The Bling Ring hits UK cinemas tomorrow 5th July and our friend James Kleinmann sat down with writer / director Sofia Coppola to talk about the movie which stars Emma Watson, Leslie Mann, Taissa Farmiga, Erin Daniels, Nina Siemaszko, Maika Monroe and Kirsten Dunst.
In the interview, James talks to the daughter of legendary director Francis Ford Coppola about the cinematic potential that she saw in the original Vanity Fair article (The Suspect Wore Louboutins) written by Nancy Jo Sales. They talk about the contemporary culture that affects young people today, what it’s like to have to be seen with the right people, wearing the right clothes etc and how this peer pressure has been affected by The Internet.
Sofia also talks about trying to their their rehearsals for her movies to be as fun and authentic as possible getting them to create vision boards to help them process how their characters would behave.
In the interview, James talks to the daughter of legendary director Francis Ford Coppola about the cinematic potential that she saw in the original Vanity Fair article (The Suspect Wore Louboutins) written by Nancy Jo Sales. They talk about the contemporary culture that affects young people today, what it’s like to have to be seen with the right people, wearing the right clothes etc and how this peer pressure has been affected by The Internet.
Sofia also talks about trying to their their rehearsals for her movies to be as fun and authentic as possible getting them to create vision boards to help them process how their characters would behave.
- 7/4/2013
- by David Sztypuljak
- HeyUGuys.co.uk
The Bling Ring Trailer. Sofia Coppola‘s The Bling Ring (2013) movie trailer Taissa Farmiga, Erin Daniels, Nina Siemaszko, Emma Watson, and Leslie Mann. The Bling Ring‘s plot synopsis: “Based on true events, Emma Watson leads our titular group of teenage criminals, backed by Taissa Farmiga, Israel Broussard, Katie Chang, Claire Pfister, and [...]
Continue reading: The Bling Ring (2013) Movie Trailer: Emma Watson’s Wild Side Comes Out...
Continue reading: The Bling Ring (2013) Movie Trailer: Emma Watson’s Wild Side Comes Out...
- 4/25/2013
- by Rollo Tomasi
- Film-Book
In what looks to be a definite change of gear for the normally reflective, whimsical Sofia Coppola, she’s been hard at work on a based-on-truth-tale of criminal girls who robbed some of Hollywood’s poshest pads. Now the first trailer for The Bling Ring has arrived online. Featuring the likes of Emma Watson, Taissa Farmiga, Erin Daniels, Leslie Mann, Gavin Rossdale and Nina Siemaszko, The Bling Ring is drawn from a 2010 Vanity Fair article about a group of celeb-obssessed teenagers who targeted and burgled such notable names as Paris Hilton and Orlando Bloom.The group managed to pull off the jobs without attracting too much attention, but were eventually accused of stealing more than $3 million in clothes and jewellery.This first promo focuses more on their wild lives and the fun they had celebrating their misdeeds, though there are flashes of them at work thieving.It’ll be interesting...
- 3/10/2013
- EmpireOnline
The Bling Ring Trailer. Sofia Coppola‘s The Bling Ring (2013) teaser trailer Emma Watson, Leslie Mann, Taissa Farmiga, Erin Daniels, and Nina Siemaszko. The Bling Ring‘s plot synopsis: “Based on true events, Emma Watson leads our titular group of teenage criminals, backed by Taissa Farmiga, Israel Broussard, Katie Chang, Claire Pfister, and [...]
Continue reading: The Bling Ring (2013) Teaser Trailer: Emma Watson steals from the Rich...
Continue reading: The Bling Ring (2013) Teaser Trailer: Emma Watson steals from the Rich...
- 3/8/2013
- by Rollo Tomasi
- Film-Book
Network: ABC
Episodes: 111 (hour)
Seasons: Six
TV show dates: September 26, 2007 -- January 22, 2013
Series status: Ending
Performers include: Kate Walsh, Tim Daly, Audra McDonald, Paul Adelstein, KaDee Strickland, Chris Lowell, Taye Diggs, Amy Brenneman, David Sutcliffe, Reef Karim, Geffri Maya Hightower, Jayne Brook, Brian Benben, Jay Harrington, Jane Clark, Andy Milder, Nina Siemaszko, Christopher Wiehl, Karen Strassman, David Pearl, Shavon Kirksey, Kathy Christopherson, Jeffrey Doornbos, Frederick Keith Johnson, Siena Goines, and Sharon Leal.
TV show description:
Having left Seattle Grace Hospital behind, renowned surgeon Dr. Addison Forbes Montgomery (Kate Walsh) moves to Los Angeles to begin a new life.
Addison joins the chic co-op Oceanside Wellness Center that's owned by two of her medical school friends; fertility and hormone specialist Dr. Naomi Bennett (Audra McDonald) and internist and...
Episodes: 111 (hour)
Seasons: Six
TV show dates: September 26, 2007 -- January 22, 2013
Series status: Ending
Performers include: Kate Walsh, Tim Daly, Audra McDonald, Paul Adelstein, KaDee Strickland, Chris Lowell, Taye Diggs, Amy Brenneman, David Sutcliffe, Reef Karim, Geffri Maya Hightower, Jayne Brook, Brian Benben, Jay Harrington, Jane Clark, Andy Milder, Nina Siemaszko, Christopher Wiehl, Karen Strassman, David Pearl, Shavon Kirksey, Kathy Christopherson, Jeffrey Doornbos, Frederick Keith Johnson, Siena Goines, and Sharon Leal.
TV show description:
Having left Seattle Grace Hospital behind, renowned surgeon Dr. Addison Forbes Montgomery (Kate Walsh) moves to Los Angeles to begin a new life.
Addison joins the chic co-op Oceanside Wellness Center that's owned by two of her medical school friends; fertility and hormone specialist Dr. Naomi Bennett (Audra McDonald) and internist and...
- 1/23/2013
- by TVSeriesFinale.com
- TVSeriesFinale.com
The Bling Ring
Director/Writer: Sofia Coppola
Producer(s): Sofia Coppola, Roman Coppola, Youree Henley
U.S. Distributor: Rights Available
Cast: Leslie Mann, Emma Watson, Taissa Farmiga, Erin Daniels, Nina Siemaszko, Gavin Rossdale, Stacy Edwards, Maika Monroe, Claire Julien
Sofia Coppola tackling a true life crime story? Not exactly. We’ve been on this Coppola bandwagon since The Virgin Suicides – and we look forward in seeing how Sofia grabbed a headline item and made it her own. Don’t be surprised if Coppola brings out the best in Emma Watson like she did with the Bill Murray and Kirsten Dunst of this world.
Gist: Inspired by actual events, a group of fame-obsessed teenagers use the Internet to track celebrities’ whereabouts in order to rob their homes.
Release Date: Cannes Film Festival’s Main Competition appears to be the perfect launching pad for this as it is receiving a June...
Director/Writer: Sofia Coppola
Producer(s): Sofia Coppola, Roman Coppola, Youree Henley
U.S. Distributor: Rights Available
Cast: Leslie Mann, Emma Watson, Taissa Farmiga, Erin Daniels, Nina Siemaszko, Gavin Rossdale, Stacy Edwards, Maika Monroe, Claire Julien
Sofia Coppola tackling a true life crime story? Not exactly. We’ve been on this Coppola bandwagon since The Virgin Suicides – and we look forward in seeing how Sofia grabbed a headline item and made it her own. Don’t be surprised if Coppola brings out the best in Emma Watson like she did with the Bill Murray and Kirsten Dunst of this world.
Gist: Inspired by actual events, a group of fame-obsessed teenagers use the Internet to track celebrities’ whereabouts in order to rob their homes.
Release Date: Cannes Film Festival’s Main Competition appears to be the perfect launching pad for this as it is receiving a June...
- 1/15/2013
- by Eric Lavallee
- IONCINEMA.com
Not a lot of real news today, thanks to the extended Memorial Day holiday. But there are some new pics that have shown up online that some of you may be interested in. Feel free to skip to the ones that actually interests you and ignore the others. The Bling Ring Spoiled Hollywood brats become criminals. Based on a true story. I don’t know whether to root for the celebrities who are getting robbed or the robbers. It’s a close call, man. Inspired by actual events, a group of fame-obsessed teenagers use the Internet to track celebrities’ whereabouts in order to rob their homes. Starring Emma Watson, Kirsten Dunst, Leslie Mann, Taissa Farmiga, Erin Daniels, Nina Siemaszko, Gavin Rossdale, Stacy Edwards, and directed by Sofia Coppola (of “Lost in Translation”) fame. Look for it in 2013. Via EW. Les Miserables Here are some official pics from “Les Miserables”, the...
- 5/29/2012
- by Nix
- Beyond Hollywood
Smells Like Screen Spirit & The Weinstein Company invite you to RSVP for passes to our special advance screening on Wednesday, December 21, 2011 at 7:00 Pm in Austin TX. Synopsis: In 1929, actor George Valentin (Jean Dujardin) is a bona fide matinee idol with many adoring fans. While working on his latest film, George finds himself falling in love with an ingenue named Peppy Miller (Bérénice Bejo) and, what's more, it seems Peppy feels the same way. But George is reluctant to cheat on his wife with the beautiful young actress. The growing popularity of sound in movies further separates the potential lovers, as George's career begins to fade while Peppy's star rises. Golden Globes - Best Picture (Comedy or Musical) Golden Globes - Best Actor (Comedy or Musical) - Jean Dujardin Golden Globes - Best Supporting Actress - Bernice Bejo Golden Globes - Best Director - Michael Hazavicius Golden Globes - Best...
- 12/20/2011
- by Dave Campbell
- SmellsLikeScreenSpirit
The re-release of director Greg Beeman's "License to Drive", the 1988 teen adventure film starring 'the two Coreys', Corey Haim and Corey Feldman, written by Neil Tolkin, will be available on DVD/Blu-ray, from Anchor Bay, November 22, 2011 :
"...'Les Anderson' (Haim), a 16-year-old who is trying to get his driver's license, has a crush on one of the more popular and attractive girls in school, 'Mercedes Lane' (Heather Graham). After failing his driver's exam, Les takes the road test (and passes), following a computer surge that he inadvertently caused.
"Les then lies to his parents and friends, convincing them that he passed the test. Unfortunately, his parents find out the truth and as a result, Les is grounded. That night, having already made plans to use his new license, he sneaks out of the house with his grandfather's prized 1972 Cadillac for a night on the town with Mercedes.
"The dream...
"...'Les Anderson' (Haim), a 16-year-old who is trying to get his driver's license, has a crush on one of the more popular and attractive girls in school, 'Mercedes Lane' (Heather Graham). After failing his driver's exam, Les takes the road test (and passes), following a computer surge that he inadvertently caused.
"Les then lies to his parents and friends, convincing them that he passed the test. Unfortunately, his parents find out the truth and as a result, Les is grounded. That night, having already made plans to use his new license, he sneaks out of the house with his grandfather's prized 1972 Cadillac for a night on the town with Mercedes.
"The dream...
- 11/13/2011
- by Michael Stevens
- SneakPeek
For a while it seemed like Grey's Anatomy could do no wrong, until one of the most outspoken critics of the show turned out to be one of the lead actresses. Katherine Heigl's diva-ish withdrawal from Emmy consideration – or would that be non-submittance? – on the grounds the the writing was 'not worthy' seemed to open the question to public debate. Well, the past is behind us now and not only has Grey's Anatomy redeemed itself by turning in one nail biter of a season finale last year, it did so in a way that also gave the writers the opportunity to nix Heigl herself. Since they didn't, we can assume all egos are in check and ready to move forward. Of course, there is the hanging question mark of what a T.R.Knight-less Grey's Anatomy dynamic will look like, and for that we call your attention to September 10th,...
- 8/24/2009
- by Jon Lachonis
- TVovermind.com
Mimi has an addiction to sex and Jack falls into victim. On Friday, July 10, "Mental" will be back with an episode called "Obsessively Yours" where Jack and Veronica try to dissuade a patient from having a risky brain surgery.
When Veronica's former patient Craig returns to Wharton Memorial, Veronica finds his Obsessive Compulsive Disorder and Tourette's syndrome have advanced and become worse than ever. When Craig's wife, Mimi, pushes for an invasive, unproven brain surgery to treat his condition rather than have him undergo therapy in the mental ward again, Jack and Veronica become skeptical of her wishes.
As they attempt to dissuade Mimi from moving forward with Craig's operation, the team discovers Mimi may have some serious issues of her own. Meanwhile, Jack becomes infatuated with a neurosurgeon named Zan, and the rest of the team questions their own love lives.
Rob Labelle guest stars as Craig, Nina Siemaszko...
When Veronica's former patient Craig returns to Wharton Memorial, Veronica finds his Obsessive Compulsive Disorder and Tourette's syndrome have advanced and become worse than ever. When Craig's wife, Mimi, pushes for an invasive, unproven brain surgery to treat his condition rather than have him undergo therapy in the mental ward again, Jack and Veronica become skeptical of her wishes.
As they attempt to dissuade Mimi from moving forward with Craig's operation, the team discovers Mimi may have some serious issues of her own. Meanwhile, Jack becomes infatuated with a neurosurgeon named Zan, and the rest of the team questions their own love lives.
Rob Labelle guest stars as Craig, Nina Siemaszko...
- 7/4/2009
- by AceShowbiz.com
- Aceshowbiz
Since we've already written a piece on "Zack and Miri Make a Porno" regarding their film not being shown in a certain Utah venue, and we didn't focus on "Saw V" last week, let's talk a tad about horror this time around. "The Haunting of Molly Hartley" comes from Freestyle Releasing, an indie company offering up previous horrors like Nacho Cerda's "The Abandoned" and "Penny Dreadful." "The Haunting of Molly Hartley" stars Haley Bennett, Chace Crawford, Jake Weber, AnnaLynne McCord, Shannon Marie Woodward, Marin Hinkle, Nina Siemaszko, Josh Stewart and Randy Wayne. The film goes nationwide this weekend and and is helmed by Mickey Lidell, a first-time director who produced varied deliveries including 1999's "Go" which starred Katie Holmes and Sarah Polley. Most notibly, he is the executive producer of the successful "Everwood" TV series. How Lidell will fare in his debut is still to be seen. The film does...
- 10/28/2008
- Upcoming-Movies.com
Finding stirring mainstream movie material in the horrors of the Holocaust, Sony's "Jakob the Liar" has a more involving and believable story than its much-heralded doppelganger -- Roberto Benigni's "Life Is Beautiful" -- and it's a pity that director Peter Kassovitz's fine film seems fated to be lost in the thicket of serious, literary movies facing audiences this fall.
Premiering out of competition in the Deauville Festival of American Cinema, the drama-with-comedy "Jakob" has one not-so-secret ingredient that may draw audiences when it opens Stateside on Sept. 24: star Robin Williams in his best film since "Good Will Hunting", playing a role that's nothing like his larger-than-life clowning in last year's hit "Patch Adams" (which he filmed after "Jakob"'s fall 1997 shoot in Poland and Hungary).
Based on the German novel by Lodz Ghetto survivor Jurek Becker (first published in the United States three years ago), "Jakob" was filmed successfully in 1974 by East German filmmaker Frank Beyer. (That film won the Silver Bear at the Berlin Film Festival and was nominated for the foreign-language Oscar in 1976 but lost to "Black and White in Color".)
Kassovitz, who experienced the war as a child in his native Hungary and moved to Paris during the 1956 revolution, is not well known outside France, where's he's been directing and writing for 40 years, mostly in television. "Jakob" is a tricky but successful marriage of a good story -- adapted by Kassovitz and French screenwriter-novelist Didier Decoin (recent miniseries "The Count of Monte Cristo" and the original book "The Chambermaid on the Titanic") -- with a filmmaking team committed to showing the harsh milieu with few concerns about commerciality.
The result is far more inspiring, entertaining and worth experiencing than you might expect. Set not in a concentration camp but in Lodz, Poland, in the winter of 1944, "Jakob" is the tale of a futureless man, a cafe owner isolated with his fellow Jews by the Germans in the guarded ghetto. One evening before curfew, Jakob (Williams) chases after a newspaper carried by a breeze and is harassed by a guard.
Ordered to report for punishment for doing nothing wrong, inside a Germans-only building with a banished radio, widower Jakob overhears news that the Russians are advancing against the Nazis. Everything changes for him when he's miraculously spared by the seemingly distracted occupiers and returns home bursting to tell someone the first encouraging information about the outside world they've heard in a long time.
But now he's in serious danger knowing something he should not, which is why he only reluctantly tells others. To stop headstrong Mischa (Liev Schrieber) from a suicidal gesture, Jakob tells him the news. A few scenes later, Jakob's forced to swear he's telling the truth to stop defeated Kowalsky (Bob Balaban) from hanging himself. Keeping secrets is impossible for these two reborn rascals, and the story gets out that Jakob has a radio hidden away.
In short order, Jakob becomes an underground celebrity. He secretly takes another huge risk by hiding an orphan girl (Hannah Taylor Gordon) who escapes from a train bound for the death camps. Denying that he has a radio does no good, and Jakob realizes he is helping his fellow victims. He starts to play the role of a reluctant -- not necessarily genuine -- prophet, but there's not a happy end to his story.
Alan Arkin, Armin Mueller-Stahl, Mathieu Kassovitz, Michael Jeter and Nina Siemaszko fill out the excellent cast. The sets, cinematography, makeup, costumes and Edward Shearmur's score are more than adequate at transporting one into the film's grim environment.
JAKOB THE LIAR
Sony Pictures Entertainment
Columbia Pictures
Blue Wolf Prods. with Kasso Inc.
Director: Peter Kassovitz
Screenwriters: Peter Kassovitz & Didier Decoin
Based on the book by: Jurek Becker
Producers: Marsha Garces Williams, Steven Haft
Executive producer: Robin Williams
Director of photography: Elemer Ragalyi
Production designer: Luciana Arrighi
Editor: Claire Simpson
Costume designer: Wieslawa Starska
Music: Edward Shearmur
Casting: Billy Hopkins, Suzanne Smith, Kerry Barden
Color/stereo
Cast:
Jakob: Robin Williams
Mischa: Liev Schreiber
Kowalsky: Bob Balaban
Frankfurter: Alan Arkin
Lina: Hannah Taylor Gordon
Kirschbaum: Armin Mueller-Stahl
Rosa: Nina Siemaszko
Avron: Michael Jeter
Herschel: Mathieu Kassovitz
Running time -- 120 minutes
MPAA rating: PG-13...
Premiering out of competition in the Deauville Festival of American Cinema, the drama-with-comedy "Jakob" has one not-so-secret ingredient that may draw audiences when it opens Stateside on Sept. 24: star Robin Williams in his best film since "Good Will Hunting", playing a role that's nothing like his larger-than-life clowning in last year's hit "Patch Adams" (which he filmed after "Jakob"'s fall 1997 shoot in Poland and Hungary).
Based on the German novel by Lodz Ghetto survivor Jurek Becker (first published in the United States three years ago), "Jakob" was filmed successfully in 1974 by East German filmmaker Frank Beyer. (That film won the Silver Bear at the Berlin Film Festival and was nominated for the foreign-language Oscar in 1976 but lost to "Black and White in Color".)
Kassovitz, who experienced the war as a child in his native Hungary and moved to Paris during the 1956 revolution, is not well known outside France, where's he's been directing and writing for 40 years, mostly in television. "Jakob" is a tricky but successful marriage of a good story -- adapted by Kassovitz and French screenwriter-novelist Didier Decoin (recent miniseries "The Count of Monte Cristo" and the original book "The Chambermaid on the Titanic") -- with a filmmaking team committed to showing the harsh milieu with few concerns about commerciality.
The result is far more inspiring, entertaining and worth experiencing than you might expect. Set not in a concentration camp but in Lodz, Poland, in the winter of 1944, "Jakob" is the tale of a futureless man, a cafe owner isolated with his fellow Jews by the Germans in the guarded ghetto. One evening before curfew, Jakob (Williams) chases after a newspaper carried by a breeze and is harassed by a guard.
Ordered to report for punishment for doing nothing wrong, inside a Germans-only building with a banished radio, widower Jakob overhears news that the Russians are advancing against the Nazis. Everything changes for him when he's miraculously spared by the seemingly distracted occupiers and returns home bursting to tell someone the first encouraging information about the outside world they've heard in a long time.
But now he's in serious danger knowing something he should not, which is why he only reluctantly tells others. To stop headstrong Mischa (Liev Schrieber) from a suicidal gesture, Jakob tells him the news. A few scenes later, Jakob's forced to swear he's telling the truth to stop defeated Kowalsky (Bob Balaban) from hanging himself. Keeping secrets is impossible for these two reborn rascals, and the story gets out that Jakob has a radio hidden away.
In short order, Jakob becomes an underground celebrity. He secretly takes another huge risk by hiding an orphan girl (Hannah Taylor Gordon) who escapes from a train bound for the death camps. Denying that he has a radio does no good, and Jakob realizes he is helping his fellow victims. He starts to play the role of a reluctant -- not necessarily genuine -- prophet, but there's not a happy end to his story.
Alan Arkin, Armin Mueller-Stahl, Mathieu Kassovitz, Michael Jeter and Nina Siemaszko fill out the excellent cast. The sets, cinematography, makeup, costumes and Edward Shearmur's score are more than adequate at transporting one into the film's grim environment.
JAKOB THE LIAR
Sony Pictures Entertainment
Columbia Pictures
Blue Wolf Prods. with Kasso Inc.
Director: Peter Kassovitz
Screenwriters: Peter Kassovitz & Didier Decoin
Based on the book by: Jurek Becker
Producers: Marsha Garces Williams, Steven Haft
Executive producer: Robin Williams
Director of photography: Elemer Ragalyi
Production designer: Luciana Arrighi
Editor: Claire Simpson
Costume designer: Wieslawa Starska
Music: Edward Shearmur
Casting: Billy Hopkins, Suzanne Smith, Kerry Barden
Color/stereo
Cast:
Jakob: Robin Williams
Mischa: Liev Schreiber
Kowalsky: Bob Balaban
Frankfurter: Alan Arkin
Lina: Hannah Taylor Gordon
Kirschbaum: Armin Mueller-Stahl
Rosa: Nina Siemaszko
Avron: Michael Jeter
Herschel: Mathieu Kassovitz
Running time -- 120 minutes
MPAA rating: PG-13...
- 7/20/2004
- The Hollywood Reporter - Movie News
NEW YORK -- Yet another entry in the hard-boiled but quirky crime-drama genre, "Suicide Kings" is somewhat more entertaining than most thanks to fluid direction, witty dialogue and Christopher Walken's sly and entertaining performance. Although no new ground is broken and the film is unlikely to reap significant commercial or critical response, it definitely ranks as one of the better Tarantino clones.
With a good chunk of the action confined to a single setting -- suggesting that the screenplay may have been born as a stage piece -- "Suicide Kings" offers the entertaining premise of a former mob chieftain, Charlie Barrett, a k a Carlo Bartolucci (Walken), being kidnapped by a group of callow youths. The sister of one of them has been kidnapped, with a ransom demand of $2 million, and the youths figure that Charlie is the only one with the power to rescue her.
The kidnappers include Avery (Henry Thomas), the son of a wealthy family, whose sister Lisa (Laura Harris) is the victim; T.K. (Jeremy Sisto), a medical student; Max Sean Patrick Flanery), Lisa's boyfriend, who was with her at the time of the kidnapping, and Brett (Jay Mohr), the cockiest and most high-strung of the group. After snaring Charlie, they bring him to a house owned by their friend Ira (Johnny Galecki), who shows up expecting a poker party and is quite disturbed to find the bloody mobster hogtied to a chair. The blood comes from Charlie's severed finger, which the boys have removed to make their seriousness known. It's a particularly dicey proposition, since Charlie's an alcoholic and his blood apparently doesn't clot properly.
Charlie, needless to say, doesn't appreciate his circumstances but goes along with the game, enlisting the services of his shady lawyer (Cliff DeYoung) and his vicious driver/right-hand man, Lono (Denis Leary, offering yet another chain-smoking, wisecracking, tough-guy performance).
Meanwhile, Charlie engages in dialogue with his captors, ranging from vicious threats to joking banter. While his minions attempt to find the girl, he analyzes his situation and discovers that things are not quite as they have been presented.
The story line is preposterous and doesn't hold up to scrutiny, but the pacing is swift and the dialogue funny enough to help one overlook the screenplay's artificiality and inconsistencies. The entertaining performances help the film enormously. Although Walken can by now play this sort of role in his sleep, here he delivers a hilariously funny and admirably understated turn that is alternately menacing and ingratiating; it's his best work in a long while.
The five young actors playing the misbegotten gang are quite effective, with Galecki particularly funny as the ever-aggravated Ira. Leary scores genuine laughs with his tough-guy act, and there are pungent cameos by the likes of Nina Siemaszko and Laura San Giacomo as female victims of abuse who benefit from Charlie and Lono's brand of intervention.
SUICIDE KINGS
A LIVE Entertainment release
Director: Peter O'Fallon
Screenplay: Josh McKinney, Gina Goldman, Wayne Rice
Producer: Wayne Rice, Morrie Eisenman
Co-producer: Patrick Peach
Executive producer: Stephen Drimmer
Co-executive producer: Rick Mischel
Director of photography: Christopher Baffa
Editor: Chris Peppe
Music: Graeme Revell
Color/stereo
Cast:
Charlie Barrett: Christopher Walken
Lono: Denis Leary
Max Minot: Sean Patrick Flanery
Ira Reder: Johnny Galecki
Brett Campbell: Jay Mohr
T.K.: Jeremy Sisto
Avery Chasten: Henry Thomas
Running time -- 107 minutes
MPAA rating: R...
With a good chunk of the action confined to a single setting -- suggesting that the screenplay may have been born as a stage piece -- "Suicide Kings" offers the entertaining premise of a former mob chieftain, Charlie Barrett, a k a Carlo Bartolucci (Walken), being kidnapped by a group of callow youths. The sister of one of them has been kidnapped, with a ransom demand of $2 million, and the youths figure that Charlie is the only one with the power to rescue her.
The kidnappers include Avery (Henry Thomas), the son of a wealthy family, whose sister Lisa (Laura Harris) is the victim; T.K. (Jeremy Sisto), a medical student; Max Sean Patrick Flanery), Lisa's boyfriend, who was with her at the time of the kidnapping, and Brett (Jay Mohr), the cockiest and most high-strung of the group. After snaring Charlie, they bring him to a house owned by their friend Ira (Johnny Galecki), who shows up expecting a poker party and is quite disturbed to find the bloody mobster hogtied to a chair. The blood comes from Charlie's severed finger, which the boys have removed to make their seriousness known. It's a particularly dicey proposition, since Charlie's an alcoholic and his blood apparently doesn't clot properly.
Charlie, needless to say, doesn't appreciate his circumstances but goes along with the game, enlisting the services of his shady lawyer (Cliff DeYoung) and his vicious driver/right-hand man, Lono (Denis Leary, offering yet another chain-smoking, wisecracking, tough-guy performance).
Meanwhile, Charlie engages in dialogue with his captors, ranging from vicious threats to joking banter. While his minions attempt to find the girl, he analyzes his situation and discovers that things are not quite as they have been presented.
The story line is preposterous and doesn't hold up to scrutiny, but the pacing is swift and the dialogue funny enough to help one overlook the screenplay's artificiality and inconsistencies. The entertaining performances help the film enormously. Although Walken can by now play this sort of role in his sleep, here he delivers a hilariously funny and admirably understated turn that is alternately menacing and ingratiating; it's his best work in a long while.
The five young actors playing the misbegotten gang are quite effective, with Galecki particularly funny as the ever-aggravated Ira. Leary scores genuine laughs with his tough-guy act, and there are pungent cameos by the likes of Nina Siemaszko and Laura San Giacomo as female victims of abuse who benefit from Charlie and Lono's brand of intervention.
SUICIDE KINGS
A LIVE Entertainment release
Director: Peter O'Fallon
Screenplay: Josh McKinney, Gina Goldman, Wayne Rice
Producer: Wayne Rice, Morrie Eisenman
Co-producer: Patrick Peach
Executive producer: Stephen Drimmer
Co-executive producer: Rick Mischel
Director of photography: Christopher Baffa
Editor: Chris Peppe
Music: Graeme Revell
Color/stereo
Cast:
Charlie Barrett: Christopher Walken
Lono: Denis Leary
Max Minot: Sean Patrick Flanery
Ira Reder: Johnny Galecki
Brett Campbell: Jay Mohr
T.K.: Jeremy Sisto
Avery Chasten: Henry Thomas
Running time -- 107 minutes
MPAA rating: R...
- 4/17/1998
- The Hollywood Reporter - Movie News
This is a warped whodunit with a serial killer whose method of dispatching victims is so nasty it shows hilariously how far one has to go to keep up with big-budget Hollywood thrillers.
"Kiss & Tell" is a winning independent film from writer-director Jordan Alan ("Terminal Bliss", "Love & Happiness") that features a large and entertaining cast, including four Arquette family members (but not Rosanna or Patricia).
A candidate for eventual cult status, the Phaedra Cinema release should generate moderate interest in limited engagements before heading to video. Hip and breezily unconcerned with making sense, the improvisational "Kiss & Tell" feels like a story written by a roomful of people, with everyone taking turns adding a new scene and then passing it on.
"Kiss & Tell" stars Justine Bateman, Heather Graham and Peter Greene, and boasts bit players Traci Lind, Lukas Haas, Assumpta Serna, Alexandra Paul, Rose McGowan, Teresa Hill, Jill Hennessey, Roxana Zal, Mickey Cottrell, Nina Siemaszko and co-producer Pamela Gidley as the dreaded Betty "Beta" Carotene. Throw in Alexis, Richmond, David and father Lewis Arquette, and you have one strange brew.
Imagine Gregg Araki making "L.A. Confidential" and you can get a sense of the atmosphere and general punchiness of "Kiss & Tell," which pits lesbians against detectives against shifty suspects against wigged-out murderers in a willy-nilly noir fable that simultaneously makes use of and mocks many Los Angeles landmarks.
The ratio of good gags to so-so jokes is about 3-to-1 in this feast of up-and-coming stars, which achieves its best results with epiphanous events in many of the comic vignettes, moments when the characters come alive and their conflicts are intriguing.
But overall the wacky plot couldn't be more lurid and loaded with sin-city cliches that have been twisted into amusing satirical elements. Here's a sampling: an armless coroner eating a restaurant meal, a group therapy session attended exclusively by murderers, a hit man from New York named Lollypop Man and a psychopath using poisoned carrots to leave a trail of corpses.
Shocks and twists are frequent, but what's surprising is how well Alan and crew keep control of the project when it easily could have become too incoherent and unfunny. There are even a few scenes that are downright spooky, not an easy thing to pull off when the movie as a whole is impossible to take seriously.
By and large, the performances are on the money. Along with some great tongue-in-cheek moments from Greene and Richmond Arquette as grumpy detectives, Graham is memorable as a witchy friend of the most prominent murder victim (Bateman).
KISS & TELL
Phaedra Cinema
A Terminal Bliss production
in association with
Ron Travisano and Pamela Gidley
Writer-director Jordan Alan
Producers Pamela Gidley,
Ron Travisano, Jordan Alan
Executive producer Adam Fast
Director of photography Ron Travisano
Music Michael Mattioli
Editors Ed Marx, Chris Keenan, Jordan Alan
Color/stereo
Cast:
Molly McMannis Justine Bateman
Suzan Pretsel Heather Graham
Detective Finnigan Peter Greene
Detective Starr Richmond Arquette
Detective Furbal Lewis Arquette
Betty "Beta" Carotene Pamela Gidley
Ivy Roberts Teresa Hill
Jasmine Rose McGowan
Running time -- 90 minutes
No MPAA rating...
"Kiss & Tell" is a winning independent film from writer-director Jordan Alan ("Terminal Bliss", "Love & Happiness") that features a large and entertaining cast, including four Arquette family members (but not Rosanna or Patricia).
A candidate for eventual cult status, the Phaedra Cinema release should generate moderate interest in limited engagements before heading to video. Hip and breezily unconcerned with making sense, the improvisational "Kiss & Tell" feels like a story written by a roomful of people, with everyone taking turns adding a new scene and then passing it on.
"Kiss & Tell" stars Justine Bateman, Heather Graham and Peter Greene, and boasts bit players Traci Lind, Lukas Haas, Assumpta Serna, Alexandra Paul, Rose McGowan, Teresa Hill, Jill Hennessey, Roxana Zal, Mickey Cottrell, Nina Siemaszko and co-producer Pamela Gidley as the dreaded Betty "Beta" Carotene. Throw in Alexis, Richmond, David and father Lewis Arquette, and you have one strange brew.
Imagine Gregg Araki making "L.A. Confidential" and you can get a sense of the atmosphere and general punchiness of "Kiss & Tell," which pits lesbians against detectives against shifty suspects against wigged-out murderers in a willy-nilly noir fable that simultaneously makes use of and mocks many Los Angeles landmarks.
The ratio of good gags to so-so jokes is about 3-to-1 in this feast of up-and-coming stars, which achieves its best results with epiphanous events in many of the comic vignettes, moments when the characters come alive and their conflicts are intriguing.
But overall the wacky plot couldn't be more lurid and loaded with sin-city cliches that have been twisted into amusing satirical elements. Here's a sampling: an armless coroner eating a restaurant meal, a group therapy session attended exclusively by murderers, a hit man from New York named Lollypop Man and a psychopath using poisoned carrots to leave a trail of corpses.
Shocks and twists are frequent, but what's surprising is how well Alan and crew keep control of the project when it easily could have become too incoherent and unfunny. There are even a few scenes that are downright spooky, not an easy thing to pull off when the movie as a whole is impossible to take seriously.
By and large, the performances are on the money. Along with some great tongue-in-cheek moments from Greene and Richmond Arquette as grumpy detectives, Graham is memorable as a witchy friend of the most prominent murder victim (Bateman).
KISS & TELL
Phaedra Cinema
A Terminal Bliss production
in association with
Ron Travisano and Pamela Gidley
Writer-director Jordan Alan
Producers Pamela Gidley,
Ron Travisano, Jordan Alan
Executive producer Adam Fast
Director of photography Ron Travisano
Music Michael Mattioli
Editors Ed Marx, Chris Keenan, Jordan Alan
Color/stereo
Cast:
Molly McMannis Justine Bateman
Suzan Pretsel Heather Graham
Detective Finnigan Peter Greene
Detective Starr Richmond Arquette
Detective Furbal Lewis Arquette
Betty "Beta" Carotene Pamela Gidley
Ivy Roberts Teresa Hill
Jasmine Rose McGowan
Running time -- 90 minutes
No MPAA rating...
- 10/17/1997
- The Hollywood Reporter - Movie News
PARK CITY, Utah -- "George B" is grade D filmmaking, a muddle of a movie about an innocent trying to make it in today's world. With conflicting tones, outlandish acting and poorly developed characters, this competition entrant at the Sundance Film Festival is, perhaps, indicative of the overall quality of the independent drama offered in this year's fest.
We first meet George David Morse) as he carries flowers, and then, slam-bang, he's beaten up and left in a women's bathroom. Undaunted, George Still retains an even temper. A part-time cleanup guy in a tavern, George has loftier ambitions. Evidently he's got some sort of system, for he quickly high-tails it to Reno, Nev., where he wins a bundle, returning to pay cash for two months' arrears on his mortgage, plus an advance month thrown in. Indeed, for bar help, George lives in a huge, white, columned manse that would incline one, say if one were a law-enforcement officer, to suspect nefarious sources of income.
While George seems adroit financially, he's woefully naive in love. He has eyes for a cheap sales girl (Nina Siemaszko), who is transparently manipulative. George is just as fast and tacky on the romantic front as he is on the financial front -- almost immediately the two copulate on a bridge. It's not a tender moment. Indeed, screenwriter-director Eric Lea's story gyrations and tonal upheavals are completely disruptive throughout. Although one feels a theme creaking through the seamier vents in this story line -- someone who tries to always be happy will be defeated by the big, bad world -- there is no consistent aesthetic at work here. He carries flowers and speaks in an even range, ergo, he's some sort of saint among us.
Central to the film's slack handle on developing anything beyond a superficial thrust is the character of George himself. He is generally articulate, highly verbal and not at all disconnected from the real world, except for the fact that he's somewhat overly trusting (welcome to the club). That he's slow to anger is his most distinguishing personality trait.
But George is no wise simpleton. He's more like one of those docile men let out of prison in the old movies who return to society by functioning quietly at a lousy job. In essence, he's unevenly fleshed out, indicative of the shallow writing. Supporting characters are similarly crudely drawn, including: a hapless security guard, a French-sounding bartender, an angry bar patron, etc. And, in Lea's atonal dialogue, high-pitched shouting or some other over-the-top hysterics invariably erupts almost immediately. The sorriest scenes, provoking unintentional laughter at the screening here, were uttered by the sales girl's mother character, a faux Lauren Bacall who snaps, glowers and rumbles like a "Saturday Night Live" takeoff.
George also dresses funny for a wise simpleton: Unlike, say Forrest Gump or Rain Man, he's a fashion king in his understated line of Gap-ish tones and quietly elegant coats. In short, technical contributions, not surprisingly, often ring false and are inconsistent. Charitably put, one could describe the film as "Lynchean", but, alas, the general awful shallowness of the realization precludes that optimistic assessment.
Through it all, there is one shining light, the luminously sharp cinematography of Wayne Kennan.
GEORGE B
Tango West
Producers Wade W. Danielson, Gloria Pryor
Screenwriter-director Eric Lea
Executive producer Mark Terry
Director of photography Wayne Kennan
Editor Pamela Raymer
Production designer Susan Karasic
Costume designer Heidi Higginbotham
Music David Reynolds
Casting Aaron Griffith
Color/stereo
Cast:
George David Morse
Angela Nina Siemaszko
Jerry Brad Gregg
Little Mike John Franklin
The mother Grace Zabriskie
Johnny Henry V. Brown Jr.
Security guard Brad Garrett
Running time --100 minutes...
We first meet George David Morse) as he carries flowers, and then, slam-bang, he's beaten up and left in a women's bathroom. Undaunted, George Still retains an even temper. A part-time cleanup guy in a tavern, George has loftier ambitions. Evidently he's got some sort of system, for he quickly high-tails it to Reno, Nev., where he wins a bundle, returning to pay cash for two months' arrears on his mortgage, plus an advance month thrown in. Indeed, for bar help, George lives in a huge, white, columned manse that would incline one, say if one were a law-enforcement officer, to suspect nefarious sources of income.
While George seems adroit financially, he's woefully naive in love. He has eyes for a cheap sales girl (Nina Siemaszko), who is transparently manipulative. George is just as fast and tacky on the romantic front as he is on the financial front -- almost immediately the two copulate on a bridge. It's not a tender moment. Indeed, screenwriter-director Eric Lea's story gyrations and tonal upheavals are completely disruptive throughout. Although one feels a theme creaking through the seamier vents in this story line -- someone who tries to always be happy will be defeated by the big, bad world -- there is no consistent aesthetic at work here. He carries flowers and speaks in an even range, ergo, he's some sort of saint among us.
Central to the film's slack handle on developing anything beyond a superficial thrust is the character of George himself. He is generally articulate, highly verbal and not at all disconnected from the real world, except for the fact that he's somewhat overly trusting (welcome to the club). That he's slow to anger is his most distinguishing personality trait.
But George is no wise simpleton. He's more like one of those docile men let out of prison in the old movies who return to society by functioning quietly at a lousy job. In essence, he's unevenly fleshed out, indicative of the shallow writing. Supporting characters are similarly crudely drawn, including: a hapless security guard, a French-sounding bartender, an angry bar patron, etc. And, in Lea's atonal dialogue, high-pitched shouting or some other over-the-top hysterics invariably erupts almost immediately. The sorriest scenes, provoking unintentional laughter at the screening here, were uttered by the sales girl's mother character, a faux Lauren Bacall who snaps, glowers and rumbles like a "Saturday Night Live" takeoff.
George also dresses funny for a wise simpleton: Unlike, say Forrest Gump or Rain Man, he's a fashion king in his understated line of Gap-ish tones and quietly elegant coats. In short, technical contributions, not surprisingly, often ring false and are inconsistent. Charitably put, one could describe the film as "Lynchean", but, alas, the general awful shallowness of the realization precludes that optimistic assessment.
Through it all, there is one shining light, the luminously sharp cinematography of Wayne Kennan.
GEORGE B
Tango West
Producers Wade W. Danielson, Gloria Pryor
Screenwriter-director Eric Lea
Executive producer Mark Terry
Director of photography Wayne Kennan
Editor Pamela Raymer
Production designer Susan Karasic
Costume designer Heidi Higginbotham
Music David Reynolds
Casting Aaron Griffith
Color/stereo
Cast:
George David Morse
Angela Nina Siemaszko
Jerry Brad Gregg
Little Mike John Franklin
The mother Grace Zabriskie
Johnny Henry V. Brown Jr.
Security guard Brad Garrett
Running time --100 minutes...
- 1/28/1997
- The Hollywood Reporter - Movie News
NEW YORK -- Just about everyone producer Peter McCarthy has ever worked with, from both behind and in front of the camera, can be found in fleeting parts in his feature directorial debut, "Floundering". Showing up for appearances ranging from a few seconds to a few minutes, they include John Cusack, Ethan Hawke, Steve Buscemi, Billy Bob Thornton, Jo Harvey Allen, Jeremy Piven, Nina Siemaszko, Alex Cox, Dave Alvin, and Ebbe Roe Smith.
McCarthy, who also produced and scripted, explores life in modern-day Los Angeles (specifically Venice) through the eyes of John Boyz (James Le Gros), an unemployed flounderer obsessed with the decaying society around him. Endlessly watching videos of the L.A. riots, he spends his days chronicling his rather meaningless existence, observing the ants wandering around his apartment, spying on an attractive woman down the street and trying to survive. His unemployment has run out, his druggie brother (Hawke) refuses treatment and his money has been seized by the Internal Revenue Service.
John is particularly disturbed by the despicable chief of police, Merryl Fence, and fantasizes about blowing him away. (The chief, mocking him directly from the television screen, dares him to do it.) What John Does instead is kidnap the girl of his dreams and drive her into the desert, where she proves an all-too-willing hostage.
Like many of the films McCarthy has produced, "Floundering" is stylistically audacious, containing numerous fantasy sequences and possessing a stream-of-consciousness structure. Although some of the segments click, more than most don't, and the result is a less than subtle social satire.
Le Gros, who seems to be headed for stardom, brings a shaggy-dog appeal to the leading role, but his character's angst quickly proves wearisome. A strong alternative music score is provided.
FLOUNDERING
Strand Releasing presents a Front Films Production
Writer-producer-director Peter McCarthy
Associate producer Greg Eliason
Director of photography Denis Maloney
Film editors Dody Dorn, Peter McCarthy
Music Pray for Rain
Cast:
John James Le Gros
JC John Cusack
Jimmy Ethan Hawke
Jessica Lisa Zane
Running time -- 97 minutes
No MPAA rating
(c) The Hollywood Reporter...
McCarthy, who also produced and scripted, explores life in modern-day Los Angeles (specifically Venice) through the eyes of John Boyz (James Le Gros), an unemployed flounderer obsessed with the decaying society around him. Endlessly watching videos of the L.A. riots, he spends his days chronicling his rather meaningless existence, observing the ants wandering around his apartment, spying on an attractive woman down the street and trying to survive. His unemployment has run out, his druggie brother (Hawke) refuses treatment and his money has been seized by the Internal Revenue Service.
John is particularly disturbed by the despicable chief of police, Merryl Fence, and fantasizes about blowing him away. (The chief, mocking him directly from the television screen, dares him to do it.) What John Does instead is kidnap the girl of his dreams and drive her into the desert, where she proves an all-too-willing hostage.
Like many of the films McCarthy has produced, "Floundering" is stylistically audacious, containing numerous fantasy sequences and possessing a stream-of-consciousness structure. Although some of the segments click, more than most don't, and the result is a less than subtle social satire.
Le Gros, who seems to be headed for stardom, brings a shaggy-dog appeal to the leading role, but his character's angst quickly proves wearisome. A strong alternative music score is provided.
FLOUNDERING
Strand Releasing presents a Front Films Production
Writer-producer-director Peter McCarthy
Associate producer Greg Eliason
Director of photography Denis Maloney
Film editors Dody Dorn, Peter McCarthy
Music Pray for Rain
Cast:
John James Le Gros
JC John Cusack
Jimmy Ethan Hawke
Jessica Lisa Zane
Running time -- 97 minutes
No MPAA rating
(c) The Hollywood Reporter...
- 11/4/1994
- The Hollywood Reporter - Movie News
There are two positive things one can say immediately about Michael Lehmann's new film -- it's better than his last one and will probably make more money at the boxoffice.
Although shaggy and occasionally downright grungy, ''Airheads'' has one basic element Lehmann's ''Hudson Hawk'' lacked: a pretty good sense of what its intended audience wants out of a light comedy.
''Airheads'' also has a cast of young talent, including Brendan Fraser, Adam Sandler (''Saturday Night Live''), Steve Buscemi (''Reservoir Dogs'') and Michael Richards (''Seinfeld''), that should attract a sizable crowd of teens and young adults. The 20th Century Fox release has a hot soundtrack and will enjoy good word-of-mouth.
Barely articulate rockers caught up in an absurd but hilarious hostage situation, with their myopic view of existence challenged by dramatic events that make them instant celebrities and criminals at the same time, the Lone Rangers (Fraser, Buscemi and Sandler) don't get it when people complain about the nonsensical pluralizing of the band's name.
But Chazz (Fraser), the frontman and nominal brains of the group, leaps to action when his hot-wire girlfriend (Amy Locane) throws him and a ton of CDs out on the street. His preposterous scheme to get the band's demo song played on the radio leads to an encounter at a ''rebel rock'' station with DJ Ian (Joe Mantegna), that quickly becomes an on-air melodrama. Armed with toy guns, the hapless rockers hold hostage Ian, the station's slimy program manager (Michael McKean), a squeaky receptionist (Nina Siemaszko) and others in the radio station while the cops surround the building, a crowd gathers and the media gets wind of the situation.
While the nutty plot works well and most of the secondary characters and action -- such as Richards' character slipping and sliding on floors and through air conditioning ducts, and Chris Farley's roly-poly cop on the lookout for Chazz's girl -- are satisfying, the overall impact of the film is undercut by a PG-13 vocabulary and missed opportunities in the film's one sex scene.
Fraser and Buscemi show the fierceness with which their guitar warrior characters attack life and music, and Mantegna and McKean errupt for roundtable shouting matches. Locane is a commanding presence as the bristling femme, while Siemaszko is endearing as the daffy doll. But for all the lurking danger and lust, one longs to see these characters and performers really cut loose.
Contributing to the sense of a slacker ''Die Hard'' played for laughs is the primary exterior location of the Fox Plaza tower in Century City. The film's tech work, including nifty animation over the opening credits, never misses a beat.
AIRHEADS
20th Century Fox
An Island World/Robert Simonds Prod.
A Michael Lehmann film
Director Michael Lehmann
Producers Robert Simonds, Mark Burg
Writer Rich Wilkes
Executive producer Todd Baker
Director of photography John Schwartzman
Production designer David Nichols
Editor Stephen Semel
Music Carter Burwell
Costume designer Bridget Kelly
Casting Billy Hopkins, Suzanne Smith
Color/Stereo
Cast:
Chazz Brendan Fraser
Rex Steve Buscemi
Pip Adam Sandler
Wilson Chris Farley
Milo Michael McKean
Jimmie Wing Judd Nelson
O'Malley Ernie Hudson
Kayla Amy Locane
Suzzi Nina Siemaszko
Running time -- 89 minutes
MPAA Rating: PG-13...
Although shaggy and occasionally downright grungy, ''Airheads'' has one basic element Lehmann's ''Hudson Hawk'' lacked: a pretty good sense of what its intended audience wants out of a light comedy.
''Airheads'' also has a cast of young talent, including Brendan Fraser, Adam Sandler (''Saturday Night Live''), Steve Buscemi (''Reservoir Dogs'') and Michael Richards (''Seinfeld''), that should attract a sizable crowd of teens and young adults. The 20th Century Fox release has a hot soundtrack and will enjoy good word-of-mouth.
Barely articulate rockers caught up in an absurd but hilarious hostage situation, with their myopic view of existence challenged by dramatic events that make them instant celebrities and criminals at the same time, the Lone Rangers (Fraser, Buscemi and Sandler) don't get it when people complain about the nonsensical pluralizing of the band's name.
But Chazz (Fraser), the frontman and nominal brains of the group, leaps to action when his hot-wire girlfriend (Amy Locane) throws him and a ton of CDs out on the street. His preposterous scheme to get the band's demo song played on the radio leads to an encounter at a ''rebel rock'' station with DJ Ian (Joe Mantegna), that quickly becomes an on-air melodrama. Armed with toy guns, the hapless rockers hold hostage Ian, the station's slimy program manager (Michael McKean), a squeaky receptionist (Nina Siemaszko) and others in the radio station while the cops surround the building, a crowd gathers and the media gets wind of the situation.
While the nutty plot works well and most of the secondary characters and action -- such as Richards' character slipping and sliding on floors and through air conditioning ducts, and Chris Farley's roly-poly cop on the lookout for Chazz's girl -- are satisfying, the overall impact of the film is undercut by a PG-13 vocabulary and missed opportunities in the film's one sex scene.
Fraser and Buscemi show the fierceness with which their guitar warrior characters attack life and music, and Mantegna and McKean errupt for roundtable shouting matches. Locane is a commanding presence as the bristling femme, while Siemaszko is endearing as the daffy doll. But for all the lurking danger and lust, one longs to see these characters and performers really cut loose.
Contributing to the sense of a slacker ''Die Hard'' played for laughs is the primary exterior location of the Fox Plaza tower in Century City. The film's tech work, including nifty animation over the opening credits, never misses a beat.
AIRHEADS
20th Century Fox
An Island World/Robert Simonds Prod.
A Michael Lehmann film
Director Michael Lehmann
Producers Robert Simonds, Mark Burg
Writer Rich Wilkes
Executive producer Todd Baker
Director of photography John Schwartzman
Production designer David Nichols
Editor Stephen Semel
Music Carter Burwell
Costume designer Bridget Kelly
Casting Billy Hopkins, Suzanne Smith
Color/Stereo
Cast:
Chazz Brendan Fraser
Rex Steve Buscemi
Pip Adam Sandler
Wilson Chris Farley
Milo Michael McKean
Jimmie Wing Judd Nelson
O'Malley Ernie Hudson
Kayla Amy Locane
Suzzi Nina Siemaszko
Running time -- 89 minutes
MPAA Rating: PG-13...
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