The title he really wanted was: Andre Is Dying of Cancer 'Cause He's a Fucking Idiot. My suggestion was to shorten that and lose the expletive. But he wanted that to be the title because he wanted to make sure that nobody thought he was making fun of cancer.
Three middle-aged women may be all you need for anything. To run a business, raise a village, end a war, retool a civilisation, empty the loft. Even more usefully, you can make a great murder-mystery caper with them, as Lisa McGee (a fourth woman! If it ain't broke, don't fix it) has done with her new series How to Get to Heaven from Belfast.
burdened by loneliness, depression, and the incessant needs of others, pours herself a stiff drink and steps up to the noose she's hung from the rafters of her airy farmhouse. Then the phone rings: her ungrateful brother, making demands. She tries again-another ring, another request, this time from a friend. She plays the piano, doesn't she? Will she join a group of fellow-amateurs for a charity gig? Twice thwarted, Beth sighs, says yes, and gets on with the business of living.
Jason Biggs directed and stars in "Untitled Home Invasion Romance," as Kevin, who tries to woo back his estranged wife by having an actor friend pretend to be a burglar. Kevin thinks that if she sees him bravely confronting the burglar, she will respect his strength and courage and fall in love with him again. Meaghan Rath plays Suzie, the wife who turns out to have enough strength and courage for both of them.
In her debut work of fiction, Half His Age, McCurdy continues to shake open a Pandora's box, shedding light on blurred parent-child boundaries and loss of identity due to over-enmeshment, with solid one-liners that feel straight out of a sitcom writers' room. Lead character Waldo is a high school senior whose life doesn't seem to be her own. She play-acts through sexual encounters and disassociates at the school disco (I stand off to the side watching, enveloped by a blanket of catatonia).
Adapted from Donald Westlake's novel The Ax, No Other Choice captures - most delightfully and cathartically - the perpetual and unsolvable anxiety of living under an economic system built around extracting surplus value from its workers. Or the dark irony that if a corporation makes a person redundant, it is strategy; if a human does the same, it's a crime.
Sam Rockwell stars as the otherwise unnamed "Man from the Future," who shows up at a Los Angeles diner looking like a homeless person but claiming to be a time traveler from an apocalyptic future. He's there to recruit the locals into his war against a rogue AI, although the diner patrons are understandably dubious about his sanity. ("I come from a nightmare apocalypse," he assures the crowd about his grubby appearance. "This is the height of f*@ing fashion!") Somehow, he convinces a handful of Angelenos to join his crusade, and judging by the remaining footage, all kinds of chaos breaks out.
The opening credits suggest a work of serious intrigue: a view of Earth from outer space zeroes in on the east coast ot the US and zooms into what's revealed to be a large building complex nestled in woodland what we'll soon learn is CIA headquarters in Langley, Virginia to a soundtrack of propulsive, thundering percussion. From here, it will
In the second episode, Rachel Sennott's Maia and Odessa A'zion's Tallulah meet with the latter's rival from New York, a polished blonde influencer who claims Tallulah stole her Balenciaga bag. The visit is meant to mend fences; naturally, it devolves into a cocaine-fueled nightmare caught on video. The footage leaks online, and Maia's gentle teacher boyfriend, Dylan (Josh Hutcherson), learns his coke-snorting face has become a meme, "Coke Larry," while chaperoning the school carnival.
As the end credits began to scroll at my screening of Bugonia, the audience sat silently in the darkness for several long seconds. Director Yorgos Lanthimos' latest film follows Teddy (Jesse Plemmons), a grimy, raw-boned conspiracy theorist who, alongside his cousin Don (Aidan Delbis), kidnaps Michelle (Emma Stone) a steely Big Pharma CEO, because he's convinced himself she's an alien.
There is still a storyline here; in fact, there are several ongoing threads, and I'm sensing that some seemingly throwaway scenes and interactions might remain relevant much later in the season. Broadly speaking, the plot follows a man who thinks he has discovered some sort of criminal conspiracy related to a chair company, then starts to lose control of his life as he travels deeper and deeper down the rabbit hole. That's easy to get our heads around, even if some of the detours aren't.
By its third season, The Diplomat has established a reputation for shocking developments and sudden, dramatic pronouncements. Characters deliver lines like, "The president is asking you to serve as ambassador to the United Kingdom," or "The president is dead," or "I killed the president." This level of stakes is not unusual for a political thriller or even the many shows that live alongside The Diplomat on Netflix.
In the trailer, audiences meet Linda Liddle (Rachel McAdams) and Bradley Preston (Dylan O'Brien), two colleagues who survive a plane crash and find themselves stranded on a deserted island. Forced to rely on each other, they face both physical and psychological challenges that test their limits. What begins as cooperation soon turns into a darkly humorous and tense battle of wills.
Bronstein's film-her first since her début feature, " Yeast " (2008)-boasts its own version of that line. "I'm one of those people who's not supposed to be a mom," a mother named Linda (Rose Byrne) laments. Her young daughter (Delaney Quinn) has a chronic gastrointestinal illness, and her husband, a ship captain, is away at sea. In the space of several fraught days, an already difficult situation is compounded by nightmarish setbacks.
The play comes with trigger warnings aplenty child death, rape, suicide, sexual content, violence, and themes of homophobia, sexism and racism, along with a brief mention of antisemitism. Orton based it on the Oedipus myth touching on incest and murder and blackmail for good measure. To turn these subjects into a farce with humour and wit, takes some doing and is partly why Orton's plays, which include Loot and What The Butler Saw, have remained popular.
After the movie premiered at Sundance, where it won the Audience Award for dramatic features, an explicit sex scene starring O'Brien leaked online, to both the delight of O'Brien's most ardent fans and the disappointment of the actor himself. Sex scene aside, though, it seemed that the movie was also expected to satisfy in other ways: Critics have been hailing O'Brien for his performance, which they describe as " the performance of the year."
In her first interview for the film, Ronan wasn't putting it on: There really isn't much like "Bad Apples," and that's a compliment. Consider two things: the film's short synopsis ("A primary school teacher [is] forced to take drastic action because of a foul-mouthed, violent student"), which doesn't sound exactly funny, and one of the main inspirations for Etzler casting the four-time Oscar nominee in a film that is, indeed, very funny.
Kate McKinnon looks tired. I don't blame her. She's in London to promote "The Roses," which opens Friday, and I'm here to ask her about it. I'm not the first reporter she's talked to today, and I won't be the last. Hence, the "Saturday Night Live" stalwart looks like you or I do during the workday: ready for it to be over.
Many movies that have been made detail the start of relationships. Those dizzying first moments of love flirtation and the spark of attraction, first kisses and the will-they-or-won't-they tension of so many romantic comedies. But what about a film centered on the other end of love, when things fall spectacularly apart? That's what we see play out in the new dark comedy, The Roses, starring Benedict Cumberbatch and Olivia Colman.
which stars two-time Academy Award nominee Benedict Cumberbatch, Oscar winner Olivia Colman, and SNL alums Andy Samberg and Kate McKinnon. The film follows a "perfect couple," restaurateur Ivy (Colman) and architect Theo Rose (Cumberbatch). They appear to be living an ideal life, complete with successful careers, a loving marriage, and children - but the Roses' facade begins to crumble when Theo's career grinds to a halt as Ivy's takes off.
The movie presents a humorous yet painful exploration of male friendships, highlighting the struggles of emotional connection and the desperate reactions that can arise when it's lost.
