Next year, Kaitlin Olson is bringing her charm, wit and R-rated language to Fox’s new comedy “The Mick.” Ahead of its debut, the network released a red band trailer for the raunchy series, which shows how wild Olson can get.
The comedy follows the “It’s Always Sunny in Philadelphia” star as Mickey, a woman who doesn’t have much but ends up getting more than she bargained for. When her wealthy and estranged sister and brother-in-law flee the country to avoid being arrested on fraud charges, Mickey is forced to take care of her nephews and niece: Teen Sabrina (Sofia Black D’Elia), 13-year-old Chip (Thomas Barbusca), innocent seven-year-old Ben (Jack Stanton).
Read More: ‘It’s Always Sunny In Philadelphia’ Season 12 Red Band Trailer: The Gang Returns For More Nsfw Shenanigans
The trailer shows Mickey trying to take care of the children, yet somehow ends up ruining their lives and getting them hurt.
The comedy follows the “It’s Always Sunny in Philadelphia” star as Mickey, a woman who doesn’t have much but ends up getting more than she bargained for. When her wealthy and estranged sister and brother-in-law flee the country to avoid being arrested on fraud charges, Mickey is forced to take care of her nephews and niece: Teen Sabrina (Sofia Black D’Elia), 13-year-old Chip (Thomas Barbusca), innocent seven-year-old Ben (Jack Stanton).
Read More: ‘It’s Always Sunny In Philadelphia’ Season 12 Red Band Trailer: The Gang Returns For More Nsfw Shenanigans
The trailer shows Mickey trying to take care of the children, yet somehow ends up ruining their lives and getting them hurt.
- 12/10/2016
- by Liz Calvario
- Indiewire
"Mommy and daddy are in jail?" Fox has announced their new series The Mick will debut on New Year's Day.The comedy stars Kaitlin Olson as Mickey, "a brash, two-bit hustler from Rhode Island who must assume guardianship of her sister's three high-maintenance children." The cast also includes Sofia Black D'Elia, Thomas Barbusca, Jack Stanton, Carla Jimenez, and Scott MacArthur.Read More…...
- 10/27/2016
- by TVSeriesFinale.com
- TVSeriesFinale.com
The Mick has secured one heck of a lead-in.
Kaitlin Olson’s It’s Always Sunny in Philadelphia follow-up will premiere on Sunday, Jan. 1, 2017 at 8/7c after the NFL doubleheader, Fox announced Wednesday.
Videos24: Legacy: Watch New Extended Trailer for the Fox Franchise’s Next Chapter
The following Tuesday, Jan. 3, the comedy will make its timeslot premiere at 8:30.
In the series, Olson plays Mackenzie “Mickey” Murphy, described by the network as “a hapless mess, a wry-humored, hard-drinking, cigarette-smoking, living-large kind of gal, always ‘between’ jobs, and always broke. A scrappy survivor who’s run out of options, she...
Kaitlin Olson’s It’s Always Sunny in Philadelphia follow-up will premiere on Sunday, Jan. 1, 2017 at 8/7c after the NFL doubleheader, Fox announced Wednesday.
Videos24: Legacy: Watch New Extended Trailer for the Fox Franchise’s Next Chapter
The following Tuesday, Jan. 3, the comedy will make its timeslot premiere at 8:30.
In the series, Olson plays Mackenzie “Mickey” Murphy, described by the network as “a hapless mess, a wry-humored, hard-drinking, cigarette-smoking, living-large kind of gal, always ‘between’ jobs, and always broke. A scrappy survivor who’s run out of options, she...
- 10/26/2016
- TVLine.com
Dave Annable has booked a recurring role in The Mick TV show on Fox. Deadline reports he will play Teddy Grant, described as "a sophisticated, handsome adventurer, and the scion of a family that’s been in Greenwich since the Revolutionary War." Annable played Dr. Pierce Harrison, on Heartbeat, which NBC cancelled in May, after ten episodes.A disfunctional family single camera comedy, The Mick stars Kaitlin Olson as Mickey. According to Fox press materials, although she is smart and fun, Mickey is also a brash, two-bit hustler. Although she's spent her life shirking any semblance of responsibility, she ends up with custody of her sister's kids. The cast also includes: Sofia Black-d'Elia, Thomas Barbusca, Jack Stanton, and Carla Jimenez.Read More…...
- 10/20/2016
- by TVSeriesFinale.com
- TVSeriesFinale.com
This 1998 tale of a sexually voracious presidential candidate was overtaken by real-life events involving a certain Monica Lewinsky
Director: Mike Nichols
Entertainment grade: B–
History grade: D
In 1996, an anonymous author (later revealed to be Joe Klein) published Primary Colors, a roman à clef inspired by the events of Bill Clinton's first presidential campaign in 1992.
People
The novel of Primary Colors begins with a disclaimer: "this is a work of fiction … None of these events ever happened." Well, all right, but it's not difficult to make out the parallels between winsome, sexually voracious Governor Jack Stanton (John Travolta) and Bill Clinton; nor between his ambitious, long-suffering wife, Susan (Emma Thompson), and Hillary Clinton. The hair and make-up departments have enhanced the impression, though Travolta's greyed-out eyebrows – and his raspy, Clintonesque southern accent – sometimes veer towards pastiche.
Politics
Our hero, Henry Burton (Adrian Lester), is the grandson of a civil...
Director: Mike Nichols
Entertainment grade: B–
History grade: D
In 1996, an anonymous author (later revealed to be Joe Klein) published Primary Colors, a roman à clef inspired by the events of Bill Clinton's first presidential campaign in 1992.
People
The novel of Primary Colors begins with a disclaimer: "this is a work of fiction … None of these events ever happened." Well, all right, but it's not difficult to make out the parallels between winsome, sexually voracious Governor Jack Stanton (John Travolta) and Bill Clinton; nor between his ambitious, long-suffering wife, Susan (Emma Thompson), and Hillary Clinton. The hair and make-up departments have enhanced the impression, though Travolta's greyed-out eyebrows – and his raspy, Clintonesque southern accent – sometimes veer towards pastiche.
Politics
Our hero, Henry Burton (Adrian Lester), is the grandson of a civil...
- 5/29/2013
- by Alex von Tunzelmann
- The Guardian - Film News
NEW YORK -- This latest effort from filmmaker-actor Edward Burns, like so many of the predecessors in its genre, raises the question of whether there have ever been any private investigators with happy personal lives. A dark-tinged portrait of a morose, down-on-his-luck private eye and his equally forlorn client, "Looking for Kitty" is a downbeat experience that lacks the warmth and humor of "The Brothers McMullen", the debut that put its director on the map. Like Burns' last effort, "Ash Wednesday", the film is likely to prove too off-putting for mainstream audiences. It recently received its premiere at the Tribeca Film Festival -- wholly appropriate as much of the film takes place in the same downtown environs.
While not a versatile actor, Burns is an engaging and likable screen presence, though this is not particularly evident in his recessive performance as Jack Stanton, a widower who has retreated into an emotional shell. Unable to pay the rent, he begs for an assignment from a former employer (Peter Gerety), who informs Jack that the world of private investigation is now far more about online research than tailing suspects. But he finally hands him a case involving Abe Fiannico (David Krumholtz), a sad sack high school baseball coach from upstate New York whose wife has left him, apparently for a British rock star named, ironically enough, Ron Stewart (Max Baker).
Equally colorless is the film's visual depiction of Manhattan as a bleak, wintry, dark-gray landscape all too closely mirroring the characters' emotional desolation.
LOOKING FOR KITTY
Marlboro Road Gang Prods.
Credits: Director-screenwriter: Edward Burns
Producers: Edward Burns, Aaron Lubin, Margot Bridger
Co-producers: Vebe Borge, Mark Kassen
Associate producers: Ben Cheah, Steve Weisberg
Director of photography: William Rexer II
Film editor: Sarah Flack
Music: Robert Gary, PT Walkley
Sound designer: Ben Cheah
Costume designer: Johanna Argan
Cast:
Jack Stanton: Edward Burns
Abe Fiannico: David Krumholtz
Ron Stewart: Max Baker
Ms. Petracelli: Connie Britton
KK: Kevin Kash
Guy Borne: Chris Parnell
Maggie: Elizabeth Regan
Julie: Rachel Dratch
No MPAA rating
Running time -- 105 minutes...
While not a versatile actor, Burns is an engaging and likable screen presence, though this is not particularly evident in his recessive performance as Jack Stanton, a widower who has retreated into an emotional shell. Unable to pay the rent, he begs for an assignment from a former employer (Peter Gerety), who informs Jack that the world of private investigation is now far more about online research than tailing suspects. But he finally hands him a case involving Abe Fiannico (David Krumholtz), a sad sack high school baseball coach from upstate New York whose wife has left him, apparently for a British rock star named, ironically enough, Ron Stewart (Max Baker).
Equally colorless is the film's visual depiction of Manhattan as a bleak, wintry, dark-gray landscape all too closely mirroring the characters' emotional desolation.
LOOKING FOR KITTY
Marlboro Road Gang Prods.
Credits: Director-screenwriter: Edward Burns
Producers: Edward Burns, Aaron Lubin, Margot Bridger
Co-producers: Vebe Borge, Mark Kassen
Associate producers: Ben Cheah, Steve Weisberg
Director of photography: William Rexer II
Film editor: Sarah Flack
Music: Robert Gary, PT Walkley
Sound designer: Ben Cheah
Costume designer: Johanna Argan
Cast:
Jack Stanton: Edward Burns
Abe Fiannico: David Krumholtz
Ron Stewart: Max Baker
Ms. Petracelli: Connie Britton
KK: Kevin Kash
Guy Borne: Chris Parnell
Maggie: Elizabeth Regan
Julie: Rachel Dratch
No MPAA rating
Running time -- 105 minutes...
John Travolta presses the flesh in all its current presidential connotations in "Primary Colors", an enthralling, entertaining slant on the Clinton quest for the Oval Office.
Chock-full of doughnuts and drawl, Travolta's performance, together with Emma Thompson's pithy portrayal of a Hillary-esque mate, should lure sophisticated audiences to this Mike Nichols-directed film. Universal's chief marketing challenge will be to rally an electorate that is, perhaps, already sated and OD'd on news of the president's myriad marital infidelities. Still, come election time next year -- we're talking Oscar votes -- both Travolta and Thompson are likely to be leading contenders for their respective categories' nominations. It's easily the funniest and, perhaps, most cynical portrait of a political campaign since "The Candidate", in which Robert Redford starred as a pretty-boy candidate who had nothing on the ball but media allure.
In this "fictional" scenario, only the names have been changed to protect the not-so-innocent: Travolta stars as Jack Stanton, an ambitious governor of a Southern hick state who has decided to buck the odds and run for president. Based on the novel "Primary Colors" by Anonymous (a k a Joe Klein), "Primary Colors" takes to the narrative trail as the idealistic governor and his equally ambitious wife Susan (Thompson) begin their underdog and unlikely quest for the presidency. Prismed through the viewpoint of a conscientious young black campaign manager, Henry (Adrian Lester), who thinks the pragmatic, populist Stanton has a real chance at winning but who chafes at the candidate's personal practices, "Primary Colors" is, by extension, shrewdly positioned to look at both sides of the presidential posture here. It is at once laudatory and almost fawning over the candidate's genuine concern for common, everyday people, while at the same time it disapproves of the increasingly hardball nature of the Stanton campaign camp, as well as the candidate's propensity to, seemingly, bed every woman in range.
You'd probably have to go on a location shoot to find a more mixed bag of people than on a political campaign, especially one as contradictory as a liberal from a small Southern state running for president. To say that the Stanton campaign is made up of colorful characters is an understatement, beginning with the Carville-esque Richard Billy Bob Thornton), a sly "redneck" strategist who comes across as some sort of lefty Hunter Thompson, and troubleshooter Libby (Kathy Bates), an old Razorback friend who's done a stint in a mental home and packs a big gun, literally. In its most rollicksome, "Primary Colors" filmically resembles some sort of "Bad News Bears" on the road as the scrappy batch of outsider/Dixie underdogs take on all the big Fat Cats and political machines cross-country, including most challengingly "New Yawk".
At its most revealing, "Primary Colors" rolls with a telling back-of-the-bus, inside-the-motel feel, cluing us to the inside workings of a shoestring, but wondrously successful, political campaign.
There's no denying the appeal and charisma of candidate Stanton. His concerns for the "little guy" are genuine, and he becomes teary-eyed, seemingly, daily over their woes. Such compassion almost seems wasted by running for office -- this guy would make a great mortician, grieving sincerely over every deceased "customer."
Unfortunately, this is only one side of the candidate's coin; the other side reveals an almost pathological need to cohabit with any and every skirt in sight, despite the fact that it pains his stalwart wife terribly. In Elaine May's perceptive screenplay, it's almost as if this guy has a narcissistic, psychological need to screw up (we use this term in varied senses) so that he can rally his personality to once again win everyone's love. And this smart reel-lifer shows up-close what the real-life polls have been telling us -- he rises from the ashes of each encounter. Like "Titanic", we all know the ending going in, but it's in the hurly-burly of the quest itself that is most entertaining and illuminating.
The performances are splendid, beginning with Travolta's magnificent turn as the big-hearted but hardballing man with 1600 Pennsylvania Ave. on his horizon. Travolta balances Stanton's contradictions, the type of guy who at the end of a punishing jog finds himself seated at the doughnut shop, talking politics to the counter man. There's a telling, marvelously composed scene of the candidate sitting alone in the wee small hours, downing apple fritters and empathizing with Danny, the handicapped counter man. You can't help but like this man -- a credit to Travolta's winning style that does great honor to the Man in the White House.
As Susan, the supportive-to-a-fault, enabler wife who wears the pants in the family (and keeps them on), Thompson's performance is also an astute balancing act, conveying both the steely nature of her character as well as the anguish she goes through in private. The "Bubba Brigade" itself is a terrific mix, beginning with Lester's measured performance in the touchstone part, the young man whose ambivalence about his leader is both painful and inspiring. Thornton is perfect as the wily, sharp-shooting strategist, while Caroline Aaron is terrifically scary as Susan's loudmouthed, buttinsky friend. Larry Hagman is stirring as a decent governor who has been felled by personal problems from the past, and Bates is perfectly pugnacious as a not-so-good ol' gal. Praise to casting directors Juliet Taylor, Ellen Lewis and Juel Bestrop for these fitting selections.
The technical bunting is a perfect, Southern-fried smear of red, white and blue, beginning with Michael Ballhaus' evocative compositions and colorations as well as Bo Welch's down and lofty production design. Ry Cooder's raucous and haunting music is a fitting blend of Southern discomfort, while costume designer Ann Roth's fabrics bring out the personal flavors on this rag-tag, history-making trek.
PRIMARY COLORS
Universal Pictures
Mutual Film Co.
Director and producer: Mike Nichols
Screenplay: Elaine May
Based on the novel by: Anonymous
Executive producers: Neil Machlis,
Jonathan D. Krane
Director of photography: Michael Ballhaus
Production designer: Bo Welch
Editor: Arthur Schmidt
Music: Ry Cooder
Costume designer: Ann Roth
Casting: Juliet Taylor, Ellen Lewis, Juel Bestrop
Co-producer: Michele Imperato
Associate producer: Michael Haley
Supervising sound editor: Ron Bochar
Color/stereo
Cast:
Gov. Jack Stanton: John Travolta
Susan Stanton: Emma Thompson
Richard Jemmons: Billy Bob Thornton
Libby Holden: Kathy Bates
Henry Burton: Adrian Lester
Daisy: Maura Tierney
Gov. Fred Picker: Larry Hagman
Mamma Stanton: Diane Ladd
Howard Ferguson: Paul Guilfoyle
March: Rebecca Walker
Lucille Kaufman: Caroline Aaron
Running time -- 134 minutes
MPAA rating: R...
Chock-full of doughnuts and drawl, Travolta's performance, together with Emma Thompson's pithy portrayal of a Hillary-esque mate, should lure sophisticated audiences to this Mike Nichols-directed film. Universal's chief marketing challenge will be to rally an electorate that is, perhaps, already sated and OD'd on news of the president's myriad marital infidelities. Still, come election time next year -- we're talking Oscar votes -- both Travolta and Thompson are likely to be leading contenders for their respective categories' nominations. It's easily the funniest and, perhaps, most cynical portrait of a political campaign since "The Candidate", in which Robert Redford starred as a pretty-boy candidate who had nothing on the ball but media allure.
In this "fictional" scenario, only the names have been changed to protect the not-so-innocent: Travolta stars as Jack Stanton, an ambitious governor of a Southern hick state who has decided to buck the odds and run for president. Based on the novel "Primary Colors" by Anonymous (a k a Joe Klein), "Primary Colors" takes to the narrative trail as the idealistic governor and his equally ambitious wife Susan (Thompson) begin their underdog and unlikely quest for the presidency. Prismed through the viewpoint of a conscientious young black campaign manager, Henry (Adrian Lester), who thinks the pragmatic, populist Stanton has a real chance at winning but who chafes at the candidate's personal practices, "Primary Colors" is, by extension, shrewdly positioned to look at both sides of the presidential posture here. It is at once laudatory and almost fawning over the candidate's genuine concern for common, everyday people, while at the same time it disapproves of the increasingly hardball nature of the Stanton campaign camp, as well as the candidate's propensity to, seemingly, bed every woman in range.
You'd probably have to go on a location shoot to find a more mixed bag of people than on a political campaign, especially one as contradictory as a liberal from a small Southern state running for president. To say that the Stanton campaign is made up of colorful characters is an understatement, beginning with the Carville-esque Richard Billy Bob Thornton), a sly "redneck" strategist who comes across as some sort of lefty Hunter Thompson, and troubleshooter Libby (Kathy Bates), an old Razorback friend who's done a stint in a mental home and packs a big gun, literally. In its most rollicksome, "Primary Colors" filmically resembles some sort of "Bad News Bears" on the road as the scrappy batch of outsider/Dixie underdogs take on all the big Fat Cats and political machines cross-country, including most challengingly "New Yawk".
At its most revealing, "Primary Colors" rolls with a telling back-of-the-bus, inside-the-motel feel, cluing us to the inside workings of a shoestring, but wondrously successful, political campaign.
There's no denying the appeal and charisma of candidate Stanton. His concerns for the "little guy" are genuine, and he becomes teary-eyed, seemingly, daily over their woes. Such compassion almost seems wasted by running for office -- this guy would make a great mortician, grieving sincerely over every deceased "customer."
Unfortunately, this is only one side of the candidate's coin; the other side reveals an almost pathological need to cohabit with any and every skirt in sight, despite the fact that it pains his stalwart wife terribly. In Elaine May's perceptive screenplay, it's almost as if this guy has a narcissistic, psychological need to screw up (we use this term in varied senses) so that he can rally his personality to once again win everyone's love. And this smart reel-lifer shows up-close what the real-life polls have been telling us -- he rises from the ashes of each encounter. Like "Titanic", we all know the ending going in, but it's in the hurly-burly of the quest itself that is most entertaining and illuminating.
The performances are splendid, beginning with Travolta's magnificent turn as the big-hearted but hardballing man with 1600 Pennsylvania Ave. on his horizon. Travolta balances Stanton's contradictions, the type of guy who at the end of a punishing jog finds himself seated at the doughnut shop, talking politics to the counter man. There's a telling, marvelously composed scene of the candidate sitting alone in the wee small hours, downing apple fritters and empathizing with Danny, the handicapped counter man. You can't help but like this man -- a credit to Travolta's winning style that does great honor to the Man in the White House.
As Susan, the supportive-to-a-fault, enabler wife who wears the pants in the family (and keeps them on), Thompson's performance is also an astute balancing act, conveying both the steely nature of her character as well as the anguish she goes through in private. The "Bubba Brigade" itself is a terrific mix, beginning with Lester's measured performance in the touchstone part, the young man whose ambivalence about his leader is both painful and inspiring. Thornton is perfect as the wily, sharp-shooting strategist, while Caroline Aaron is terrifically scary as Susan's loudmouthed, buttinsky friend. Larry Hagman is stirring as a decent governor who has been felled by personal problems from the past, and Bates is perfectly pugnacious as a not-so-good ol' gal. Praise to casting directors Juliet Taylor, Ellen Lewis and Juel Bestrop for these fitting selections.
The technical bunting is a perfect, Southern-fried smear of red, white and blue, beginning with Michael Ballhaus' evocative compositions and colorations as well as Bo Welch's down and lofty production design. Ry Cooder's raucous and haunting music is a fitting blend of Southern discomfort, while costume designer Ann Roth's fabrics bring out the personal flavors on this rag-tag, history-making trek.
PRIMARY COLORS
Universal Pictures
Mutual Film Co.
Director and producer: Mike Nichols
Screenplay: Elaine May
Based on the novel by: Anonymous
Executive producers: Neil Machlis,
Jonathan D. Krane
Director of photography: Michael Ballhaus
Production designer: Bo Welch
Editor: Arthur Schmidt
Music: Ry Cooder
Costume designer: Ann Roth
Casting: Juliet Taylor, Ellen Lewis, Juel Bestrop
Co-producer: Michele Imperato
Associate producer: Michael Haley
Supervising sound editor: Ron Bochar
Color/stereo
Cast:
Gov. Jack Stanton: John Travolta
Susan Stanton: Emma Thompson
Richard Jemmons: Billy Bob Thornton
Libby Holden: Kathy Bates
Henry Burton: Adrian Lester
Daisy: Maura Tierney
Gov. Fred Picker: Larry Hagman
Mamma Stanton: Diane Ladd
Howard Ferguson: Paul Guilfoyle
March: Rebecca Walker
Lucille Kaufman: Caroline Aaron
Running time -- 134 minutes
MPAA rating: R...
- 3/13/1998
- The Hollywood Reporter - Movie News
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