Tag Archives: New Movie

REVIEW: High School Makes Getting High Look Less Than Fun

High School has such a winning premise that you want to send everyone involved in making it back to the drawing board for a do-over — just take it from the top, folks, and this time everyone actually have a good time. Directed by John Stalberg, who wrote the film with Erik Linthorst and Stephen Susco, this debut feature follows uptight overachiever Henry Burke (Matt Bush) as, on the eve of finals, he dabbles in pot for the first time with his childhood friend-turned-burnout king Travis Breaux (Sean Marquette) — only to be told the next day that principal Leslie Gordon (an almost unrecognizable Michael Chiklis) is instating a student body-wide zero tolerance drug test. The plan the pair come up with to salvage Travis’s years of hard work and scholarship to MIT? They’re going to get the entire school high to throw off the results. This is, as far as stoner movies go, kind of ingenious, but  High School rushes through the parts it should savor and then pads out its runtime with filler elsewhere — and, less forgivably, it doesn’t make getting high look like fun. The stoner comedy as a genre has few requirements other than summoning up a THC haze and being generally good-natured, but  High School leaves you feeling like the sober person at a party, wincing at how everyone’s acting and wondering if that’s how you look when under the influence. This may be because that’s how Henry feels all the time — he’s a tightly wound scold who belongs to that wan breed of recent high school protagonists (see It’s Kind of a Funny Story and  The Art of Getting By ) who seem on the verge of implosion thanks to some vague, self-imposed psychological distress. The hollow-eyed Henry reunites with Travis, who is leading a seemingly parentless life on a perpetual high, after nearly running into him in the parking lot and instead hitting the principal’s car and earning a detention. “You come to see how the other half lives?” sneers Travis, who’s stuck there too. It rings strange — the division between the pair isn’t due to any class difference but to a lifestyle one, and Travis hasn’t exactly been forced to smoke pot constantly. But the two feel enough nostalgia for their younger days to end up hanging out afterward, where Travis coaxes Henry in smoking his way to an unpleasant first-time high that leaves him paranoid, dazed and with a black eye from falling out of a tree house. Because this is a stoner comedy, the fact that the setup is creaky and doesn’t quite make sense shouldn’t be a problem — except that none of the ways in which the film exaggerates are all that funny. Take Chiklis’s pompous Principal Gordon, with his flop of greasy hair and secret pervert vibe. He’s in the style of an ’80s movie authority figure like Mr. Rooney in  Ferris Bueller’s Day Off , one whose sole motivation is ego and spite — except that High School isn’t stylized in the same way. It’s grounded enough to realize that parents would instantly protest the gross invasion of privacy represented by mandatory drug testing, but not enough to explain why an administrator would be eager to expel the graduating class’ likely valedictorian. Its sense of rebellion is completely phony — that of a kid who, like Henry, got high one time and still talks about it. The film’s major asset, one that’s also wasted (in both senses), is Adrien Brody hamming it up as twitchy drug dealer Psycho Ed, a tattooed law school grad (he has “BOOK WORM” across his knuckles) who lost it after smoking a laced joint and has chosen instead to apply his smarts to growing high-octane weed. Sporting cornrows, his bug eyes rolling, Brody should be funny, though Ed’s a better idea than he is in practice — you’re aggressively aware that he’s just an actor showing off the way he’s playing against type rather than a character who’s amusing in his own right. There are other side figures who don’t click: Sebastian (Adhir Kalyan), Henry’s mustache-twirlingly evil rival for the top academic slot; stoner spelling bee champ Charlyne Phuc (Julia Ling), whose last name gets used for a lame joke; well-meaning assistant principal Brandon Ellis (Colin Hanks); a loopy former Deadhead teacher (Yeardley Smith). The movie’s big event — the spiking of bake sale brownies with THC crystals — takes place early on rather than toward the end, so it doesn’t result in the kind of delirious chaotic payoff you’d expect or want from the film. Students and teachers look dazed, lose focus and say some inexplicable things, and by the time the goofiness comes along, it’s too late. It is, horror of horrors, a portrayal of a mildly realistic high, which in the context of what should be an over-the-top film is really the last thing you want. What’s the use of a stoner film if it can’t convince you that there’s at least some fun to be had in the warm embrace of cannabis? Follow Alison Willmore on Twitter . Follow Movieline on Twitter .

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REVIEW: High School Makes Getting High Look Less Than Fun

Word On The Street (Extended Interview-Darth Vader): Is It A Gift To Marry A 29 Year Old Virgin? [Video]

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Word On The Street (Extended Interview-Darth Vader): Is It A Gift To Marry A 29 Year Old Virgin? [Video]

Word On The Street (Extended Interview-Darth Vader): Is It A Gift To Marry A 29 Year Old Virgin? [Video]

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Word On The Street (Extended Interview-Darth Vader): Is It A Gift To Marry A 29 Year Old Virgin? [Video]

New Film “Wheatley Hall” About Group Of College Friends: Is That Jonesy? [Video]

Wheatley Hall is a coming to age film about a select group of college students all connected to Sydney and Brian .Wheatley Hall in the feature length will be a modern day SCHOOL DAZE with a musical twist! Sydney who is a 18 year old girl who chooses to travel to the east coast to pursue her dream of dance. In the trailer she gets in a agrument with her father about her deciding not to go to a community college. She narrates the trailer to show the viewers the world through her eyes. Brian is a FRAT boy who has the school in the palm of his hand. Not only does faculty and staff praise him but so does the rest of the city. The trailer will show how Sydney and Brian’s world meet. It also shows how Claudia deals with finding out she is expecting and learning Brian is expecting her to have a abortion.

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New Film “Wheatley Hall” About Group Of College Friends: Is That Jonesy? [Video]

New Film “Wheatley Hall” About Group Of College Friends: Is That Jonesy? [Video]

Wheatley Hall is a coming to age film about a select group of college students all connected to Sydney and Brian .Wheatley Hall in the feature length will be a modern day SCHOOL DAZE with a musical twist! Sydney who is a 18 year old girl who chooses to travel to the east coast to pursue her dream of dance. In the trailer she gets in a agrument with her father about her deciding not to go to a community college. She narrates the trailer to show the viewers the world through her eyes. Brian is a FRAT boy who has the school in the palm of his hand. Not only does faculty and staff praise him but so does the rest of the city. The trailer will show how Sydney and Brian’s world meet. It also shows how Claudia deals with finding out she is expecting and learning Brian is expecting her to have a abortion.

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New Film “Wheatley Hall” About Group Of College Friends: Is That Jonesy? [Video]

Emma Watson short shorts

Judging by Emma Watson’s bare midriff and short shorts her new movie The Bling Ring is going to be her hottest yet! Continue reading

No Catching Fire For Robert Pattinson, Prometheus Pre-Sale Boom: Biz Break

Also in Tuesday morning’s briefs roundup, Abbas Kiarostami’s latest from Cannes is heading to the U.S., a big film-biz deal brews up in Canada, a controversial film lands its maker in hot legal water three decades, and more… Sundance Selects Takes Rights to Abbas Kiarostami’s Like Someone In Love The film made its world premiere in competition at the recently completed Cannes Film Festival; the description goes something like this: “An old man and a young woman meet in Tokyo. She knows nothing about him. He thinks he knows her. He welcomes her into his home. She offers him her body. Soon it becomes apparent that the web that is woven between them in the space of 24 hours bears no relation to the circumstance of their encounter.” The company’s SVP of Acquisitions & Production Arianna Bocco negotiated the deal with Victoire Thevenin of MK2. Toronto’s Inside Out Wraps The Inside Out LGBT Film Festival completed its 22nd edition with Dominique Cardona and Laurie Colbert’s Margarita voted Best Feature or Video in Audience Awards. Jeffrey Schwartz’s Vito (USA) took best documentary in the Audience category, while Badlguy by Maria Bock won best short. She Monkeys (Sweden) by Lisa Aschan won Best First Feature. Around the ‘net… Robert Pattinson Kills Hunger Games Speculation Despite rumors that the Twilight heartthrob was in the running to play Finnick Odair in the Hunger Games sequel Catching Fire , he said in Cannes that he double-checked with his agent — who promptly said, “No.” Ultimately, he doesn’t fit the character description in the book; USA Today and THR report . Entertainment One In Talks to Buy Alliance Both Canadian-based distribution companies remained publicly silent about the negotiations between the two, Deadline reports . Prometheus Builds Imax U.K. Pre-Sales Record Ridley Scott’s much-anticipated sci-fi thriller starring Michael Fassbender, Charlize Theron, Noomi Rapace and Idris Elbahas has already grossed $737,588 from 30,000 tickets sold, THR reports . Spanish Artist Faces Prison for Christ Film Javier Krahe may serve up to a year in prison for “offending religious feelings” because of a short film he made over 30 years ago titled How to Cook Jesus Christ , The Guardian reports .

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No Catching Fire For Robert Pattinson, Prometheus Pre-Sale Boom: Biz Break

Les Miserables: First Images of Anne Hathaway, Amanda Seyfried, and More

Universal has yet to release an official trailer for Tom Hooper’s Les Miserables , but USA Today has a first look at images of Hugh Jackman, Anne Hathaway, and Co. in character. Visually, the musical film looks beautiful, but the jury’s out on how it sounds until we get more of an official listen. Take a peek at the Les Mis cast in the muted hues of 19th century France and chime in after the jump. Below, take a gander at Samantha Barks as Eponine, the role that the rumor mill had us thinking would go to Taylor Swift. Everyone else looks period-handsome, but Hathaway is striking, rocking Fantine’s shorn look while seemingly channeling Maria Falconetti’s Joan of Arc. Find more pics over at USA Today .

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Les Miserables: First Images of Anne Hathaway, Amanda Seyfried, and More

REVIEW: Is Chernobyl Diaries Offensive? No, It’s Just Dumb

The premise of Chernobyl Diaries , in which a group of twentysomething tourists are menaced by malevolent beings while paying a visit to Pripyat, the abandoned Ukrainian town that used to house workers at the Chernobyl Nuclear Power Plant, has been described by some as uncomfortably exploitative of a real-life tragedy. But real-life tragedies bleed through into horror cinema all the time — the genre is frequently a reflection of subconscious dread and anxiety, from the nuclear detonation-born Godzilla menacing a Japan less than a decade after the bombings of Hiroshima and Nagasaki, to the monster that attacked New York in Cloverfield , 54 years later, in a wash of imagery reminiscent of 9/11. The problem with Chernobyl Diaries isn’t that it’s offensive, it’s that it’s dumb — a run-of-the-mill low-budget flick focused on killing off stupid, pretty young things slowly enough to fill out 90 minutes. Directed by Bradley Parker, who worked as a visual effects supervisor on Let Me In , Chernobyl Diaries  is produced and based on a story by Oren Peli, the creator of the Paranormal Activity franchise and ABC series The River . With the exception of an intro and a clip found on a camera explaining what happened to two of the characters, it isn’t part of the found-footage subgenre Peli has made his own, though sometimes it could use the excuse — the film has loose, jerky camerawork that sometimes seems meant to evoke something shot by a panicky observer, though the effect is more likely a practical one meant to obscure the baddies from full view. The monsters are mutants twisted by radiation, as far as we’re told, and it’s for the better that we don’t ever get a good look at them. They lurk in the darkness, outlined in doorways and briefly illumined in flashlight beams, and they’re creepy enough to seem worthy of the film’s greatest effect, its setting. Composed of abandoned brutalist tower blocks and industrial areas, the film’s version of Pripyat (it wasn’t shot there, though you can indeed take a tour of the actual town these days) is ghostly, all remnants of abruptly abandoned lives and packs of wild dogs roaming the streets. “Nature has reclaimed its rightful home,” tour guide Uri (Dimitri Diatchenko) intones to his customers, but there’s no sense of renewal, only of a place burnt out and forever warped. Uri is the best of the batch of Pripyat wanderers, a solid former special forces soldier turned extreme-tourism business owner. Diatchenko conveys the reassuring professionalism needed to convince visitors of his trustworthiness while also making it clear that his gig is a little sketchy. But the tourists themselves are just awful mutant-fodder. There’s the primary four Americans, brothers Chris (Jesse McCartney) and Paul (Jonathan Sadowski) along with Natalie (Olivia Dudley) and Amanda (Devin Kelley), plus Australian backpacker Michael (Nathan Phillips) and his Scandinavian girlfriend Zoe (Ingrid Bolsø Berdal). They have their sibling and romantic tensions, which aren’t really worth describing — all you need to know is that these are the type of characters who always  go into the darkest, scariest room because they need to see what’s there, who split up and who stop to bicker or indulge in a freak-out instead of running away as any sane person would. They are, in other words, the interchangeable, irrational characters who invariably populate horror movies, the kind so cleverly mocked in Cabin in the Woods , and despite the specificity of Chernobyl Diaries ‘ setting, it is really just another generic horror movie reliant on jump scares and ridiculous behavior to carry the action through to the end. The only noteworthy aspect of the film’s three travelers and one dedicated expat is that they aren’t especially ugly Americans. They’re entitled and rude at times, sure, but there’s not the sense of panicked paranoia that fed the likes of  Hostel and  Turistas , that feeling that everyone in the rest of the world secretly does want to kill us. In Chernobyl Diaries , the only sentiment that lingers is one of grinding practicality — that the film is set in Eastern Europe not because it has any larger point to make about the area or the tragedy it uses as a jumping-off point, but simply because it’s so affordable to shoot movies there. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .

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REVIEW: Is Chernobyl Diaries Offensive? No, It’s Just Dumb

Cannes: Kylie Minogue Sets Aside Pop for Offbeat Holy Motors

Pop star Kylie Minogue is in Cannes, and she’s showcasing a career move: Starring in a film. Not just any film mind you, but Leos Carax’s Holy Motors , which attendees here are calling the wackiest selection to hit the festival in years, a pretty amazing feat. With cyber-monsters, talking machines and a story that is a complete trip, Minogue plays two characters in Carax’s tale, which centers on Monsieur Oscar — who himself is in fact many characters: a captain of industry, assassin, beggar, monster, family man and a half-dozen more. Taking on the role, Minogue said she decided to shed some of her persona and that she was thrilled to be in Cannes. “It feels like a dream to have a film here in Cannes and to be welcomed into this family with Leos,” she said Wednesday afternoon. “My involvement was deep and emotional and fun. I banned my entourage of coming with me. I stripped myself of ‘Kylie’ and wanted to be a blank canvas for Leos.” In Holy Motors , Monsieur Oscar (Denis Lavant) journeys from one role to the next, accompanied by Céline (Edith Scob), the woman driving a massive engine that transports him through Paris. He’s a “conscientious assassin,” going from one place to the next in pursuit of a mysterious driving force and the women and spirits of past lives. “I pass bridges every day and this old gypsy woman with her bag; for years I’ve passed these women and rarely given money,” Carax said, adding, “So I thought there is no way to communicate with this woman — there is no way. So I’d imagine myself slipping into a café and changing into old woman clothes and becoming that woman and that’s how this whole story started.” Carax and Minogue met a year ago through their mutual friend, the French filmmaker Claire Denis, and the two decided to collaborate. The former Australian soap star’s return to acting, however, was not entirely devoid of her current day (or night) job as a world-famous pop star. Carax gave her the chance to sing in the film and do it in a very unconventional way — at least for movies. “Obviously I’m used to a pop music world,” she said. “There was a song in the movie and I thought we’d record it, but Leos said, ‘No, let’s do it live in a scene.’ I don’t think that happens much in movies, and it was amazing for me. It combined both worlds and it was just fantastic.” Continuing, Minogue noted: “For me it was entirely exciting to step into this unknown situation. That doesn’t mean I wasn’t slightly terrified, but I was more than happy to venture into this strange experience.” Read more of Movieline’s Cannes 2012 coverage here .

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Cannes: Kylie Minogue Sets Aside Pop for Offbeat Holy Motors