy you anything. After winning an impressive $86 million in the lottery, her first port of call is a major TV station, where she pitches an idea for hosting her own talk show. They offer her a slot at a cool $15 million, and she subsequently decides to stop taking her medication and pursue fame and recognition. The only problem is, she sucks at hosting her own show. The producers know they have to do something to save their embarrassment over this fiasco of a deal, but with Alice stuck in her own world and resolutely ignoring advice from friends and family, there's not a lot they can do to help her.
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'Me and Earl' sold to Fox Searchlight for several million dollars.
You've probably heard plenty about Me and Earl and the Dying Girl over the past couple of weeks. The indie-drama premiered at the Sundance Film Festival to rave reviews and currently holds a 100% fresh rating on Rotten Tomatoes.
Thomas Mann stars in Me and Earl and the Dying Girl
Last night, at the Sundance awards ceremony in Park City, the movie won both the U.S Dramatic Grand Jury Prize and the Audience Award, echoing the same feat achieved by Whiplash at the 2014 ceremony. That movie was recently nominated for Best Picture at the Oscars and its likely Me and Earl will be a serious contender at next year's event.
Continue reading: 'Me and Earl and the Dying Girl' Wins Both Major Prizes at Sundance
The Sundance Film Festival has seen a ferocious bidding war this week.
We'll be talking about Me and Earl and the Dying Girl a lot. Alfonso Gomez-Rejon's drama debuted at Sundance on Sunday and sparked a ferocious bidding war for the rights to distribute - with Fox Searchlight trying to hold off Lionsgate and Focus Features.
Nick Offerman stars in the critically acclaimed Me and Earl and the Dying Girl, which should sell for $12 million at Sundance
According to Deadline, the bidding has reached $12 million for the worldwide rights, which would overtake the previous Sundance sales record of $10 million, paid for Spitfire Girl, The Way Way Back, Little Miss Sunshine and Hamlet 2.
Continue reading: Sundance: 'Me and Earl and the Dying Girl' in Ferocious Bidding War
Made in Germany, this raucous adventure merrily refuses to follow the usual Hollywood route of blanding-down a fairy tale for the lowest common denominator (see both Snow White movies last year). It's still pretty stupid, but it's so unapologetically over-the-top that we're consistently entertained. And it helps that the filmmakers are clearly aware of how ridiculous the plot is, so they push it even further.
The film opens with a horror-style version of the Grimm Brothers' fable, then jumps years ahead as Hansel and Gretel (Renner and Arterton) achieve notoriety as bounty hunters specialising in tracking down and dispatching witches. When they arrive in a small village, they rescue innocent young Mina (Viitala) from the bloodthirsty mayor (Stormare), then vow instead to capture the area's real wicked witch Muriel (Janssen). The sheriff is sure they're con artists, so forms his own posse. Meanwhile, Hansel tentatively falls for Mina, and the duo also meet their teen super-fan Ben (Mann), who joins them as they head into the woods.
Norwegian writer-director Wirkola has created a gonzo action-horror movie out of the familiar bedtime story, complete with wildly outrageous creatures, fiery battles and almost as many explosions as a Michael Bay Transformers movie. Meanwhile, Renner and Arterton strut through medieval Europe like 21st century action heroes, wearing skin-tight leather, head-butting their foes, swearing like sailors and shooting massive guns at anything that moves. In other words, Wirkola's approach is essentially satirical, which allows him to indulge in astounding levels of grisly violence without it ever getting too nasty.
Continue reading: Hansel & Gretel: Witch Hunters Review
While this package has all of the key marketing elements to reach the Twilight audience, the film itself is rather a lot more fun, made with some wit and intelligence, plus a cast that's happy to chomp on the scenery. Based on a four-novel series, this film actually has more in common with True Blood than Twilight, with its Deep South setting and the clash between religious fundamentalism and supernatural beings.
At the centre is Ethan (Ehrehreich), a 16-year-old who is bristling against the isolation of his small South Carolina town. His recently deceased mother instilled in him a love of books banned by the town's hyper-religious leaders, and the local librarian Amma (Davis) helps keep his interest alive. As a result, he's more open than the other teens when Lena (Englert) arrives at school. But she's shunned because her Uncle Macon (Irons) is the town's pariah, a landowner whom everyone thinks is a devil worshipper. Actually, the whole family are casters, people with special powers that are designated good or evil on their 16th birthday.
The plot stirs up some suspense as Lena's big day of reckoning approaches. She's terrified that she'll go over to the dark side like her man-eating cousin (Rossum) or, worse still, her spectral mother, who does her mischief by inhabiting the body of the town's most pious housewife Mrs Lincoln (Thompson). This of course gives Thompson two insane characters to play at the same time, and she has a ball with it. As does Irons with the shadowy, snaky Macon. And at the centre, Ehrenreich and Englert both show considerable promise, with their strikingly non-Hollywood good looks and a depth of character that makes the film more engaging than we expect.
Continue reading: Beautiful Creatures Review