Are exorcisms culturally specific? The concept behind The Possession , a solid, Jewish-inflected B-movie riff on The Exorcist from director Ole Bornedal , can’t help but leave you wondering. Sure, a Catholic priest can attempt to take care of a demon, but when your child’s inhabited by a dybbuk — a malevolent spirit from Jewish folklore — you might need someone who can specialize. At one point in the film, frantic father Clyde Brenek ( Jeffrey Dean Morgan ) drives a few hundred miles from the suburb in which he, his ex-wife Stephanie (Kyra Sedgwick) and two children live to Borough Park, Brooklyn, to locate a rebbe who can help his family. It’s a supernatural argument for the benefit of living in more diverse communities. The dybbuk in question has been captured and imprisoned in the old, engraved box that Clyde buys at a yard sale for his youngest daughter Emily (Natasha Calis). The audience has already seen the muttering entity, which is able to inflict physical harm regardless of whether its victims open the box, wreak havoc on its previous owner, but Emily sees only a mysterious find with which she can furnish her empty room in her dad’s new house. Bornedal is a Danish director who’s gone back and forth between Hollywood and his homeland. He ended up remaking his own theatrical debut — a 1994 thriller about a Copenhagen law student working as a late-shift watchman at a morgue — into the identically titled and inevitably not as good 1997 film Nightwatch with Ewan McGregor. His specialty is putting an arch, unexpected twist on genre in films such as The Substitute, in which a 6th grade class realizes their chipper new teacher is an alien, and Just Another Love Story, a noir in which a married man allows himself to be mistaken for the fiancé of a wealthy woman who’s suffering from memory loss after an accident. The narrative running alongside the paranormal events unfolding in The Possession is about divorce and how it can affect children. While teenager daughter Hannah (Madison Davenport) deals with her parents’ breakup and her mother’s subsequent new relationship with orthodontist Brett (Grant Show) with disaffected detachment, Emily still holds on to a tremulous hope that the two will get back together. When she does figure out how to open the box, which turns out to be filled with strange keepsakes, dead moths and a creepy, foggy old mirror, the behavioral changes brought on by the dybbuk are interpreted by those in her life as an adolescent response to the domestic shakeup. Emily grows moody and distant, she spends a lot of time in her room and she acts out at school. Her mother takes her to a child psychologist, not an exorcist. The Possession is produced by Sam Raimi, and, at its best, has some of the throwback appeal of Raimi’s last theatrical release, Drag Me to Hell . Its intent is not ironic, but its creepiness, which includes eyeballs rolling back in their sockets, clouds of insects appearing around the house and a little girl suddenly speaking like a guttural adult, is the kind that provokes nervous giggles and the clutching of the person next to you, not nightmares. When Clyde tracks his feral demon-daughter through the bowels of a hospital, the audience at my screening let out a knowing sound as he approached an open door leading to a dark room — and let out pleased laughter when he used the paltry light of his cell phone to see just what sort of worst-case stuff was stored in there. Morgan gives a sturdy performance as a man whose career as a college basketball coach has taken precedence over his family, and who’s only now realizing that he’s about to lose those he loves as a result. But it’s Calis who steals the show as the possessed girl: She moves between ominous, dead-eyed glares and flickers of vulnerability, letting slip some foreboding tears right before the dybbuk makes her do something awful. Also showing off an unexpected screen presence is the musician Matisyahu, who plays the soft-spoken and slightly unconventional son of the rebbe from who Clyde seeks help. Tall, thin and quietly authoritative, Matisyahu’s character Tzadok comes with Clyde when no one else will help him because he believe it’s his duty to save a life when given the opportunity. He provides a nice alternative to the Father Merrin type — you know, the kind of guy who has no patience for hugging things out until the whole getting-the-dybbuk-back-in-the-box ceremony is taken care of. And there’s no better time to watch Matisyahu try than the current dog days of August. This variation on the demon child subgenre has enough of the familiar and the new to be a decently good time at the movies. Follow Alison Willmore on Twitter. Follow Movieline on Twitter.
Also in Monday morning’s round-up of news briefs, accused Dark Knight Rises killer James Holmes told a classmate he’d intended to kill people ahead of the theater shooting that left 12 dead. Sleepwalk with Me soared atop the new specialty box office releases becoming one of the biggest this year. And Adrien Brody will play a villain in a new role. Jamie Bell, Connie Nielsen Join Lars von Trier’s Nymphomaniac The drama that has been dubbed “pornographic” starring Charlotte Gainsbourg, Shia LaBeouf and stellan Skarsgard begins shooting in Germany Tuesday and now Billy Elliot star Jamie Bell and Danish star Connie Nielsen ( Boss ) have joined the cast, THR reports . Ben Affleck Kills Justice League Rumors The actor-director laid to rest rumors that he’d join Warner Bros.’ Justice League project, saying he isn’t involved in the studio’s planned superhero ensemble. “Justice League sounds really exciting, but it’s not something I’m working on,” he said. THR reports . Sleepwalk with Me Wows in 1 Theater, Samsara Very Strong: Specialty Box Office Sleepwalk with Me as predicted lead the pack of new specialty releases. With $65,000 at only one engagement, the feature nonetheless sprinted into very specific record-breaking territory. Also opening with a strong start in its debut, Oscilloscope’s Samsara averaged a fantastic $37,500, Deadline reports . James Holmes Told Classmate He’d Kill People Ahead of Dark Knight Rises Shooting Four months before he allegedly opened fire in a crowded theater in Aurora, CO, James Holmes told a classmate at the University of Colorado that he intended to kill people before flunking oral exams in his graduate studies program, THR reports . Adrien Brody Joins Motor City He will replace Gary Oldman as the villain in Albert Hughes’ Motor City , which also stars Gerard Butler and Mickey Rourke, Variety reports .
Leave it to Lars von Trier to find a connection between Nazi architect Albert Speer and Rat Pack singer Sammy Davis Jr. The controversy-courting Danish filmmaker has invited the public to reintrepret one or more of six great works of art for a community film project that will be unveiled at the Copenhagen Art Festival. The project is being called Gesamt , which translates to “coming together” or “a joint piece of work,” said director Jenle Hallund, who has the nerve-wracking challenge of creating a cohesive film from fragments of the submissions under some very tight time constraints. The deadline for submissions is Sept. 6, and the finished film is slated to debuty Oct.12, 2012 at Kunsthal Charlottenborg in Copenhagen. Hallund, who was a script supervisor on Von Trier’s Melancholia as well as the co-director Limboland (2010) told us Gesamt has the potential to “be a testimony to the health and the soul of civilization. It should show how ordinary people appreciate and interpret big art,” she says. Make that big art that stirs the soul of Von Trier. Participants must base their submissions one or more of six different works of art, and Hallund said that the chosen few “are all pieces of art that [Von Trier] likes.” According to the announcement of the project — which was modestly titled “Lars Von Trier Challenges The People” — by the Danish Agency for Culture, prospective entrants must use as their muse(s): James Joyce’s Ulysses , “which once was banned in the United States because it was seen as obscene and lewd”; August Strindberg’s play The Father , “which still stands as a striking example of a dysfunctional family”; Paul Gaugin’s painting Where Do We Come From? What Are We? Where Are We Going? French composer César Franck’s improvisations; or the music of the late Sammy Davis Jr., “who stepped himself into the hearts of people through song.” Also included among is the Zeppelin Field grandstand in Nuremberg, Germany that Hitler’s main architect Albert Speer created. The choice is sure to generate debate given comments Von Trier made during a press conference at the 2011 Cannes Film Festival, when he said: “I understand Hitler, but I think he did some wrong things, yes, absolutely. … He’s not what you would call a good guy, but I understand much about him, and I sympathize with him a little bit. But come on, I’m not for the Second World War, and I’m not against Jews.” When I asked Hallund if Von Trier, who likes to stir the pot, was referencing the Cannes controversy by including Speer, she replied: “I can’t speak on his behalf, but if you look at some of Speers’ art, it is phenomenal, and I would say that it is possible to appreciate his art independent of the ideology” to which it was attached during the reign of Hitler. “All art can be used toward elitism and propaganda,” Hallund continued, adding, “a lot of religious art has been used for that. Some people will say that the Bible and the Koran are works of art, but they have also been used toward mass murder and genocide and repression on the planet.” “We can’t just close our eyes and say we can never talk about Albert Speers or Nazism,” Hallund concluded. “We make ourselves more prone to repeat the past by ignoring it. Gesamt producer Nadia Claudi told me that six submissions have already been received. One arrived from Germany, she said, and the rest are from Denmark. All but one of the submissions are filmed, and Speers right now is leading the subject matter by a thin margin: Two submissions are based on his work at Zeppelin Field; one deals with Joyce, and another, with Gaugin. She said that one entry takes on all six subjects, while the content of another submission is a bit inconclusive. The deadline for entries is Sept. 6. Everything you need to know about submitting your work can be found at this link. “I just hope that people will be very free in their interpretations of this and show us what they have in their hearts,” Hallund said. “And I would love to hear from Americans.” You heard the lady. Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
Also in Thursday morning’s round-up of news briefs: Warner Bros passes the domestic $1 billion mark again. A Prometheus sequel is moving forward, Christopher Eccleston is a Marvel villain and Broadway to honor Gore Vidal. Nicole Kidman to Join Lars von Trier’s The Nymphomaniac Kidman revealed she’ll work a “few days” on Danish director Lars von Trier’s two-part The Nymphomaniac , which is set to star Charlotte Gainsbourg, Stellan Skarsgard and Willem Dafoe. She starred in the director’s Dogville , The Playlist reports via AlloCine . Warner Bros Passes $1 Billion at Domestic Box Office The milestone has been reached 12 years in a row, which makes Warner Bros. the only studio to have accomplished the feat. The Dark Knight Rises lead this year’s pack with $304M in its first 12 days. Also scoring well is Magic Mike ($108.5M), Deadline reports . Prometheus Sequel Planned by Ridley Scott Scott is moving ahead with plans for a sequel, his return to the Alien universe. His return to the genre after three decades grossed over $300 million worldwide from a budget of $130 million, The Guardian reports . Paz Vega Joins Grace of Monaco as Maria Callas Vega will play the haughty opera singer in the film, which stars Nicole Kidman as Grace Kelly. The director of Edith Piaf biopic La vie en rose , Olivier Dahan, will direct Grace of Monaco from a script by Arash Amel. The story centers on a six-month period in 1962 when Monaco had a dispute with France and Princess Grace worked behind the scenes to prevent a coup. THR reports . Christopher Eccleston to Play Thor 2 Villain Eccleston will star opposite Chris Hemsworth in the told of Malekith The Accursed in Marvel Studios’ Thor: The Dark World . Malekith is a “super-villain in the Marvel Universe, the ruler of the Dark Elves of Svartalfheim, Deadline reports . Broadway to Dim Lights in Memory of Gore Vidal Broadway theaters will dim their lights August 3rd in memory of Gore Vidal who died this week . His play The Best Man is currently playing at the Gerald Schoenfeld Theater. The cast is dedicating its performances next tweak to his memory, The Guardian reports .
Trishna star Freida Pinto with IFC Films’ Jonathan Sehring. Photo by Nick Hunt/Patrick McMullan Co. After a long festival run beginning at the Toronto International Film Festival last fall and stops ranging from tests in Abu Dhabi, Tokyo, London, Rome, Hong Kong and Provincetown here in the U.S. Michael Winterbottom’s India-set Trishna will open theatrically beginning this Friday. The Cinema Society hosted an event in New York kicking off its run with a screening and party Tuesday night. So a little bit about the event, which was also co-hosted by Circa and fashion maven Rachel Roy. The IFC Films release is based on the tragic romance novel Tess of the d’Urbevilles . Freida Pinto ( Slumdog Millionaire ) makes a splash in the film, playing eldest daughter, Trishna, in a poor family from Rajasthan, India. She meets Jay (played by Riz Ahmed – Four Lions ), the son of a wealthy property developer who takes up managing the resort at his father’s request. He swoons after meeting Trishna and hires her to work at the resort, slowly winning her affections. Eventually he wins her over, but things go awry and let’s just leave it at that… Pinto introduced the film Tuesday at IFC Center in downtown Manhattan, seemingly embarrassed after IFC Entertainment president Jonathan Sehring told a quick story about his sons who called her ‘the most beautiful woman in the world’ when he told them she’d be at the screening. “I realized how embarrassing it is to listen to someone talk about you,” Pinto said laughing as he came on stage. “Everyone knows how hard it is to get an indie film going. I learned from my first director [Danny Boyle] not to say too much about a film so not to raise expectations…” Following the screening, the party carried on at roof-top nightspot Jimmy at the James Hotel, greeted by D’Usse Cognac. Guests included: Meg Ryan, Dana Delany, Zosia Mamet ( Girls ), Alex Karpovsky ( Girls ), Calvin Klein, Billy Connolly, Russell Simmons, Rachel Roy, Jess Weixler, Tom McCarthy, Carlos Leon, Drena DeNiro, Irina Pantaeva, Sante D’Orazio, Fern Mallis, Daniel Benedict, Genevieve Jones, Prince Dimitri of Yugoslavia, Bettina Zilkha, CIRCA co-founder, Chairman & CEO Chris Del Gatto, and Cinema Society founder Andrew Saffir.
The epically awkward, debauched Danish sitcom Klovn , wich is soon coming to the United States as the epically awkward, debauched Danish feature-length comedy Klown , currently has restored an episode online written by the epically awkward , debauched Danish filmmaker Lars von Trier. What could go wrong? So much , actually. Have a look and find out. Revived from the series’ second season by the movie’s US distributor Drafthouse Films, the episode (titled “It’s a Jungle Down There”) finds the notorious Frank and Casper “taking interest in a masturbation class and their persistent infiltration of these very private sessions.” It seems safe enough for work, I guess, unless everyone at your work speaks Danish, in which case rally them ’round and kick off early! What the hell, we’re technically passed the midweek point by now. It might as well be Friday. Klown debuts July 27 in limited theatrical release as well as on VOD and digitally.
This is hot tip came in last night, but I was too busy trying to rip my eyes out of my head after seeing a horrible movie I can’t believe ever got made, then drinking my pain away, because I am easily affected by things like this…it must be my autism… Her name is Lene Nystrøm and she’s the singer from Aqua, the worst band to pollute my brain in the early 2000s and she’s in a Danish mag that only hits stores thursday and she’s going to be naked in it…because that’s what you do when you’ve fallen off….and the dude who sent it in was supposed to send in the other nudes but he hasn’t yet….but you can get a taste of her bush and implants….which may be something you’ve been waiting for since jerking off to Barbie Girl…
Following a whirlwind rise to fame in his native Sweden, actor Joel Kinnaman is beginning to make his mark on American audiences thanks to a breakout turn as Detective Holder on AMC’s The Killing and his high-profile casting in the upcoming RoboCop remake . For the Stockholm-born 32-year-old, who breaks Greta Gerwig’s heart at the start of this week’s Lola Versus (but manages to remain sympathetic — a rarity in romantic comedies), setting out for Hollywood couldn’t have come at a better time. And according to him, taking risks — in work and beyond — is what living is all about: “Nothing is more important than the choices we make and the life we choose to live.” Over the course of a decade, the blond, strikingly handsome Kinnaman has emerged as one of Sweden’s most promising talents. Crossing over to Hollywood, he appeared in The Darkest Hour , The Girl With the Dragon Tattoo , and Safe House , while his 2010 Swedish crime thriller Snabba Cash — set to be remade in English with Zac Efron — will debut stateside this summer. In Daryl Wein and Zoe Lister Jones’s Lola Versus Kinnaman takes a slight detour from the “darkness and grittiness” he’s embraced for years, playing Luke, the NYC artist who gets cold feet and breaks his engagement to Greta Gerwig’s Lola, forcing her to re-examine herself and her fairytale expectations of life and love. Kinnaman rang Movieline from London for a wide-ranging conversation about living without regret, leaving Sweden in time to avoid waking up at 45 years old “doing auditions for the third swordsman on Game of Thrones ,” why he quit Twitter but can’t help Googling himself every now and then, and (of course!) our robot future. Hi there! Where are you calling from, by the way? I’m walking around in my robe in a hotel room in London. What are you doing in London? I’m shooting an H&M commercial. Aha! So, let me get this out of the way right off the bat: I got hooked on The Killing and watched all of the first season, on demand, in a matter of days. [Laughs] That’s the way I like to watch stuff, too! Given that most folks here know you as Holder from The Killing , Lola Versus is an interesting project to come out for you now that you’re starting to cross-over from Swedish film and TV into Hollywood. Was it appealing, the variation? Well, yes — it was a very welcome light side step from all the darkness and grittiness that I’ve been involved with, pretty much throughout my whole career. I’m a pretty light and light-spirited person; I’m not a depressed guy. I think that in Sweden and a lot of European countries there’s this whole mythology of the wounded artist, that you can’t really do any great art unless you’re suffering. And I always thought that was bullshit, I thought it was out of not being able to trust yourself to dive into those deep waters, so you create this persona of a struggling person that in turn would make it believable that you could portray these characters. But I’ve usually been cast as these dark, complex, struggling people. Why do you think that is? I don’t know. Of course I have that in me, too, but that’s not what I nourish in life. I don’t think that anybody that is depressed wants to be depressed, and that’s often what you see from performances with actors like that; it’s a depressed character from the first step onstage or the first frame of a movie and it’s like [sighs] and there’s no real journey to it. Does this make you a sort of anti-method actor? Well, I’m not a method actor per se, but if I’m playing a character that at its core of its persona has experiences I don’t have, I try to search out and get firsthand experiences of similar sorts so I have something to fantasize about. I think my technique is always evolving, and I think every character has its technique, but the thread through the way I work is that I usually try to get myself real experience doing what the character does so I have something real to fantasize about. Along those lines, you did ride-alongs with police officers to prepare to play Holder on The Killing , so I’m assuming you’ll spend some time with robots for RoboCop … [Laughs] Yeah, I’m going to Japan and spending time with [real life robots]. Have you seen those? Pretty cool. I have, and it blows my mind that a RoboCop -like future may not be too far away. It’s not. Have you seen these Japanese hospital droids, or humanoids, or whatever they call it? They’ve perfected the skin, and the skin looks so real. They have these motors between the eyes for when they smile. It’s just mind-blowing. We’re pretty close already. You can find it on YouTube! It’s spooky. Lola Versus is a relationship movie, an alternative romantic dramedy, but it’s surprisingly balanced and complex as these movies go — your character is a character who in any average rom-com might be written as evil, so we can hate him off the bat for dumping Lola. But we can’t really do that here. Yeah, it feels more balanced and not so formulaic in that sense. And I like that it starts out where most rom-coms end. And the message of the movie was one of the things that drew me to it; this message of ‘freedom for solitude.’ But at its main core it says, don’t throw your life away by living your life by a formula, like how things are supposed to be done. I think that’s what freaks Luke out — he’s realizing that life is a precious thing and maybe he hasn’t given it everything he could. It’s like being a little bit of a coward. One of the things that came to mind when I read the script, and something I think about a lot, is I believe that this life is everything that we have, and nothing happens after it — nothing is more important than the choices we make and the life we choose to live. There was this, I think, Danish documentary where they did interviews with old people, in their 80s, all over the world, from different classes and histories of wealth, different ethnicities, different religious backgrounds. Interviewing them on life; how they looked upon life. And of course the answers were all across the board, because everyone has such a different outlook on life, because of where they’re from. But there was one question that had a much higher resonance of the quality of answers, all over the world, in different classes and ethnicities, and that was, “What is your biggest regret in life?” And the answer that was common was, “That I didn’t take more emotional risks.” I’m turning 31, and having been thinking about those kinds of questions lately, I’ll be honest with you — watching Lola Versus at times was a little too real for me. [Laughs] Those are the kinds of reality checks that we need! If you got that feeling, that’s the best thing that can happen to you. I think that being a coward within yourself and not exposing yourself to life, giving yourself an opportunity to be everything that you can be — giving yourself the opportunity to evolve fully, to the furthest extent of where you could come — that’s a crime to yourself. You have to be brave. Speaking of such things as bravery, the leap you made from Sweden to Hollywood seems like a challenging transition to make. You’ve talked about going out for auditions, having to deal with not having a big enough “name”… I got out of acting school in 2007, and I had two very intense years — I did nine features in 16 months, where I played the lead in all of them, and at the same time I was playing the lead, Raskolnikov, in Crime and Punishment . It was like a three hour and 45 minute play that was a big success in Sweden. So I had a very intense two first years after I got out of acting school, and it was after that whole period before those movies had come out, that I made the decision to move. It was a good choice, and I was aware of my situation, [thinking] it’s a good time to go now, because in three or four years I’ll be established in a way, in Sweden, where I’m going to be used to being treated in a certain way and that can be difficult to change. So it was very easy to come over to the State without having an ego about things like that. You were afraid that a few more years of success in Sweden and you’d be too famous? Maybe you get too used to not having to fight for stuff. It’s more difficult when you’ve been working as an established actor for 20 years and then as a 45-year-old, everyone respects you and knows your body of work, and then all of a sudden you come to the States and nobody knows who you are, and you’re doing auditions for the third swordsman on Game of Thrones . That can be humiliating, but… so it was a good time for me to come over. You’ve got The Killing and Lola Versus out and, soon, American audiences will see you in a Swedish film, Snabba Cash . And then, Robocop . When I spoke with Jose Padilha about his Elite Squad films, he shared his take on RoboCop and why it was compelling on a human level and it was really interesting to hear his philosophical approach. I mean, he’s a young master, and a very strong visionary. He wants to make something with a lot of substance. And if you’ve seen Elite Squad , you know that the action sequences are a walk in the park for him. He can portray action very realistically — and that’s how he wants to do this movie. It takes place in the future, and it’s RoboCop , but it’s still going to feel like a gritty, down to earth movie… with a lot of fireworks around it. You’ve described a difference in your acting approach to the character, that this RoboCop would be more of an “acting piece” than the original. How so, and why? It just comes from the realization of, as we were talking about robots earlier, our vision of a robot 30 years from now is very different from what a robot was in the future in 1987. That is the main thing, and then there are obviously some things in the script that lead into that that I can’t talk about. Lastly, you spoke about your fame in Sweden and there is certainly a wealth of admiration online for your work there. Now that you’re carving out a career here, do you go online and read what’s written about yourself? Are you tempted to be on Twitter, as some actors and filmmakers are? I did have a Twitter account, but five episodes into The Killing I terminated it. [Laughs] I felt that it’s enough of a struggle to keep my narcissism at bay, I don’t need to know what everybody’s saying about me. It’s just not healthy. But of course, I’ll Google my name time and again. But I try not to dive too deep into it. Of course, it’s always tempting, and it’s always there and it’s fascinating to hear what people say about you, but my experience of doing that is it’s like Russian roulette. You won’t stop looking until you find somebody saying something really nasty about you, and that’s the only way you’re satisfied. It doesn’t matter if there are 200 people saying great things, you’re only going to remember that one person that said something horrible about you, and there’s no point in that. Lola Versus is in select theaters today. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
It’s raunchy. It’s Danish. It’s really, truly, hilariously inappropriate. And yes, it might be the funniest movie of the year. Get a peek at Klown , the comedy that promises to out-do The Hangover movies and all of Judd Apatow ‘s R-rated oeuvre this July, courtesy of Drafthouse Films, in Movieline’s exclusive poster debut. Klown is the tale of two bumbling friends (Frank Hvam and Casper Christensen) who embark on a road trip — Casper in search of extramarital flings, Frank in search of his paternal potential — with Frank’s girlfriend’s young nephew in tow. Think Curb Your Enthusiasm meets The Hangover and you’ve got the idea. Then take a leap beyond the boundaries of even the most vulgar jokes in Hollywood comedies and you’re even closer to what’s in store in Klown . Released in Denmark as Klovn: The Movie , Klown is based on the Danish sitcom of the same name, which ran for six seasons; after playing Fantastic Fest , Klown was picked up by the good folks at Drafthouse Films, who will release the film in New York, L.A., Austin, and on VOD on July 27. Meanwhile, Klown is set to get the remake treatment courtesy of Todd Phillips and Danny McBride , a fit that makes a lot of sense… and yet, McBride is always so McBride-y. Which might work out just fine, but trust me: See the original first. Camping trips and music festivals and babysitting will never be the same. Synopsis: In what critics are hailing as “the funniest movie of the year!” (IFC), KLOWN follows two wildly inappropriate friends – played by celebrated international comedians Frank Hvam and Casper Christensen – as they run amok through the Danish countryside plowing through endless awkward confrontations and unspeakable debaucheries. Hopelessly wrongheaded Frank “kidnaps” the 12-year-old nephew of his pregnant girlfriend in an eager attempt to prove his fatherhood potential to join sex-crazed Casper on his secret adulterous weekend canoe trip. From exclusive brothels, hospitalizations, armed robberies and even prison, the three paddle downstream from one chaotic misadventure to the next culminating in a surprise sentimental portrait of friendship and a final shocking reveal that you won’t soon unsee. And for good measure, check out the film’s NSFW redband trailer, which is pretty much the best bit of one of many great scenes from the movie. ( SPOILER ALERT !) Klown opens in NY, LA, and Austin (and on VOD!) on July 27. More info at the film’s website .
