Los Angeles, Dec 21 (Ians) It’s been more than 30 years since ‘Home Alone’ first graced the big screen, becoming one of the best-loved Christmas films of all time.
New generations of fans fall in love with the box office hit each year, with the sequel Lost In New York also adored by many, reports mirror.co.uk.
‘Home Alone’ follows the story of Kevin McCallister, a young boy forced to fend for himself in hilarious ways when his family accidentally leave him inside his the house alone while they jet off on holiday.
The film turned child actor Macaulay Culkin into a sensation and Catherine O’Hara became a favourite among fans after portraying Kevin’s mum Kate McCallister.
However, the 68-year-old actress almost missed out on the iconic role.
Cinematographer Julio Macat, who worked on the original Home Alone film, explained that Elizabeth Perkins was originally in the running.
“John Hughes...
New generations of fans fall in love with the box office hit each year, with the sequel Lost In New York also adored by many, reports mirror.co.uk.
‘Home Alone’ follows the story of Kevin McCallister, a young boy forced to fend for himself in hilarious ways when his family accidentally leave him inside his the house alone while they jet off on holiday.
The film turned child actor Macaulay Culkin into a sensation and Catherine O’Hara became a favourite among fans after portraying Kevin’s mum Kate McCallister.
However, the 68-year-old actress almost missed out on the iconic role.
Cinematographer Julio Macat, who worked on the original Home Alone film, explained that Elizabeth Perkins was originally in the running.
“John Hughes...
- 12/21/2022
- by Glamsham Bureau
- GlamSham
It’s been more than 30 years since ‘Home Alone’ first graced the big screen, becoming one of the best-loved Christmas films of all time. New generations of fans fall in love with the box office hit each year, with the sequel Lost In New York also adored by many, reports mirror.co.uk.
‘Home Alone’ follows the story of Kevin McCallister, a young boy forced to fend for himself in hilarious ways when his family accidentally leave him inside his the house alone while they jet off on holiday.
The film turned child actor Macaulay Culkin into a sensation and Catherine O’Hara became a favourite among fans after portraying Kevin’s mum Kate McCallister.
However, the 68-year-old actress almost missed out on the iconic role.
Cinematographer Julio Macat, who worked on the original Home Alone film, explained that Elizabeth Perkins was originally in the running.
“John Hughes asked her to...
‘Home Alone’ follows the story of Kevin McCallister, a young boy forced to fend for himself in hilarious ways when his family accidentally leave him inside his the house alone while they jet off on holiday.
The film turned child actor Macaulay Culkin into a sensation and Catherine O’Hara became a favourite among fans after portraying Kevin’s mum Kate McCallister.
However, the 68-year-old actress almost missed out on the iconic role.
Cinematographer Julio Macat, who worked on the original Home Alone film, explained that Elizabeth Perkins was originally in the running.
“John Hughes asked her to...
- 12/21/2022
- by Glamsham Bureau
- GlamSham
Exclusive: It’s starting to feel a lot like Christmas.
So much so that Peter Billingsley, star of A Christmas Story, is to host a new podcast celebrating the nostalgia of classic holiday films.
A Cinematic Christmas Journey was co-created by Vince Vaughn, whose podcast network Audiorama, which he launched with former NFL Pro Bowlers Greg Olsen and Ryan Kalil earlier this year, is producing with his Wild West Picture Show Productions.
Billingsley will host with Nick Schenk. Billingsley is best known for starring as Ralphie Parker in the 1983 and is set to reprise his role in the sequel film A Christmas Story Christmas, which was co-written by Schenk, and was recently released on HBO Max.
The podcast will ask why do people love holiday movies so much.
Over six episodes, Billingsley and Schenk will explore the holiday traditions highlighted in iconic movies such as Home Alone, National Lampoon’s Christmas Vacation,...
So much so that Peter Billingsley, star of A Christmas Story, is to host a new podcast celebrating the nostalgia of classic holiday films.
A Cinematic Christmas Journey was co-created by Vince Vaughn, whose podcast network Audiorama, which he launched with former NFL Pro Bowlers Greg Olsen and Ryan Kalil earlier this year, is producing with his Wild West Picture Show Productions.
Billingsley will host with Nick Schenk. Billingsley is best known for starring as Ralphie Parker in the 1983 and is set to reprise his role in the sequel film A Christmas Story Christmas, which was co-written by Schenk, and was recently released on HBO Max.
The podcast will ask why do people love holiday movies so much.
Over six episodes, Billingsley and Schenk will explore the holiday traditions highlighted in iconic movies such as Home Alone, National Lampoon’s Christmas Vacation,...
- 12/7/2022
- by Peter White
- Deadline Film + TV
Jim Carrey began his entertainment career in the '70s as a stand-up comedian, where he entertained audiences with physical comedy and spot-on impressions of celebrities like Sammy Davis, Jr., and Clint Eastwood. In the 1980s, he landed smaller roles in TV and movies before becoming a regular on the comedy sketch show "In Living Color" in 1990. Carrey quickly proved to be a valuable asset to the show by lampooning pop culture figures like Vanilla Ice and creating a wacky list of recurring characters such as Fire Marshall Bill and Vera De Milo. Despite being part of an ensemble cast that included other heavyweight talents like David Alan Grier, Jamie Foxx, and Keenan and Damon Wayans, Carrey's comedic abilities stood out. "In Living Color" ended in 1994, but Carrey's career was only beginning.
Immediately after "In Living Color," Carrey was tapped to play the lead in a bombastic comedy named "Ace Ventura: Pet Detective.
Immediately after "In Living Color," Carrey was tapped to play the lead in a bombastic comedy named "Ace Ventura: Pet Detective.
- 10/28/2022
- by Christian Gainey
- Slash Film
Angels with Filthy Souls may not be an actual flick, but the faux film noir is as iconic as the 1990 movie in which it appears.
Giving Home Alone one of its most popular lines — “Keep the change, you filthy animal” — the gangster picture that helped Kevin McCallister (Macaulay Culkin) pull off a few ruses paid homage to an actual film, Angels with Dirty Faces, which was released Nov. 26, 1938.
To celebrate the probable anniversary of the faux classic, Home Alone cinematographer Julio Macat details how Angels with Filthy Souls was created — a job so well done, even stars noted they believed ...
Giving Home Alone one of its most popular lines — “Keep the change, you filthy animal” — the gangster picture that helped Kevin McCallister (Macaulay Culkin) pull off a few ruses paid homage to an actual film, Angels with Dirty Faces, which was released Nov. 26, 1938.
To celebrate the probable anniversary of the faux classic, Home Alone cinematographer Julio Macat details how Angels with Filthy Souls was created — a job so well done, even stars noted they believed ...
- 11/23/2020
- The Hollywood Reporter - Film + TV
Angels with Filthy Souls may not be an actual flick, but the faux film noir is as iconic as the 1990 movie in which it appears.
Giving Home Alone one of its most popular lines — “Keep the change, you filthy animal” — the gangster picture that helped Kevin McCallister (Macaulay Culkin) pull off a few ruses paid homage to an actual film, Angels with Dirty Faces, which was released Nov. 26, 1938.
To celebrate the probable anniversary of the faux classic, Home Alone cinematographer Julio Macat details how Angels with Filthy Souls was created — a job so well done, even stars noted they believed ...
Giving Home Alone one of its most popular lines — “Keep the change, you filthy animal” — the gangster picture that helped Kevin McCallister (Macaulay Culkin) pull off a few ruses paid homage to an actual film, Angels with Dirty Faces, which was released Nov. 26, 1938.
To celebrate the probable anniversary of the faux classic, Home Alone cinematographer Julio Macat details how Angels with Filthy Souls was created — a job so well done, even stars noted they believed ...
- 11/23/2020
- The Hollywood Reporter - Movie News
Bart Freundlich on the Orangina scene in After The Wedding and Susanne Bier's Efter Brylluppet: "That was a beautiful moment also in the original movie. I love scenes where you don't need to say anything that's going on." Photo: Anne-Katrin Titze
In the second half of my conversation with Bart Freundlich on After The Wedding at the Langham in New York, we discuss Julianne Moore’s Theresa buying stuffed crocodile and shark toys, Michelle Williams as Isabel responding to Billy Crudup’s Oscar artwork, and sharing an Orangina with Abby Quinn’s Grace. The role of Jonathan (Alex Esola) would have been played by Ralph Bellamy or Gig Young in the last century.
After The Wedding is opening this century, on November 1 in the UK.
Isabel (Michelle Williams) in Theresa’s (Julianne Moore) office: “The only thing that I was interested in is this idea that no matter how...
In the second half of my conversation with Bart Freundlich on After The Wedding at the Langham in New York, we discuss Julianne Moore’s Theresa buying stuffed crocodile and shark toys, Michelle Williams as Isabel responding to Billy Crudup’s Oscar artwork, and sharing an Orangina with Abby Quinn’s Grace. The role of Jonathan (Alex Esola) would have been played by Ralph Bellamy or Gig Young in the last century.
After The Wedding is opening this century, on November 1 in the UK.
Isabel (Michelle Williams) in Theresa’s (Julianne Moore) office: “The only thing that I was interested in is this idea that no matter how...
- 10/31/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Left to Right: Michelle Williams as Isabel, Julianne Moore as Theresa Young.
Photo by Julio Macat. Courtesy Sony Pictures Classics.
After The Wedding cleverly switches the genders on the Oscar-nominated Danish film of the same name, transforming it into a terrific showcase for two powerhouse actresses, Julianne Moore and Michelle Williams.
Director Bart Freundlich decided to flip the genders in his remake of Susan Bier’s 2006 Oscar-nominated Danish film, which turns out to be a brilliant choice,thanks to the wonderful casting of Williams and Moore. . Often remakes of European hit films for American audiences fall far short of the original but Freundlich’s enjoyable, thoughtful drama is the exception, and may actually be an improvement.
The characters that Michelle Williams and Julianne Moore could not be more different. Williams plays Isabel, an American idealist who runs an orphanage in India. The orphanage is in shaky financial shape so when...
Photo by Julio Macat. Courtesy Sony Pictures Classics.
After The Wedding cleverly switches the genders on the Oscar-nominated Danish film of the same name, transforming it into a terrific showcase for two powerhouse actresses, Julianne Moore and Michelle Williams.
Director Bart Freundlich decided to flip the genders in his remake of Susan Bier’s 2006 Oscar-nominated Danish film, which turns out to be a brilliant choice,thanks to the wonderful casting of Williams and Moore. . Often remakes of European hit films for American audiences fall far short of the original but Freundlich’s enjoyable, thoughtful drama is the exception, and may actually be an improvement.
The characters that Michelle Williams and Julianne Moore could not be more different. Williams plays Isabel, an American idealist who runs an orphanage in India. The orphanage is in shaky financial shape so when...
- 8/23/2019
- by Cate Marquis
- WeAreMovieGeeks.com
It’s incredible how many films are hitting theaters today. It’s one of the more crowded new release slates in a bit, so a review round-up is necessary on this Friday. Here we’ll be discussing four of the movies we weren’t able to review so far this week, giving them at least a small moment in the sun. Today we have a quartet of titles, ranging from a remake in After the Wedding, to a true life drama in Brian Banks, over to a survival tale in Light of My Life, all the way to a quirky romantic comedy in Ode to Joy. Are any of these worth your time? All of them? Well, we have the answer for you imminently. Read on below to find out… After the Wedding Independent cinema is not the normal spot to find remakes. Usually, that’s where Hollywood has a monopoly.
- 8/9/2019
- by Joey Magidson
- Hollywoodnews.com
The 7th Annual Ed Asner & Friends Poker Tournament Celebrity Night brings together celebrities, friends and members of the entertainment industry for a night of fun, fame and philanthropy benefitting the new The Ed Asner Family Center, dedicated to helping differently “abled” individuals with special needs nurture and cultivate self-confidence and to embrace and support their families.
More than 400 guests are expected to attend at this year’s star-studded event which is held at the CBS Radford Studio soundstages where The Mary Tyler Moore Show and The Lou Grant Show, both which starred Ed Asner, were taped.
Hosted by legendary Emmy-winning actor, comedian and autism advocate Ed Asner, who has a son and grandson on the autistic spectrum. Asner leads a long list of celebrities, sponsors, and top movie studio execs who are All-in this year including Laura Dern, Mark Hamill, Lou Diamond Phillips, Alex Trebek, Ed Begley Jr, Don Cheadle,...
More than 400 guests are expected to attend at this year’s star-studded event which is held at the CBS Radford Studio soundstages where The Mary Tyler Moore Show and The Lou Grant Show, both which starred Ed Asner, were taped.
Hosted by legendary Emmy-winning actor, comedian and autism advocate Ed Asner, who has a son and grandson on the autistic spectrum. Asner leads a long list of celebrities, sponsors, and top movie studio execs who are All-in this year including Laura Dern, Mark Hamill, Lou Diamond Phillips, Alex Trebek, Ed Begley Jr, Don Cheadle,...
- 5/27/2019
- Look to the Stars
Every actor's best friend on set is the director of photography. The cinematographer is literally behind the camera making sure everyone and everything is well lit during production. Julio Macat is a veteran Hollywood cinematographer. Daddy's Home 2's director of photography (Dp) reveals a few funny stories about working with Mel Gibson and Mark Wahlberg on the set. Watch below.
Read More ...
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- 11/9/2017
- by info@cinemovie.tv (Super User)
- CineMovie
Instantly recognizable and tirelessly self-promoting, Donald Trump has long been a natural candidate for movie and TV cameos. In the 1990s and 2000s, the golden-coiffed casino owner racked up numerous IMDb credits, including Zoolander, 54, The Nanny, and Home Alone 2, usually playing himself. A.V. Club contributor Zach Schonfeld has talked to the people who worked on those projects with Trump and compiled a piece on the Gop candidate’s acting career for Newsweek. The defining sentence in the article appears in a parenthetical aside: “He’s never a hard get but rarely an easy shoot.” Trump, the insiders say, is more than happy to appear in films and television shows. Julio Macat, director of photography on Home Alone 2, calls him “a bug attracted to bright light.” But once he shows up, he’s likely to throw temper tantrums, make diva-like demands, hit on women, and nitpick the ...
- 10/21/2016
- by Joe Blevins
- avclub.com
The follow-up to the 2011 hit comedy Horrible Bosses reunites Jason Bateman, Charlie Day and Jason Sudeikis as everyone’s favorite working stiffs: Nick, Dale and Kurt.
Here’s a first look at the hilarious new trailer and poster for Horrible Bosses 2.
Jennifer Aniston and Oscar winner Jamie Foxx also reprise their Horrible Bosses starring roles, while Chris Pine (Star Trek) and Oscar winner Christoph Waltz (Django Unchained) star as new adversaries standing between the guys and their dreams of success.
Fed up with answering to higher-ups, Nick (Bateman), Dale (Day) and Kurt (Sudeikis) decide to become their own bosses by launching their own business in Horrible Bosses 2. But a slick investor soon pulls the rug out from under them. Outplayed and desperate, and with no legal recourse, the three would-be entrepreneurs hatch a misguided plan to kidnap the investor’s adult son and ransom him to regain control of their company.
Here’s a first look at the hilarious new trailer and poster for Horrible Bosses 2.
Jennifer Aniston and Oscar winner Jamie Foxx also reprise their Horrible Bosses starring roles, while Chris Pine (Star Trek) and Oscar winner Christoph Waltz (Django Unchained) star as new adversaries standing between the guys and their dreams of success.
Fed up with answering to higher-ups, Nick (Bateman), Dale (Day) and Kurt (Sudeikis) decide to become their own bosses by launching their own business in Horrible Bosses 2. But a slick investor soon pulls the rug out from under them. Outplayed and desperate, and with no legal recourse, the three would-be entrepreneurs hatch a misguided plan to kidnap the investor’s adult son and ransom him to regain control of their company.
- 9/5/2014
- by Michelle McCue
- WeAreMovieGeeks.com
You know those real estate scams where you're offered a free vacation if you just sit through a time-share presentation and that time-share presentation seems never-ending, because even if it's just two hours, what you really wanted was a free vacation? For Adam Sandler, filmmaking is like that time-share presentation. All the guy wants is to get major motion picture studios to subsidize his vacations. Is that so wrong? If Sony or Warner Brothers said to you, "How would you like an all-expenses-paid trip to Hawaii or Africa or a secluded lake? And all you have to do is deliver a movie and nobody on our side will even ask to see a script or bother looking at the final cut," what would you say? You'd accept the deal. Don't deny it. It's obvious that Sandler and his partners-in-vacation-loving-crime don't especially enjoy the quid pro quo required for their global galavanting,...
- 5/23/2014
- by Daniel Fienberg
- Hitfix
Win Tickets To The Advance Screening of Blended In St. Louis – Stars Drew Barrymore and Adam Sandler
After a disastrous blind date, single parents Lauren (Drew Barrymore) and Jim (Adam Sandler) agree on only one thing: they never want to see each other again. But when they each sign up separately for a fabulous family vacation with their kids, they are all stuck sharing a suite at a luxurious African safari resort for a week.
The film also stars Wendi McLendon-Covey (“Bridesmaids”) as Lauren’s best friend, Jen, and Joel McHale (TV’s “Community”) as her unreliable ex-husband, Mark. Kevin Nealon (“Weeds”) and Jessica Lowe (funnyordie’s “RobotDown”) star as Eddy ad Ginger, an overly romantic couple who are also vacationing at the resort, and Terry Crews (“The Expendables 2”) stars as the resort’s singing host. Dan Patrick (Espn SportsCenter) appears as Jim’s boss, Dick; and Shaquille O’Neal as his coworker, Doug.
Playing Jim’s three daughters are Bella Thorne (Disney Channel’s “Shake it Up...
The film also stars Wendi McLendon-Covey (“Bridesmaids”) as Lauren’s best friend, Jen, and Joel McHale (TV’s “Community”) as her unreliable ex-husband, Mark. Kevin Nealon (“Weeds”) and Jessica Lowe (funnyordie’s “RobotDown”) star as Eddy ad Ginger, an overly romantic couple who are also vacationing at the resort, and Terry Crews (“The Expendables 2”) stars as the resort’s singing host. Dan Patrick (Espn SportsCenter) appears as Jim’s boss, Dick; and Shaquille O’Neal as his coworker, Doug.
Playing Jim’s three daughters are Bella Thorne (Disney Channel’s “Shake it Up...
- 5/13/2014
- by Movie Geeks
- WeAreMovieGeeks.com
Adam Sandler and Drew Barrymore star in Blended, in theaters May 23, 2014.
Blended marks the third comedy collaboration between Sandler and Barrymore, following their successful onscreen pairings in the hit romantic comedies “50 First Dates” and “The Wedding Singer.”
After a disastrous blind date, single parents Lauren (Barrymore) and Jim (Sandler) agree on only one thing: they never want to see each other again. But when they each sign up separately for a fabulous family vacation with their kids, they are all stuck sharing a suite at a luxurious African safari resort for a week.
Watch the first trailer below.
This looks hilarious!
Blended also stars Joel McHale (NBC’s “Community”) as Lauren’s ex-husband, Mark, and Wendi McLendon-Covey (“Bridesmaids”) as her best friend, Jen; Kevin Nealon (“Weeds”) and Jessica Lowe (funnyordie’s “RobotDown”) as an overly romantic couple also vacationing at the resort; Terry Crews (“The Expendables 2”) as the resort...
Blended marks the third comedy collaboration between Sandler and Barrymore, following their successful onscreen pairings in the hit romantic comedies “50 First Dates” and “The Wedding Singer.”
After a disastrous blind date, single parents Lauren (Barrymore) and Jim (Sandler) agree on only one thing: they never want to see each other again. But when they each sign up separately for a fabulous family vacation with their kids, they are all stuck sharing a suite at a luxurious African safari resort for a week.
Watch the first trailer below.
This looks hilarious!
Blended also stars Joel McHale (NBC’s “Community”) as Lauren’s ex-husband, Mark, and Wendi McLendon-Covey (“Bridesmaids”) as her best friend, Jen; Kevin Nealon (“Weeds”) and Jessica Lowe (funnyordie’s “RobotDown”) as an overly romantic couple also vacationing at the resort; Terry Crews (“The Expendables 2”) as the resort...
- 12/18/2013
- by Michelle McCue
- WeAreMovieGeeks.com
Horrible Bosses 2 has officially started production and stars Jason Bateman, Charlie Day, Jason Sudeikis, Jennifer Aniston, Kevin Spacey, and Jamie Foxx are returning. Newcomers Christoph Waltz and Chris Pine have also been confirmed. The press release shared the plot:
Fed up with answering to higher-ups, Nick, Dale and Kurt decide to become their own bosses by launching their own business in “Horrible Bosses 2.” But a slick investor soon pulls the rug out from under them. Outplayed and desperate, and with no legal recourse, the three would-be entrepreneurs hatch a misguided plan to kidnap the investor’s adult son and ransom him to regain control of their company.
I’m laughing already. I enjoyed the first film, I’m just not sold on the idea of a sequel yet. So many sequels.
Horrible Bosses 2 is set for November 28, 2014.
Check out the full details in the following boring press...
Fed up with answering to higher-ups, Nick, Dale and Kurt decide to become their own bosses by launching their own business in “Horrible Bosses 2.” But a slick investor soon pulls the rug out from under them. Outplayed and desperate, and with no legal recourse, the three would-be entrepreneurs hatch a misguided plan to kidnap the investor’s adult son and ransom him to regain control of their company.
I’m laughing already. I enjoyed the first film, I’m just not sold on the idea of a sequel yet. So many sequels.
Horrible Bosses 2 is set for November 28, 2014.
Check out the full details in the following boring press...
- 11/11/2013
- by Graham McMorrow
- City of Films
Filming has begun in Los Angeles on New Line Cinema’s Horrible Bosses 2, directed by Sean Anders (“Sex Drive”). The follow-up to the 2011 hit comedy Horrible Bosses reunites stars Jason Bateman, Charlie Day and Jason Sudeikis as everyone’s favorite working stiffs Nick, Dale and Kurt.
Jennifer Aniston, Jamie Foxx and Kevin Spacey also reprise their starring roles, while Chris Pine and Christoph Waltz star as new adversaries standing between the guys and their dreams of success.
Fed up with answering to higher-ups, Nick, Dale and Kurt decide to become their own bosses by launching their own business in Horrible Bosses 2. But a slick investor soon pulls the rug out from under them. Outplayed and desperate, and with no legal recourse, the three would-be entrepreneurs hatch a misguided plan to kidnap the investor’s adult son and ransom him to regain control of their company.
Sean Anders directs...
Jennifer Aniston, Jamie Foxx and Kevin Spacey also reprise their starring roles, while Chris Pine and Christoph Waltz star as new adversaries standing between the guys and their dreams of success.
Fed up with answering to higher-ups, Nick, Dale and Kurt decide to become their own bosses by launching their own business in Horrible Bosses 2. But a slick investor soon pulls the rug out from under them. Outplayed and desperate, and with no legal recourse, the three would-be entrepreneurs hatch a misguided plan to kidnap the investor’s adult son and ransom him to regain control of their company.
Sean Anders directs...
- 11/7/2013
- by Michelle McCue
- WeAreMovieGeeks.com
The Canon Award for the advancement of digital technology in film and television will be presented to Mark Weingartner.
Mark Weingartner will receive the Canon Award for the advancement of digital technology in film and television at a lunch organized by the International Cinematographers Guild on September 27.
Kristopher Tapley will receive the Technicolor William A Fraker Award for outstanding journalistic contributions to the art and craft of cinematography.
The Kodak Mentorship Award will honour Julio Macat, Asc and the Nat Tiffen Award for outstanding educational contributions to the art and craft of cinematography will go to Corey Carbonara.
Mark Weingartner will receive the Canon Award for the advancement of digital technology in film and television at a lunch organized by the International Cinematographers Guild on September 27.
Kristopher Tapley will receive the Technicolor William A Fraker Award for outstanding journalistic contributions to the art and craft of cinematography.
The Kodak Mentorship Award will honour Julio Macat, Asc and the Nat Tiffen Award for outstanding educational contributions to the art and craft of cinematography will go to Corey Carbonara.
- 9/20/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
We would like to invite our faithful readers and local Baltimorons to an advance screening of Our Family Wedding, a new film starring America Ferrera and Lance Gross. The promo screening will be on Thursday, March 11 at 7:30pm at a local Baltimore theater.
Synopsis of the film:
“Our marriage, their wedding.” It’s lesson number one for any newly engaged couple, and Lucia (America Ferrera) and Marcus (Lance Gross) are no exception. In Fox Searchlight Pictures’ Our Family Wedding, they learn the hard way that the path to saying “I do” can be rife with familial strife. When they return from college and too suddenly announce their marriage plans, they soon discover that their fathers – two highly competitive over-the-top egos – can wreak a major amount of havoc on their special day.
With insults flying and tempers running high, it’s anyone’s guess if the alpha dads (Forest Whitaker...
Synopsis of the film:
“Our marriage, their wedding.” It’s lesson number one for any newly engaged couple, and Lucia (America Ferrera) and Marcus (Lance Gross) are no exception. In Fox Searchlight Pictures’ Our Family Wedding, they learn the hard way that the path to saying “I do” can be rife with familial strife. When they return from college and too suddenly announce their marriage plans, they soon discover that their fathers – two highly competitive over-the-top egos – can wreak a major amount of havoc on their special day.
With insults flying and tempers running high, it’s anyone’s guess if the alpha dads (Forest Whitaker...
- 3/5/2010
- by Matthew
- Atomic Popcorn
This review was written for the theatrical release of "Because I Said So". Like the architectural-wonder cakes Diane Keaton's character constructs in "Because I Said So", the film is a stylishly gooey piece of work that demands to be oohed and aahed over. With its magazine-spread interiors and pretty dresses, this romantic comedy about a meddling mom and her unlucky-in-love youngest daughter might get what it wants. Using a recipe overloaded with adorable, too reliant on slapstick and spiced up with "modern" ideas about sex, the movie is as predictable as a crowd-pleaser can get. But crowds are likely to be pleased nonetheless, especially women who connect with its pat observations about the mother-daughter bond.
It's dispiriting to see a great actress like Keaton buying into this nonsense with such gusto. Still, as Daphne, the control-freak cake entrepreneur nearing her 60th birthday, she's the closest thing to a three-dimensional person in the film. Mandy Moore is an appealing performer, but ultimately she can't turn Milly, the object of Daphne's pathological concern, into more than a collection of comely pouts and tantrums.
The script by Karen Leigh Hopkins and Jessie Nelson, two of the writers of 1998's "Stepmom", is a compendium of cliches. Chief among these is the montage of comical interviewees -- that overused shorthand for L-O-S-E-R that parades across the screen for our condescending enjoyment, a succession of inadequate candidates for a job or a date. In this case, the would-be boyfriends are interviewed not by their potential mate but by her mother. Having placed an online ad, "Mother looking for life partner for daughter" (have more menacing words ever been printed?), Daphne holds court in a hotel lobby bar, driven to drink by the bad and the ugly. The good arrive, too. Jason, Tom Everett Scott) is an architect -- the movie occupation du jour, signaling financially successful and creative -- and Daphne couldn't be more thrilled. There's also bystander Johnny (Gabriel Macht), a musician working in the bar. He observes Daphne with interest, and for a moment it seems this might turn into a younger man/older woman romance. But against Daphne's wishes, the faux bohemian guitarist (he wears a fedora and vest) pursues Milly, a caterer with a snorting laugh not unlike Annie Hall's. After an inventive meet-cute with Johnny involving static cling, Milly finds herself dating both him and Jason.
Who Milly will end up with is as obvious as the contrasts between the two men. Johnny's the single father of a precocious boy (Ty Panitz), and they live with his single dad (Stephen Collins) in a fashionably cluttered house on the Venice canals. Against all that humanity, Jason lives in minimalist splendor and takes Milly to sleek downtown eateries. The dream-date deck is stacked. When Milly accidentally breaks one of Jason's family heirlooms, he gets a bit testy, the brute. But Johnny is all hugs and forgiveness after the accident-prone caterer shatters a plate that he probably got on sale at Pier 1.
Still, they're both decent guys, and what's a girl to do but sleep with both of them? The film pushes a cheery attitude toward sex, complete with cell-phone conference calls about uncircumcised penises between Daphne, Milly and her two married sisters. The sole characteristic of middle sis Mae (Piper Perabo) is her love of sex. It's clear from the get-go that Daphne's sense of urgency over Milly's love life is really about her own regrets as a single woman, but the script milks the notion for all its cheap, orgasm-centric psychology.
Director Michael Lehmann ("Heathers"), who keeps the story moving if not believable, isn't above using Daphne's pet dog for frequent reaction shots. Director of photography Julio Macat showcases L.A. dream locales -- not counting a woeful Korean spa scene -- while the creations of production designer Sharon Seymour and costume designer Shay Cunliffe have pizzazz but never feel lived-in. David Kitay's music score aids and abets the script in pushing emotional buttons.
Amongst the cardboard-cutout supporting characters, Lauren Graham brings a welcome deadpan sensibility to the overeager proceedings as oldest sibling Maggie, a wry psychologist.
BECAUSE I SAID SO
Universal Pictures
A Universal Pictures and Gold Circle Films presentation
Credits:
Director: Michael Lehmann
Screenwriters: Karen Leigh Hopkins, Jessie Nelson
Producers: Paul Brooks, Jessie Nelson
Executive producers: Scott Niemeyer, Norm Waitt, Michael Flynn
Director of photography: Julio Macat
Production designer: Sharon Seymour
Music: David Kitay
Co-producer: Wendy Rhoads
Costume designer: Shay Cunliffe
Editors: Paul Seydor, Troy Takaki
Cast:
Daphne: Diane Keaton
Milly: Mandy Moore
Johnny: Gabriel Macht
Jason: Tom Everett Scott
Maggie: Lauren Graham
Mae: Piper Perabo
Joe: Stephen Collins
Lionel: Ty Panitz
Running time -- 101 minutes
MPAA rating: PG-13...
It's dispiriting to see a great actress like Keaton buying into this nonsense with such gusto. Still, as Daphne, the control-freak cake entrepreneur nearing her 60th birthday, she's the closest thing to a three-dimensional person in the film. Mandy Moore is an appealing performer, but ultimately she can't turn Milly, the object of Daphne's pathological concern, into more than a collection of comely pouts and tantrums.
The script by Karen Leigh Hopkins and Jessie Nelson, two of the writers of 1998's "Stepmom", is a compendium of cliches. Chief among these is the montage of comical interviewees -- that overused shorthand for L-O-S-E-R that parades across the screen for our condescending enjoyment, a succession of inadequate candidates for a job or a date. In this case, the would-be boyfriends are interviewed not by their potential mate but by her mother. Having placed an online ad, "Mother looking for life partner for daughter" (have more menacing words ever been printed?), Daphne holds court in a hotel lobby bar, driven to drink by the bad and the ugly. The good arrive, too. Jason, Tom Everett Scott) is an architect -- the movie occupation du jour, signaling financially successful and creative -- and Daphne couldn't be more thrilled. There's also bystander Johnny (Gabriel Macht), a musician working in the bar. He observes Daphne with interest, and for a moment it seems this might turn into a younger man/older woman romance. But against Daphne's wishes, the faux bohemian guitarist (he wears a fedora and vest) pursues Milly, a caterer with a snorting laugh not unlike Annie Hall's. After an inventive meet-cute with Johnny involving static cling, Milly finds herself dating both him and Jason.
Who Milly will end up with is as obvious as the contrasts between the two men. Johnny's the single father of a precocious boy (Ty Panitz), and they live with his single dad (Stephen Collins) in a fashionably cluttered house on the Venice canals. Against all that humanity, Jason lives in minimalist splendor and takes Milly to sleek downtown eateries. The dream-date deck is stacked. When Milly accidentally breaks one of Jason's family heirlooms, he gets a bit testy, the brute. But Johnny is all hugs and forgiveness after the accident-prone caterer shatters a plate that he probably got on sale at Pier 1.
Still, they're both decent guys, and what's a girl to do but sleep with both of them? The film pushes a cheery attitude toward sex, complete with cell-phone conference calls about uncircumcised penises between Daphne, Milly and her two married sisters. The sole characteristic of middle sis Mae (Piper Perabo) is her love of sex. It's clear from the get-go that Daphne's sense of urgency over Milly's love life is really about her own regrets as a single woman, but the script milks the notion for all its cheap, orgasm-centric psychology.
Director Michael Lehmann ("Heathers"), who keeps the story moving if not believable, isn't above using Daphne's pet dog for frequent reaction shots. Director of photography Julio Macat showcases L.A. dream locales -- not counting a woeful Korean spa scene -- while the creations of production designer Sharon Seymour and costume designer Shay Cunliffe have pizzazz but never feel lived-in. David Kitay's music score aids and abets the script in pushing emotional buttons.
Amongst the cardboard-cutout supporting characters, Lauren Graham brings a welcome deadpan sensibility to the overeager proceedings as oldest sibling Maggie, a wry psychologist.
BECAUSE I SAID SO
Universal Pictures
A Universal Pictures and Gold Circle Films presentation
Credits:
Director: Michael Lehmann
Screenwriters: Karen Leigh Hopkins, Jessie Nelson
Producers: Paul Brooks, Jessie Nelson
Executive producers: Scott Niemeyer, Norm Waitt, Michael Flynn
Director of photography: Julio Macat
Production designer: Sharon Seymour
Music: David Kitay
Co-producer: Wendy Rhoads
Costume designer: Shay Cunliffe
Editors: Paul Seydor, Troy Takaki
Cast:
Daphne: Diane Keaton
Milly: Mandy Moore
Johnny: Gabriel Macht
Jason: Tom Everett Scott
Maggie: Lauren Graham
Mae: Piper Perabo
Joe: Stephen Collins
Lionel: Ty Panitz
Running time -- 101 minutes
MPAA rating: PG-13...
Like the architectural-wonder cakes Diane Keaton's character constructs in "Because I Said So", the film is a stylishly gooey piece of work that demands to be oohed and aahed over. With its magazine-spread interiors and pretty dresses, this romantic comedy about a meddling mom and her unlucky-in-love youngest daughter might get what it wants. Using a recipe overloaded with adorable, too reliant on slapstick and spiced up with "modern" ideas about sex, the movie is as predictable as a crowd-pleaser can get. But crowds are likely to be pleased nonetheless, especially women who connect with its pat observations about the mother-daughter bond.
It's dispiriting to see a great actress like Keaton buying into this nonsense with such gusto. Still, as Daphne, the control-freak cake entrepreneur nearing her 60th birthday, she's the closest thing to a three-dimensional person in the film. Mandy Moore is an appealing performer, but ultimately she can't turn Milly, the object of Daphne's pathological concern, into more than a collection of comely pouts and tantrums.
The script by Karen Leigh Hopkins and Jessie Nelson, two of the writers of 1998's "Stepmom", is a compendium of cliches. Chief among these is the montage of comical interviewees -- that overused shorthand for L-O-S-E-R that parades across the screen for our condescending enjoyment, a succession of inadequate candidates for a job or a date. In this case, the would-be boyfriends are interviewed not by their potential mate but by her mother. Having placed an online ad, "Mother looking for life partner for daughter" (have more menacing words ever been printed?), Daphne holds court in a hotel lobby bar, driven to drink by the bad and the ugly.The good arrive, too. Jason, Tom Everett Scott) is an architect -- the movie occupation du jour, signaling financially successful and creative -- and Daphne couldn't be more thrilled. There's also bystander Johnny (Gabriel Macht), a musician working in the bar. He observes Daphne with interest, and for a moment it seems this might turn into a younger man/older woman romance. But against Daphne's wishes, the faux bohemian guitarist (he wears a fedora and vest) pursues Milly, a caterer with a snorting laugh not unlike Annie Hall's. After an inventive meet-cute with Johnny involving static cling, Milly finds herself dating both him and Jason.
Who Milly will end up with is as obvious as the contrasts between the two men. Johnny's the single father of a precocious boy (Ty Panitz), and they live with his single dad (Stephen Collins) in a fashionably cluttered house on the Venice canals. Against all that humanity, Jason lives in minimalist splendor and takes Milly to sleek downtown eateries. The dream-date deck is stacked. When Milly accidentally breaks one of Jason's family heirlooms, he gets a bit testy, the brute. But Johnny is all hugs and forgiveness after the accident-prone caterer shatters a plate that he probably got on sale at Pier 1.
Still, they're both decent guys, and what's a girl to do but sleep with both of them? The film pushes a cheery attitude toward sex, complete with cell-phone conference calls about uncircumcised penises between Daphne, Milly and her two married sisters. The sole characteristic of middle sis Mae (Piper Perabo) is her love of sex. It's clear from the get-go that Daphne's sense of urgency over Milly's love life is really about her own regrets as a single woman, but the script milks the notion for all its cheap, orgasm-centric psychology.
Director Michael Lehmann ("Heathers"), who keeps the story moving if not believable, isn't above using Daphne's pet dog for frequent reaction shots. Director of photography Julio Macat showcases L.A. dream locales -- not counting a woeful Korean spa scene -- while the creations of production designer Sharon Seymour and costume designer Shay Cunliffe have pizzazz but never feel lived-in. David Kitay's music score aids and abets the script in pushing emotional buttons.
Amongst the cardboard-cutout supporting characters, Lauren Graham brings a welcome deadpan sensibility to the overeager proceedings as oldest sibling Maggie, a wry psychologist.
BECAUSE I SAID SO
Universal Pictures
A Universal Pictures and Gold Circle Films presentation
Credits:
Director: Michael Lehmann
Screenwriters: Karen Leigh Hopkins, Jessie Nelson
Producers: Paul Brooks, Jessie Nelson
Executive producers: Scott Niemeyer, Norm Waitt, Michael Flynn
Director of photography: Julio Macat
Production designer: Sharon Seymour
Music: David Kitay
Co-producer: Wendy Rhoads
Costume designer: Shay Cunliffe
Editors: Paul Seydor, Troy Takaki
Cast:
Daphne: Diane Keaton
Milly: Mandy Moore
Johnny: Gabriel Macht
Jason: Tom Everett Scott
Maggie: Lauren Graham
Mae: Piper Perabo
Joe: Stephen Collins
Lionel: Ty Panitz
Running time -- 101 minutes
MPAA rating: PG-13...
It's dispiriting to see a great actress like Keaton buying into this nonsense with such gusto. Still, as Daphne, the control-freak cake entrepreneur nearing her 60th birthday, she's the closest thing to a three-dimensional person in the film. Mandy Moore is an appealing performer, but ultimately she can't turn Milly, the object of Daphne's pathological concern, into more than a collection of comely pouts and tantrums.
The script by Karen Leigh Hopkins and Jessie Nelson, two of the writers of 1998's "Stepmom", is a compendium of cliches. Chief among these is the montage of comical interviewees -- that overused shorthand for L-O-S-E-R that parades across the screen for our condescending enjoyment, a succession of inadequate candidates for a job or a date. In this case, the would-be boyfriends are interviewed not by their potential mate but by her mother. Having placed an online ad, "Mother looking for life partner for daughter" (have more menacing words ever been printed?), Daphne holds court in a hotel lobby bar, driven to drink by the bad and the ugly.The good arrive, too. Jason, Tom Everett Scott) is an architect -- the movie occupation du jour, signaling financially successful and creative -- and Daphne couldn't be more thrilled. There's also bystander Johnny (Gabriel Macht), a musician working in the bar. He observes Daphne with interest, and for a moment it seems this might turn into a younger man/older woman romance. But against Daphne's wishes, the faux bohemian guitarist (he wears a fedora and vest) pursues Milly, a caterer with a snorting laugh not unlike Annie Hall's. After an inventive meet-cute with Johnny involving static cling, Milly finds herself dating both him and Jason.
Who Milly will end up with is as obvious as the contrasts between the two men. Johnny's the single father of a precocious boy (Ty Panitz), and they live with his single dad (Stephen Collins) in a fashionably cluttered house on the Venice canals. Against all that humanity, Jason lives in minimalist splendor and takes Milly to sleek downtown eateries. The dream-date deck is stacked. When Milly accidentally breaks one of Jason's family heirlooms, he gets a bit testy, the brute. But Johnny is all hugs and forgiveness after the accident-prone caterer shatters a plate that he probably got on sale at Pier 1.
Still, they're both decent guys, and what's a girl to do but sleep with both of them? The film pushes a cheery attitude toward sex, complete with cell-phone conference calls about uncircumcised penises between Daphne, Milly and her two married sisters. The sole characteristic of middle sis Mae (Piper Perabo) is her love of sex. It's clear from the get-go that Daphne's sense of urgency over Milly's love life is really about her own regrets as a single woman, but the script milks the notion for all its cheap, orgasm-centric psychology.
Director Michael Lehmann ("Heathers"), who keeps the story moving if not believable, isn't above using Daphne's pet dog for frequent reaction shots. Director of photography Julio Macat showcases L.A. dream locales -- not counting a woeful Korean spa scene -- while the creations of production designer Sharon Seymour and costume designer Shay Cunliffe have pizzazz but never feel lived-in. David Kitay's music score aids and abets the script in pushing emotional buttons.
Amongst the cardboard-cutout supporting characters, Lauren Graham brings a welcome deadpan sensibility to the overeager proceedings as oldest sibling Maggie, a wry psychologist.
BECAUSE I SAID SO
Universal Pictures
A Universal Pictures and Gold Circle Films presentation
Credits:
Director: Michael Lehmann
Screenwriters: Karen Leigh Hopkins, Jessie Nelson
Producers: Paul Brooks, Jessie Nelson
Executive producers: Scott Niemeyer, Norm Waitt, Michael Flynn
Director of photography: Julio Macat
Production designer: Sharon Seymour
Music: David Kitay
Co-producer: Wendy Rhoads
Costume designer: Shay Cunliffe
Editors: Paul Seydor, Troy Takaki
Cast:
Daphne: Diane Keaton
Milly: Mandy Moore
Johnny: Gabriel Macht
Jason: Tom Everett Scott
Maggie: Lauren Graham
Mae: Piper Perabo
Joe: Stephen Collins
Lionel: Ty Panitz
Running time -- 101 minutes
MPAA rating: PG-13...
Paradigm literary and talent agency co-head Jonathan Silverman gave up his post at the agency Wednesday. "We've decided to part ways", said Sam Gores, president and CEO. "We wish him well." As a result of Silverman's departure, former co-head Frank Balkin has taken over as Paradigm's head of production. It hasn't determined which of Silverman's clients will remain with Paradigm. He recently signed producer Barrie Osborne (The Lord of the Rings trilogy) for representation and counts cinematographers Julio Macat (Wedding Crashers), John Lindley (Mr. Brooks) and Alik Sakharov (HBO's Rome) and costume designers Magali Guidasci (Jumper) and Cynthia Summers (Rogue) among his clients.
- 6/15/2006
- The Hollywood Reporter - Movie News
Paradigm literary and talent agency co-head Jonathan Silverman gave up his post at the agency Wednesday. "We've decided to part ways", said Sam Gores, president and CEO. "We wish him well." As a result of Silverman's departure, former co-head Frank Balkin has taken over as Paradigm's head of production. It hasn't determined which of Silverman's clients will remain with Paradigm. He recently signed producer Barrie Osborne (The Lord of the Rings trilogy) for representation and counts cinematographers Julio Macat (Wedding Crashers), John Lindley (Mr. Brooks) and Alik Sakharov (HBO's Rome) and costume designers Magali Guidasci (Jumper) and Cynthia Summers (Rogue) among his clients.
- 6/15/2006
- The Hollywood Reporter - Movie News
The premise is a winner, the two key roles are wonderfully cast with Owen Wilson and Vince Vaughn and the gross-but-not-too-gross humor will score with young moviegoers -- at least those able to get into an R-rated comedy. But Wedding Crashers is still a letdown. The film never quite lives up to the promise of its premise. The film starts out quirky, but settles for the routine. And characters, instead of deepening, flatten out.
Nevertheless, pairing Wilson and Vaughn strengthens the weaker moments and makes the better ones explode with comic energy. Wedding Crashers is enough of a laugh-getter that New Line can anticipate a boxoffice hit.
Wilson and Vaughn play John and Jeremy, a couple of guys making a living in Washington, D.C., as divorce mediators -- this gets established in a funny opening scene -- but that's not their real claim to fame. No, what makes them very special guys is this great girl-catching gimmick they have developed: They crash weddings. Weddings, you see, bring out a lot of hot women, the ceremonies get them all romantic and the parties lessen their inhibitions. As long as the two have a well-rehearsed explanation as to who they are and how they are related to the bride or groom, the game is almost too easy.
Then the inevitable -- read predictable -- happens: One of the guys breaks the rules of the game by falling in love. This happens when they crash the wedding of the daughter of Treasury Secretary William Cleary (Christopher Walken) and hit on bridesmaids Claire (Rachel McAdams) and Gloria (Isla Fisher) Cleary. Each spells trouble.
For John, Claire presents a double challenge. He not only falls for her but also is blocked by an obstacle in the form of her highly competitive boyfriend, Sack (Bradley Cooper), scion of another East Coast political clan. For Jeremy, Gloria turns out to be a "clinger." After a satisfying tryst on the beach, Gloria refuses to leave her new love's side. She even gets her father to invite the boys back to the family compound for an exclusive post-wedding party.
Jeremy wants to flee fast, but John clearly needs more time with Claire to win her over -- a whole lot more time. So John insists that Jeremy must tarry and back him up. Soon their cover stories are looking shaky.
The central feature of the midsection of the movie are the eccentricities of the Cleary clan, who are Kennedy-esque only much naughtier. The secretary is a self-centered philanderer; his wife, Kathleen (Jane Seymour), a lush on the make for younger men like John; Gloria, a virtual nymphomaniac; and brother Todd (Keir O'Donnell), a bad artist and, as Grandma Cleary so inelegantly puts it, "a homo."
Then a funny thing happens to this comedy with an edge of political satire: It takes a detour into SitcomLand. Characters turn into caricatures, and soon the family is more crackpot than eccentric. None is capable of getting appointed rat catcher much less Secretary of the Treasury.
It's a loss but a minor one as the film still has merry fun with Wilson and Vaughn cutting loose in this loony household. And McAdams and Fisher are more than just good-looking actresses; each has a solid knack for comedy. Walken always makes more of such roles than is really there, but much more should have been done with Seymour's character.
Director David Dobkin (Shanghai Knights) moves the two-hour comedy quickly enough so few viewers will dwell on plot holes or character deficiencies. The technical side is bright, especially a montage by editor Mark Livolsi of the boys working their amorous magic at a series of Jewish, Irish and Italian weddings. Julio Macat's cinematography is sharp, and Barry Robison's sets and Denise Wingate's costumes portray a class of people exceedingly comfortable with their undeserved riches.
THE WEDDING CRASHERS
New Line Cinema
A Tapestry Films production
Credits:
Director: David Dobkin
Screenwriters: Steve Faber & Bob Fisher
Producers: Peter Abrams, Robert L. Levy, Andrew Panay
Executive producers: Guy Riedel
Toby Emmerich, Richard Brener, Cale Boyter
Director of photography: Julio Macat
Production designer: Barry Robison
Music: Rolfe Kent
Costumes: Denise Wingate
Editor: Mark Livolsi
Cast:
John Beckwith: Owen Wilson
Jeremy Klein: Vince Vaughn
Secretary Cleary: Christopher Walken
Claire Cleary: Rachel McAdams
Gloria Cleary: Isla Fisher
Kathleen Cleary: Jane Seymour
Grandma Cleary: Ellen Albertini Dow
Todd Cleary: Keir O'Donnell
Sack Lodge: Bradley Cooper
MPAA rating: R
Running time -- 119 minutes...
Nevertheless, pairing Wilson and Vaughn strengthens the weaker moments and makes the better ones explode with comic energy. Wedding Crashers is enough of a laugh-getter that New Line can anticipate a boxoffice hit.
Wilson and Vaughn play John and Jeremy, a couple of guys making a living in Washington, D.C., as divorce mediators -- this gets established in a funny opening scene -- but that's not their real claim to fame. No, what makes them very special guys is this great girl-catching gimmick they have developed: They crash weddings. Weddings, you see, bring out a lot of hot women, the ceremonies get them all romantic and the parties lessen their inhibitions. As long as the two have a well-rehearsed explanation as to who they are and how they are related to the bride or groom, the game is almost too easy.
Then the inevitable -- read predictable -- happens: One of the guys breaks the rules of the game by falling in love. This happens when they crash the wedding of the daughter of Treasury Secretary William Cleary (Christopher Walken) and hit on bridesmaids Claire (Rachel McAdams) and Gloria (Isla Fisher) Cleary. Each spells trouble.
For John, Claire presents a double challenge. He not only falls for her but also is blocked by an obstacle in the form of her highly competitive boyfriend, Sack (Bradley Cooper), scion of another East Coast political clan. For Jeremy, Gloria turns out to be a "clinger." After a satisfying tryst on the beach, Gloria refuses to leave her new love's side. She even gets her father to invite the boys back to the family compound for an exclusive post-wedding party.
Jeremy wants to flee fast, but John clearly needs more time with Claire to win her over -- a whole lot more time. So John insists that Jeremy must tarry and back him up. Soon their cover stories are looking shaky.
The central feature of the midsection of the movie are the eccentricities of the Cleary clan, who are Kennedy-esque only much naughtier. The secretary is a self-centered philanderer; his wife, Kathleen (Jane Seymour), a lush on the make for younger men like John; Gloria, a virtual nymphomaniac; and brother Todd (Keir O'Donnell), a bad artist and, as Grandma Cleary so inelegantly puts it, "a homo."
Then a funny thing happens to this comedy with an edge of political satire: It takes a detour into SitcomLand. Characters turn into caricatures, and soon the family is more crackpot than eccentric. None is capable of getting appointed rat catcher much less Secretary of the Treasury.
It's a loss but a minor one as the film still has merry fun with Wilson and Vaughn cutting loose in this loony household. And McAdams and Fisher are more than just good-looking actresses; each has a solid knack for comedy. Walken always makes more of such roles than is really there, but much more should have been done with Seymour's character.
Director David Dobkin (Shanghai Knights) moves the two-hour comedy quickly enough so few viewers will dwell on plot holes or character deficiencies. The technical side is bright, especially a montage by editor Mark Livolsi of the boys working their amorous magic at a series of Jewish, Irish and Italian weddings. Julio Macat's cinematography is sharp, and Barry Robison's sets and Denise Wingate's costumes portray a class of people exceedingly comfortable with their undeserved riches.
THE WEDDING CRASHERS
New Line Cinema
A Tapestry Films production
Credits:
Director: David Dobkin
Screenwriters: Steve Faber & Bob Fisher
Producers: Peter Abrams, Robert L. Levy, Andrew Panay
Executive producers: Guy Riedel
Toby Emmerich, Richard Brener, Cale Boyter
Director of photography: Julio Macat
Production designer: Barry Robison
Music: Rolfe Kent
Costumes: Denise Wingate
Editor: Mark Livolsi
Cast:
John Beckwith: Owen Wilson
Jeremy Klein: Vince Vaughn
Secretary Cleary: Christopher Walken
Claire Cleary: Rachel McAdams
Gloria Cleary: Isla Fisher
Kathleen Cleary: Jane Seymour
Grandma Cleary: Ellen Albertini Dow
Todd Cleary: Keir O'Donnell
Sack Lodge: Bradley Cooper
MPAA rating: R
Running time -- 119 minutes...
- 7/29/2005
- The Hollywood Reporter - Movie News
After the massive success of 1990's "Home Alone" and 1992's "Home Alone 2: Lost in New York", the nagging question remains, "Can there be life after Macaulay Culkin?"
The answer is yes. And no.
While "Home Alone 3" is a virtual Xerox of the oft-imitated "Home Alone" blueprint, young Alex D. Linz ("One Fine Day") makes for a highly charming lead and, as a whole, the John Hughes-penned script isn't as mean-spirited as the previous installment.
And, despite the relative sameness of it all, Hughes still manages to throw in a funny wrinkle here and there, keeping the high jinks humming.
But while the studio probably doesn't want to hear this, the secret of the franchise's success wasn't so much the endless pratfalls or good-vs.-evil through-line as it was the presence of Culkin, particularly the 8-year-old version, whose wide-eyed projection of innocence and mischief instantly made him America's favorite everykid.
Although the irresistible Linz certainly gets the job done (he's actually the better actor of the two), it just isn't "Home Alone" without Culkin's Kevin McCallister. As a result, while the Fox release should do solid holiday business, particularly with boys, it won't be reaching the lofty boxoffice heights of its predecessors.
The picture's rather drawn-out set up involves a group of black marketeers who pinch a top secret Defense Department computer chip and hide it in a toy car only to find out it has been misrouted to a sleepy Chicago suburb.
Of course, all audiences really are concerned about is how 8-year-old Alex Pruitt (Linz) will defend his home against the quartet of criminal masterminds (Olek Krupa, Rya Kihlstedt, David Thornton and Lenny Von Dohlen) who are determined to reclaim their booty by any means necessary.
Wisely, veteran editor and first-time director Raja Gosnell (he cut the two previous "Home Alone" editions) wastes little extra time in getting to the good stuff as we watch little Alex, who's been sidelined by the measels, turn everyday household objects into state-of-the-art booby traps.
While Hughes can pretty well write this stuff in his sleep by now (even his treatments of "101 Dalmatians" and "Flubber" boasted "Home Alone"-style battles), there are still moments of inventiveness to be found, manifested by the helpful presence of a pet white rat and an Amazon parrot. Then there's an extended and admittedly clever sequence involving a camcorder taped to said Remote Control toy car that will have thousands of kiddies hastily adding pricey Tyco Mutators to their Christmas lists.
In addition to Linz, the cast is fine, although it would have been nice if the quartet of interchangeable bad guys were given some individual traits. Catherine O'Hara lookalike Haviland Morris is fine as Alex's distracted mom, while stage great Marian Seldes as sour-faced neighbor Mrs. Hess has a firm grasp on that obligatory Hughes character -- the crotchety old person who ends up forming a special bond with the pint-sized protagonist.
HOME ALONE 3
20th Century Fox
A John Hughes production
Director: Raja Gosnell
Screenwriter: John Hughes
Producers: John Hughes, Hilton Green
Executive producer: Ricardo Mestres
Director of photographer: Julio Macat
Production designer: Henry Bumstead
Music: Nick Glennie-Smith
Costume designer: Jodie Tillen
Editors: Bruce Green, Malcolm Campbell, David Rennie Casting: Billy Hopkins, Suzanne Smith, Kerry Barden, Jennifer McNamara
Color/stereo
Cast:
Alex: Alex D. Linz
Karen Pruitt: Haviland Morris
Beaupre: Olek Krupa
Alice: Rya Kihlstedt
Unger: David Thornton
Jernigan: Lenny Von Dohlen
Jack Pruitt: Kevin Kilner
Mrs. Hess: Marian Seldes
Running time --103 minutes
MPAA Rating: PG...
The answer is yes. And no.
While "Home Alone 3" is a virtual Xerox of the oft-imitated "Home Alone" blueprint, young Alex D. Linz ("One Fine Day") makes for a highly charming lead and, as a whole, the John Hughes-penned script isn't as mean-spirited as the previous installment.
And, despite the relative sameness of it all, Hughes still manages to throw in a funny wrinkle here and there, keeping the high jinks humming.
But while the studio probably doesn't want to hear this, the secret of the franchise's success wasn't so much the endless pratfalls or good-vs.-evil through-line as it was the presence of Culkin, particularly the 8-year-old version, whose wide-eyed projection of innocence and mischief instantly made him America's favorite everykid.
Although the irresistible Linz certainly gets the job done (he's actually the better actor of the two), it just isn't "Home Alone" without Culkin's Kevin McCallister. As a result, while the Fox release should do solid holiday business, particularly with boys, it won't be reaching the lofty boxoffice heights of its predecessors.
The picture's rather drawn-out set up involves a group of black marketeers who pinch a top secret Defense Department computer chip and hide it in a toy car only to find out it has been misrouted to a sleepy Chicago suburb.
Of course, all audiences really are concerned about is how 8-year-old Alex Pruitt (Linz) will defend his home against the quartet of criminal masterminds (Olek Krupa, Rya Kihlstedt, David Thornton and Lenny Von Dohlen) who are determined to reclaim their booty by any means necessary.
Wisely, veteran editor and first-time director Raja Gosnell (he cut the two previous "Home Alone" editions) wastes little extra time in getting to the good stuff as we watch little Alex, who's been sidelined by the measels, turn everyday household objects into state-of-the-art booby traps.
While Hughes can pretty well write this stuff in his sleep by now (even his treatments of "101 Dalmatians" and "Flubber" boasted "Home Alone"-style battles), there are still moments of inventiveness to be found, manifested by the helpful presence of a pet white rat and an Amazon parrot. Then there's an extended and admittedly clever sequence involving a camcorder taped to said Remote Control toy car that will have thousands of kiddies hastily adding pricey Tyco Mutators to their Christmas lists.
In addition to Linz, the cast is fine, although it would have been nice if the quartet of interchangeable bad guys were given some individual traits. Catherine O'Hara lookalike Haviland Morris is fine as Alex's distracted mom, while stage great Marian Seldes as sour-faced neighbor Mrs. Hess has a firm grasp on that obligatory Hughes character -- the crotchety old person who ends up forming a special bond with the pint-sized protagonist.
HOME ALONE 3
20th Century Fox
A John Hughes production
Director: Raja Gosnell
Screenwriter: John Hughes
Producers: John Hughes, Hilton Green
Executive producer: Ricardo Mestres
Director of photographer: Julio Macat
Production designer: Henry Bumstead
Music: Nick Glennie-Smith
Costume designer: Jodie Tillen
Editors: Bruce Green, Malcolm Campbell, David Rennie Casting: Billy Hopkins, Suzanne Smith, Kerry Barden, Jennifer McNamara
Color/stereo
Cast:
Alex: Alex D. Linz
Karen Pruitt: Haviland Morris
Beaupre: Olek Krupa
Alice: Rya Kihlstedt
Unger: David Thornton
Jernigan: Lenny Von Dohlen
Jack Pruitt: Kevin Kilner
Mrs. Hess: Marian Seldes
Running time --103 minutes
MPAA Rating: PG...
- 12/8/1997
- The Hollywood Reporter - Movie News
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