The exciting rumors has turn into an actual reality. Following reliable talk that Netflix would revive Gilmore Girls for a limited run at some point in the near future, the company has now come out and confirmed this really is happening. Here is what we now know: Netflix Tweeted that the show would air new episodes with a Tweet that reads as follows: “OY with the poodles, already! See you on set, Amy Sherman-Palladino, @thelaurengraham @alexisbledel. #GilmoreGirls.” Star Lauren Graham then added her own confirmation via a picture (below) and a message: “I CAN NOW CONFIRM: it’s time for me, and this jacket I stole in 2007, to return to work.@netflix #GilmoreGirl.” Graham, Alexis Bledel, Scott Patterson and Kelly Bishop have all signed on to reprise their respective roles as Lorelai, Rory, Luke and Emily. Sean Gunn (Kirk) and Keiko Agena (Lane) will also be back. The four-episode revival will begin filming in Los Angeles on February 2. Each installment will be 90 minutes in length. Gilmore Girls creator Amy Sherman-Palladino and executive producer producer Daniel Palladino will write and direct each episode, with each one representing a different season. The series will be set in the present day, eight years after it ended its run on The CW. New characters will include: Berta and Alejandro, a Peruvian couple. Nat Compton, a very sad looking man who never smiles. Paul, 30-something year-old man described as a “Michael Cera type and “a good boyfriend.” Jim, a high-end men’s magazine editor. A Blue-collar man named Dwayne. A handsome 20-something named Damon. We’ll provide plenty more details as time goes on, but for now, it’s okay to be excited, people: GILMORE GIRLS IS COMING BACK!
As mystifying as his 2004 sci-fier, Primer , albeit for entirely different reasons, Shane Carruth’s Upstream Color is a stimulating and hypnotic piece of experimental filmmaking. It’s also a poem about pigs, a meditation on orchids, a cerebral-spiritual love story, an intensely elliptical sight-and-sound collage, and perhaps a free-form re-interpretation of Thoreau’s Walden . Surely the most challenging dramatic entry at Sundance this year, this unapologetically avant-garde work regards conventional narrative as if it were a not-especially-interesting alien species; the mainstream will take no notice, but adventurous auds are in for a strange and imaginative trip. Primer fans and hardcore art-film devotees will likely be the sole takers for this long-anticipated sophomore effort, which again finds Carruth taking on writing, directing, acting, producing, scoring, lensing and editing duties. He’s even serving as his own distributor this time, with plans to release the picture in L.A. and Gotham in April, followed by a quick transition to repeat-viewing-friendly smallscreen play. At the center of Upstream Color is a young woman, Kris ( Amy Seimetz ), who finds herself an unwitting participant in some exceedingly bizarre experiments. First a thief (Thiago Martins) attacks her and forces her to ingest a bio-engineered worm that brainwashes her into handing over her savings. When the critter starts to replicate inside her body, in scenes that give the picture a brief horror-movie spin, she’s rescued, after a fashion, by an older gentleman identified in the credits as Sampler (Andrew Sensenig), who subjects her to a bizarre respiratory treatment involving one of his many farm pigs. Left with little to no memory of what has happened, Kris finds herself drawn to a young man ( Carruth ) who seems to have experienced the same ordeal. The two walk and talk, ride the subway, make love and at one point cradle each other in a bathtub. They wander a nondescript-looking city, exchanging dialogue laced with random repetition and impenetrable non sequiturs. Even as their actions and circumstances defy comprehension, a troubling and poignant idea rises to the surface: the universal human compulsion to construct a sense of identity and ascribe meaning to one’s life, to impose order on disorder. The futility of such a thing may well explain the befuddling, pretzel-like contours of the story; even the most attentive viewers may be hard-pressed to comprehend the significance of the women harvesting orchids, or why Sampler walks around using sound-recording equipment. Peculiar as it all may sound in outline, it’s even stranger to experience onscreen, arranged by Carruth in a complex symphonic framework that variously invokes Malick and Lynch in its narrative illogic, tactile lyricism and possible transmigration-of-souls subtext. The picture is so densely edited (by Carruth and Ain’t Them Bodies Saints helmer David Lowery) that no single shot seems to last more than mere seconds, which combines with the shallow-focus compositions to produce an experience of near-continual disorientation. Factor in the almost omnipresent synth score, layered under tinkling piano chords, and the film seems to be attempting to induce a state of synaesthesia. Walden , a frequent reference point here, provides a clue as to what Carruth is up to: In its intense levels of visual-aural stimulation, the film is at once transcendent and meditative, and in some ways a call for the sort of inner detox Thoreau prescribed. And since exalted literary works seem to be on the interpretive agenda, the transference of illness to a herd of pigs calls to mind nothing so much as the gospel accounts of Jesus casting out Legion by the Sea of Galilee. Pretentious or sublime, these ineffable spiritual overtones are finally what make Upstream Color so approachable, for all its mysteries: This is a warmer, less foreboding picture than Primer , not moving in any conventional sense, but suffused with emotion all the same. One can only imagine what directions the actors were given in order to inhabit roles that seem to splinter and reassemble themselves at will, but Seimetz supplies a quietly haunting presence, particularly in the film’s tender closing fade. Follow Movieline on Twitter .
As mystifying as his 2004 sci-fier, Primer , albeit for entirely different reasons, Shane Carruth’s Upstream Color is a stimulating and hypnotic piece of experimental filmmaking. It’s also a poem about pigs, a meditation on orchids, a cerebral-spiritual love story, an intensely elliptical sight-and-sound collage, and perhaps a free-form re-interpretation of Thoreau’s Walden . Surely the most challenging dramatic entry at Sundance this year, this unapologetically avant-garde work regards conventional narrative as if it were a not-especially-interesting alien species; the mainstream will take no notice, but adventurous auds are in for a strange and imaginative trip. Primer fans and hardcore art-film devotees will likely be the sole takers for this long-anticipated sophomore effort, which again finds Carruth taking on writing, directing, acting, producing, scoring, lensing and editing duties. He’s even serving as his own distributor this time, with plans to release the picture in L.A. and Gotham in April, followed by a quick transition to repeat-viewing-friendly smallscreen play. At the center of Upstream Color is a young woman, Kris ( Amy Seimetz ), who finds herself an unwitting participant in some exceedingly bizarre experiments. First a thief (Thiago Martins) attacks her and forces her to ingest a bio-engineered worm that brainwashes her into handing over her savings. When the critter starts to replicate inside her body, in scenes that give the picture a brief horror-movie spin, she’s rescued, after a fashion, by an older gentleman identified in the credits as Sampler (Andrew Sensenig), who subjects her to a bizarre respiratory treatment involving one of his many farm pigs. Left with little to no memory of what has happened, Kris finds herself drawn to a young man ( Carruth ) who seems to have experienced the same ordeal. The two walk and talk, ride the subway, make love and at one point cradle each other in a bathtub. They wander a nondescript-looking city, exchanging dialogue laced with random repetition and impenetrable non sequiturs. Even as their actions and circumstances defy comprehension, a troubling and poignant idea rises to the surface: the universal human compulsion to construct a sense of identity and ascribe meaning to one’s life, to impose order on disorder. The futility of such a thing may well explain the befuddling, pretzel-like contours of the story; even the most attentive viewers may be hard-pressed to comprehend the significance of the women harvesting orchids, or why Sampler walks around using sound-recording equipment. Peculiar as it all may sound in outline, it’s even stranger to experience onscreen, arranged by Carruth in a complex symphonic framework that variously invokes Malick and Lynch in its narrative illogic, tactile lyricism and possible transmigration-of-souls subtext. The picture is so densely edited (by Carruth and Ain’t Them Bodies Saints helmer David Lowery) that no single shot seems to last more than mere seconds, which combines with the shallow-focus compositions to produce an experience of near-continual disorientation. Factor in the almost omnipresent synth score, layered under tinkling piano chords, and the film seems to be attempting to induce a state of synaesthesia. Walden , a frequent reference point here, provides a clue as to what Carruth is up to: In its intense levels of visual-aural stimulation, the film is at once transcendent and meditative, and in some ways a call for the sort of inner detox Thoreau prescribed. And since exalted literary works seem to be on the interpretive agenda, the transference of illness to a herd of pigs calls to mind nothing so much as the gospel accounts of Jesus casting out Legion by the Sea of Galilee. Pretentious or sublime, these ineffable spiritual overtones are finally what make Upstream Color so approachable, for all its mysteries: This is a warmer, less foreboding picture than Primer , not moving in any conventional sense, but suffused with emotion all the same. One can only imagine what directions the actors were given in order to inhabit roles that seem to splinter and reassemble themselves at will, but Seimetz supplies a quietly haunting presence, particularly in the film’s tender closing fade. Follow Movieline on Twitter .
With three laugh-out-loud trailers in circulation, This Is The End is looking like the comedy of the summer. At the very least, it’s going to make the phrase “titty fucking” extremely popular. And if it doesn’t live up to the hype? We’ll always have this latest red band clip, which is such a laugh riot that I’ve taken the opportunity to list the 20 funniest moments, in ascending order. Disagree? Leave your ranking in the comments section. And memo to Mr. Rogen: please find a cameo for Will Ferrell before the movie is released. He and Craig Robinson should have a bat fight . ‘This Is The End’ Red Band Trailer The 20 Funniest Moments: 20. Paul Rudd getting third billing on IMDb without even even appearing in the trailer. 19. The Beavis & Butthead way James Franco says “Machinima” in the introduction. 18. Emma Watson in extreme looting mode. 17. Craig Robinson expressing a little James Franco envy — “Fuck your house, Franco!” — after a runaway helicopter rotor leaves him with a boo-boo. 16. Mindy Kaling overstating her desire to hook up with the “fucking pale, 110 pounds, hairless” Michael Cera . 15. The freaked-out lady getting crushed by a gigantic vintage air conditioner. 14. Cera shotgunning a massive cloud of cocaine into Christopher Mintz-Plasse’s face and finishing with a Karate Kid move. 13. Jason Segel falling into a sinkhole with his belly hanging out. 12. Rihanna falling into the same sinkhole. 11. Robinson declaring Aziz Ansari unfit to rescue because “you’re already in the [sink]hole.” 10. Jay Baruchel managing to look sleepy even when he’s terrified. 9. Robinson screaming like a little girl (in the last scene). 8. Michael Cera asking “Is it bad?” After being impaled by a lamp post. 7. The debate over who gets to a piece of James Franco’s “special” Milky Way . 6. Rihanna smacking Cera—really hard—after he pinches her ass. 5. Franco’s “You could be a looter. A rapist. A titty fucker” speech. 4. Emma Watson clocking Seth Rogen with an ax handle. 3. Robinson declaring: ” We’re actors. We pretend to be hard, man. We soft as baby shit!” 2. The bald dude offering to “titty fuck” his way to safety 1. Danny McBride : “Hermione just stole all of our shit.” Follow Frank DiGiacomo on Twitter . Follow Movieline on Twitter .
With three laugh-out-loud trailers in circulation, This Is The End is looking like the comedy of the summer. At the very least, it’s going to make the phrase “titty fucking” extremely popular. And if it doesn’t live up to the hype? We’ll always have this latest red band clip, which is such a laugh riot that I’ve taken the opportunity to list the 20 funniest moments, in ascending order. Disagree? Leave your ranking in the comments section. And memo to Mr. Rogen: please find a cameo for Will Ferrell before the movie is released. He and Craig Robinson should have a bat fight . ‘This Is The End’ Red Band Trailer The 20 Funniest Moments: 20. Paul Rudd getting third billing on IMDb without even even appearing in the trailer. 19. The Beavis & Butthead way James Franco says “Machinima” in the introduction. 18. Emma Watson in extreme looting mode. 17. Craig Robinson expressing a little James Franco envy — “Fuck your house, Franco!” — after a runaway helicopter rotor leaves him with a boo-boo. 16. Mindy Kaling overstating her desire to hook up with the “fucking pale, 110 pounds, hairless” Michael Cera . 15. The freaked-out lady getting crushed by a gigantic vintage air conditioner. 14. Cera shotgunning a massive cloud of cocaine into Christopher Mintz-Plasse’s face and finishing with a Karate Kid move. 13. Jason Segel falling into a sinkhole with his belly hanging out. 12. Rihanna falling into the same sinkhole. 11. Robinson declaring Aziz Ansari unfit to rescue because “you’re already in the [sink]hole.” 10. Jay Baruchel managing to look sleepy even when he’s terrified. 9. Robinson screaming like a little girl (in the last scene). 8. Michael Cera asking “Is it bad?” After being impaled by a lamp post. 7. The debate over who gets to a piece of James Franco’s “special” Milky Way . 6. Rihanna smacking Cera—really hard—after he pinches her ass. 5. Franco’s “You could be a looter. A rapist. A titty fucker” speech. 4. Emma Watson clocking Seth Rogen with an ax handle. 3. Robinson declaring: ” We’re actors. We pretend to be hard, man. We soft as baby shit!” 2. The bald dude offering to “titty fuck” his way to safety 1. Danny McBride : “Hermione just stole all of our shit.” Follow Frank DiGiacomo on Twitter . Follow Movieline on Twitter .
Finally, an April Fool’s joke that actually sells something. This clips starts out like a half-assed so-bad-it’s-good sequel to Pineapple Express with Seth Rogen, James Franco and Danny McBride and eventually reveals itself to be a clip within a clip to one of the most hotly anticipated movies of the summer: The funny actor apocalypse movie, This Is The End . I can’t wait to see this movie, although I’m already bummed that Michael Cera dies in the movie. Not A Trailer For Pineapple Express 2 Follow Frank DiGiacomo on Twitter . Follow Movieline on Twitter .
Sarah Silverman, Michael Cera, Tim and Eric (from Tim & Eric Awesome Show) and Reggie Watts have launched a new, Google-funded YouTube channel, JASH. Each of them will get their own section within the channel where they have creative control as well as production and editing equipment at their disposal. The channel’s name, “JASH,” stands for “Just Attitude So Hey.” JASH The channel is one of 60 Original Channels that are essentially a blank check to each individual or group, funded by Google, YouTube’s parent company. JASH debuted at the South by Southwest (SXSW) conference with a five-minute video jokingly explaining that its purpose is to replace all YouTube videos. Silverman told The Hollywood Reporter: “This [JASH] is what we think is funny. It may not be your cup of tea, but there’s no testing involved, there’s no second-guessing of what a 14-year-old boy would like.” “It’s just a place to do stuff and fail or not fail.” Cera added, “it’s about quality over quantity.”
‘It’s true. We will do 10 episodes and the movie,’ series star Jason Bateman tweeted over the weekend. By Gil Kaufman The “Arrested Development” cast Photo: FOX The “Arrested Development” movie is finally happening. No, seriously. After years of rumors, denials, hedging, backtracking and wishful thinking, series co-creator and executive producer Mitchell Hurwitz confirmed over the weekend that not only are the seriously, hilariously, unapologetically dysfunctional Bluth clan headed to the multiplex, but they will get tuned up for their movie debut by making a short trip back to TV. Speaking on Sunday at the New Yorker Festival , Hurwitz broke the news, with “Development” actor Jason Bateman confirming it a few hours later on his Twitter feed. “It’s true. We will do 10 episodes and the movie. Probably shoot them all together next summer for a release in early ’13. VERY excited!” According to The New York Times , when asked by moderator Nancy Franklin to give an update on the long-rumored film, Hurwitz confessed, “We’re 80 percent of the way to an answer.” He explained that director/producer Ron Howard, who also narrated the show, “had been talking about this for ages and trying to get this going. … We don’t completely own the property, there are business people involved and studios and that kind of thing. Just creatively, I have been working on the screenplay for a long time and found that as time went by, there was so much more to the story. In fact, where everyone’s been for five years became a big part of the story. So in working on the screenplay, I found even if I just gave five minutes per character to that back story, we were halfway through the movie before the characters got together.” Hurwitz was speaking on a panel that gathered the beloved cult show’s cast together for a “Bluth Family Reunion.” He said that the plan is to do a limited-run (9 or 10 episodes) of the series on TV and then segue into the movie in order to get the hype machine cranked up again, with each episode focusing on one character’s backstory to bring us back to the present. Among the castmembers on hand were Bateman, Michael Cera, Will Arnett, Portia de Rossi, Tony Hale, David Cross , Jessica Walter, Jeffrey Tambor and Alia Shawkat, as well as call-in guest Howard . Given the show’s sly, twisty inside-joke humor and legendarily wacky tangents, there was, of course, some skepticism about whether Hurwitz’s announcement was possibly part of some cosmic joke. But he later confirmed that he was halfway done with a screenplay, though he did not make any announcement about which studio or network would be handling the re-boot. Hurwitz also cleared up a long-running misconception about why the movie has not come to pass: the alleged reluctance of “Scott Pilgrim” actor Cera, who was allegedly refusing to play ball. The show’s creator explained that the rumor that Cera was stonewalling the project was an inside joke gone wrong. “I kind of was perpetuating a little thing, like, wouldn’t it be funny if Michael Cera was the holdout,” he said. “Let’s put that out there. And Michael had that Andy Kaufman thing. And then it really turned ugly, quickly. So I really just have to say, for those of you that have been following this saga, Michael’s always been great.”
‘It’s true. We will do 10 episodes and the movie,’ series star Jason Bateman tweeted over the weekend. By Gil Kaufman The “Arrested Development” cast Photo: FOX The “Arrested Development” movie is finally happening. No, seriously. After years of rumors, denials, hedging, backtracking and wishful thinking, series co-creator and executive producer Mitchell Hurwitz confirmed over the weekend that not only are the seriously, hilariously, unapologetically dysfunctional Bluth clan headed to the multiplex, but they will get tuned up for their movie debut by making a short trip back to TV. Speaking on Sunday at the New Yorker Festival , Hurwitz broke the news, with “Development” actor Jason Bateman confirming it a few hours later on his Twitter feed. “It’s true. We will do 10 episodes and the movie. Probably shoot them all together next summer for a release in early ’13. VERY excited!” According to The New York Times , when asked by moderator Nancy Franklin to give an update on the long-rumored film, Hurwitz confessed, “We’re 80 percent of the way to an answer.” He explained that director/producer Ron Howard, who also narrated the show, “had been talking about this for ages and trying to get this going. … We don’t completely own the property, there are business people involved and studios and that kind of thing. Just creatively, I have been working on the screenplay for a long time and found that as time went by, there was so much more to the story. In fact, where everyone’s been for five years became a big part of the story. So in working on the screenplay, I found even if I just gave five minutes per character to that back story, we were halfway through the movie before the characters got together.” Hurwitz was speaking on a panel that gathered the beloved cult show’s cast together for a “Bluth Family Reunion.” He said that the plan is to do a limited-run (9 or 10 episodes) of the series on TV and then segue into the movie in order to get the hype machine cranked up again, with each episode focusing on one character’s backstory to bring us back to the present. Among the castmembers on hand were Bateman, Michael Cera, Will Arnett, Portia de Rossi, Tony Hale, David Cross , Jessica Walter, Jeffrey Tambor and Alia Shawkat, as well as call-in guest Howard . Given the show’s sly, twisty inside-joke humor and legendarily wacky tangents, there was, of course, some skepticism about whether Hurwitz’s announcement was possibly part of some cosmic joke. But he later confirmed that he was halfway done with a screenplay, though he did not make any announcement about which studio or network would be handling the re-boot. Hurwitz also cleared up a long-running misconception about why the movie has not come to pass: the alleged reluctance of “Scott Pilgrim” actor Cera, who was allegedly refusing to play ball. The show’s creator explained that the rumor that Cera was stonewalling the project was an inside joke gone wrong. “I kind of was perpetuating a little thing, like, wouldn’t it be funny if Michael Cera was the holdout,” he said. “Let’s put that out there. And Michael had that Andy Kaufman thing. And then it really turned ugly, quickly. So I really just have to say, for those of you that have been following this saga, Michael’s always been great.”
