Signature Entertainment has acquired the U.K. and Irish rights to Sylvester Stallone (“Tulsa King”) action thriller “Alarum” from Highland Film Group.
The feature is produced and financed by Convergence Entertainment Group (“Cash Out”) and is directed by Michael Polish (“Force of Nature”) from a script written by Alexander Vesha (“Deadly Impact”). The film stars Scott Eastwood (“Fast X”) and Stallone.
“Alarum” follows retired assassin couple Joe and Lara Travers, who are in hiding at a holiday resort in Belize when a plane crashes nearby. After retrieving a top-secret flash drive from the crash, the couple are pulled back into their shadowy past, fending off government operatives determined to retrieve the drive.
The deal was negotiated between Signature’s chief commercial officer Elizabeth Williams and Highland Film Group’s president of international sales Todd Olsson. Highland Film Group is handling international rights to the actioner.
“Everyone loves the legend that...
The feature is produced and financed by Convergence Entertainment Group (“Cash Out”) and is directed by Michael Polish (“Force of Nature”) from a script written by Alexander Vesha (“Deadly Impact”). The film stars Scott Eastwood (“Fast X”) and Stallone.
“Alarum” follows retired assassin couple Joe and Lara Travers, who are in hiding at a holiday resort in Belize when a plane crashes nearby. After retrieving a top-secret flash drive from the crash, the couple are pulled back into their shadowy past, fending off government operatives determined to retrieve the drive.
The deal was negotiated between Signature’s chief commercial officer Elizabeth Williams and Highland Film Group’s president of international sales Todd Olsson. Highland Film Group is handling international rights to the actioner.
“Everyone loves the legend that...
- 5/17/2024
- by Alex Ritman
- Variety Film + TV
Bill Murray has joined the already-stacked cast of director Dito Montiel’s upcoming crime comedy Riff Raff. More details below.
Dito Montiel’s crime comedy Riff Raff has set up quite a cast. Jennifer Coolidge, Ed Harris, Gabrielle Union, Lewis Pullman, Emanuela Postacchini, Miles J Harvey and Pete Davidson are all set to appear, and the film has just added another star to its ranks.
Bill Murray, who was just seen in Ghostbusters: The Frozen Empire, will also appear in Riff Raff, Variety reports.
According to the same article, Riff Raff – not to be confused with the 1991 Ken Loach film of the same name – follows a former criminal, whose ordinary life is turned upside down when his family shows up for a “long-awaited reckoning”. John Pollono, whose work takes in Grey’s Anatomy, Masters Of Sex, and the 2021 indie comedy Small Engine Repair, has written the script.
We don’t know who plays who yet,...
Dito Montiel’s crime comedy Riff Raff has set up quite a cast. Jennifer Coolidge, Ed Harris, Gabrielle Union, Lewis Pullman, Emanuela Postacchini, Miles J Harvey and Pete Davidson are all set to appear, and the film has just added another star to its ranks.
Bill Murray, who was just seen in Ghostbusters: The Frozen Empire, will also appear in Riff Raff, Variety reports.
According to the same article, Riff Raff – not to be confused with the 1991 Ken Loach film of the same name – follows a former criminal, whose ordinary life is turned upside down when his family shows up for a “long-awaited reckoning”. John Pollono, whose work takes in Grey’s Anatomy, Masters Of Sex, and the 2021 indie comedy Small Engine Repair, has written the script.
We don’t know who plays who yet,...
- 5/14/2024
- by Maria Lattila
- Film Stories
Bill Murray has joined the cast of “Riff Raff,” the upcoming crime comedy from director Dito Montiel set to feature Jennifer Coolidge (“The White Lotus”), Ed Harris (“Love Lies Bleeding”) Gabrielle Union (“The Inspection”), Lewis Pullman (“Top Gun: Maverick”), Emanuela Postacchini (“Robots”), Miles J. Harvey (“American Vandal”) and Pete Davidson (“The King of Staten Island”).
Signature Films, which is handling international sales on the title, has closed territory deals in Italy (Maestro Distribution), Scandinavia (Scanbox), the Middle East (Phoenicia), Eastern Europe (ProRom), Poland (Kino Siwiat), Taiwan (MovieCloud), airline rights (CineSky), Commonwealth of Independent States (Mgn), Greece (Tanweer), Portugal (Lusomundo) and Turkey (Vagon). Signature will distribute the film in the U.K., Canada, Australia and New Zealand.
Based on a script by John Pollono (“Stronger”), “Riff Raff” centers on a former criminal’s ordinary life which is thrown upside down when his old family shows up for a long-awaited reckoning.
Signature...
Signature Films, which is handling international sales on the title, has closed territory deals in Italy (Maestro Distribution), Scandinavia (Scanbox), the Middle East (Phoenicia), Eastern Europe (ProRom), Poland (Kino Siwiat), Taiwan (MovieCloud), airline rights (CineSky), Commonwealth of Independent States (Mgn), Greece (Tanweer), Portugal (Lusomundo) and Turkey (Vagon). Signature will distribute the film in the U.K., Canada, Australia and New Zealand.
Based on a script by John Pollono (“Stronger”), “Riff Raff” centers on a former criminal’s ordinary life which is thrown upside down when his old family shows up for a long-awaited reckoning.
Signature...
- 5/14/2024
- by Alex Ritman
- Variety Film + TV
Exclusive: Four-time Oscar nominee Ed Harris (Westworld), Lewis Pullman (Top Gun: Maverick), Miles J. Harvey (American Vandal) and Pete Davidson (The King of Staten Island) have joined Emmy winner Jennifer Coolidge, Oscar winner Dustin Hoffman, and Gabrielle Union (The Inspection) in director Dito Montiel’s crime comedy movie Riff Raff, which has begun filming in New Jersey.
The film centers on a former criminal whose ordinary life is thrown upside down when his family shows up for a long-awaited reckoning.
Signature Films and Canopy Media Partners are behind the production, based on a script by John Pollono.
Canopy Media Partners’ Noah Rothman (Small Engine Repair), Signature Films’ Marc Goldberg and Sarah Gabriel (The Estate), and Adam Paulsen are producing.
Executive producers include David Sullivan, John Pollono, Chris Dennis for Canopy Media Partners, Capstone’s Christian Mercuri, and Patrick Hibler and Patrick Muldoon from Storyboard Media.
The film centers on a former criminal whose ordinary life is thrown upside down when his family shows up for a long-awaited reckoning.
Signature Films and Canopy Media Partners are behind the production, based on a script by John Pollono.
Canopy Media Partners’ Noah Rothman (Small Engine Repair), Signature Films’ Marc Goldberg and Sarah Gabriel (The Estate), and Adam Paulsen are producing.
Executive producers include David Sullivan, John Pollono, Chris Dennis for Canopy Media Partners, Capstone’s Christian Mercuri, and Patrick Hibler and Patrick Muldoon from Storyboard Media.
- 11/21/2023
- by Andreas Wiseman
- Deadline Film + TV
With both title and central buddy dynamic tipping hat to “Superbad,” among other raunchy teen comedies, “Supercool” is not the kind of movie that wins prizes for originality. Nor is Finnish director Teppo Airaksinen’s first U.S.-shot, English-language project as outrageous as it thinks it is. Nonetheless, this energetic spin through high school antics redolent of everything since “Ferris Bueller” is colorful and amusing enough to entertain viewers looking for a familiar mix of bad-taste gags in a squeaky-clean suburban setting. Vertical Entertainment is releasing it to 20 U.S. theater screens as well as on-demand platforms Feb. 11.
Things commence with an over-the-top action sequence in which Neil (Jake Short) rescues classmate Summer (Madison Davenport) from the clutches of a masked maniac after she’s abducted from their school bus. But this turns out to be one more fantasy from Neil’s vivid imagination, which he channels into the...
Things commence with an over-the-top action sequence in which Neil (Jake Short) rescues classmate Summer (Madison Davenport) from the clutches of a masked maniac after she’s abducted from their school bus. But this turns out to be one more fantasy from Neil’s vivid imagination, which he channels into the...
- 2/11/2022
- by Dennis Harvey
- Variety Film + TV
Exclusive: Roadside Attractions and Vertical Entertainment have prevailed in a bidding war surrounding the Sundance thriller Emily the Criminal, starring and produced by Aubrey Plaza, claiming North American rights. They’ve slated the film for an exclusive theatrical release this year, with Redbox joining the partnership for home entertainment distribution.
John Patton Ford’s feature directorial debut follows Emily (Plaza), who is saddled with student debt and locked out of the job market due to a minor criminal record. Desperate for income, she takes a shady gig as a “dummy shopper,” buying goods with stolen credit cards supplied by a handsome and charismatic middleman named Youcef (Theo Rossi). Faced with a series of dead-end job interviews, Emily soon finds herself seduced by the quick cash and illicit thrills of black-market capitalism, and increasingly interested in her mentor Youcef. Together, they hatch a plan to bring...
John Patton Ford’s feature directorial debut follows Emily (Plaza), who is saddled with student debt and locked out of the job market due to a minor criminal record. Desperate for income, she takes a shady gig as a “dummy shopper,” buying goods with stolen credit cards supplied by a handsome and charismatic middleman named Youcef (Theo Rossi). Faced with a series of dead-end job interviews, Emily soon finds herself seduced by the quick cash and illicit thrills of black-market capitalism, and increasingly interested in her mentor Youcef. Together, they hatch a plan to bring...
- 2/2/2022
- by Matt Grobar
- Deadline Film + TV
Exclusive: Vertical Entertainment has acquired North American and UK rights to Hector Barron’s horror-thriller In the Forest, along with U.S. rights to Alice Blehart’s animated film Little Sorcerer. Both titles are slated for a day-and-date theatrical release, with the former from Disrupting Influence to hit screens on January 28, and the latter from Chinese independent animation studio Gold Valley Films to debut on May 6.
In the Forest watches as Helen (Debbon Ayer) and her daughter Emily (Cristina Spruell) reluctantly accompany Helen’s father Stan (Lyman Ward) on a family camping trip, driving deep into the forest for a real outdoors experience, only to have angry landowner Howard (Don Baldaramos) arrive and force them to leave. When their Rv gets stuck, Helen decides to seek help but discovers a disturbing secret on the man’s property. She must then fight to protect her family and make it out of...
In the Forest watches as Helen (Debbon Ayer) and her daughter Emily (Cristina Spruell) reluctantly accompany Helen’s father Stan (Lyman Ward) on a family camping trip, driving deep into the forest for a real outdoors experience, only to have angry landowner Howard (Don Baldaramos) arrive and force them to leave. When their Rv gets stuck, Helen decides to seek help but discovers a disturbing secret on the man’s property. She must then fight to protect her family and make it out of...
- 1/20/2022
- by Matt Grobar
- Deadline Film + TV
Exclusive: Vertical Entertainment has acquired North American rights to the comedy Supercool, starring Jake Short (This Is the Year), Miles J. Harvey (The Babysitter) and Damon Wayans Jr., with plans to release it in theaters and on digital and VOD on February 11.
The film from director Teppo Airaksinen (Juice) centers on Neil Tobbler (Short), who has gone through most of his life feeling invisible and fantasizing about his long-time crush, Summer (Madison Davenport). When Neil and his best friend Gilbert (Harvey) find out that Summer is throwing a birthday party, Gilbert pressures Neil to ask her for an invitation. The plan fails, and Neil embarrasses himself in front of the girl of his dreams.
Desperate and humiliated, Neil wishes upon the universe to be someone else—a supercool version of himself—the next day waking up and realizing that the universe has granted him his wish.
The film from director Teppo Airaksinen (Juice) centers on Neil Tobbler (Short), who has gone through most of his life feeling invisible and fantasizing about his long-time crush, Summer (Madison Davenport). When Neil and his best friend Gilbert (Harvey) find out that Summer is throwing a birthday party, Gilbert pressures Neil to ask her for an invitation. The plan fails, and Neil embarrasses himself in front of the girl of his dreams.
Desperate and humiliated, Neil wishes upon the universe to be someone else—a supercool version of himself—the next day waking up and realizing that the universe has granted him his wish.
- 1/10/2022
- by Matt Grobar
- Deadline Film + TV
The HBO Max pilot “Gumshoe” has added five series regulars to its cast, Variety has learned exclusively.
Sonya Cassidy and Miles J. Harvey will play the lead roles in the comedy, with Carla Jimenez, Max Casella, and Phillipa Soo also cast. The project follows sweet, optimistic young cop Cassie (Cassidy) and creepy, crime-obsessed teenager Eamon (Harvey) who secretly team up to solve a murder.
Harvey recently recurred on the second season of “American Vandal” and also appeared in the 2017 film “The Babysitter.” He will next be seen in the film “SuperCool.” He is repped by Buchwald and Shirley Grant Management.
Cassidy most recently starred in the AMC series “Lodge 49.” Her other TV credits include “The Great Fire,” “Vera,” and “Olympus.” She is repped by UTA in the U.S., Independent Talent Group in the U.K., and Stone Genow.
Jimenez will play Henrietta, a medical examiner who has strange...
Sonya Cassidy and Miles J. Harvey will play the lead roles in the comedy, with Carla Jimenez, Max Casella, and Phillipa Soo also cast. The project follows sweet, optimistic young cop Cassie (Cassidy) and creepy, crime-obsessed teenager Eamon (Harvey) who secretly team up to solve a murder.
Harvey recently recurred on the second season of “American Vandal” and also appeared in the 2017 film “The Babysitter.” He will next be seen in the film “SuperCool.” He is repped by Buchwald and Shirley Grant Management.
Cassidy most recently starred in the AMC series “Lodge 49.” Her other TV credits include “The Great Fire,” “Vera,” and “Olympus.” She is repped by UTA in the U.S., Independent Talent Group in the U.K., and Stone Genow.
Jimenez will play Henrietta, a medical examiner who has strange...
- 12/2/2019
- by Joe Otterson
- Variety Film + TV
How far will the new American aristocracy go to protect its privileges? Oren Moverman’s intense four-way war of wills is sourced from a novel but shapes up as an intense stage piece in a chi-chi restaurant interrupted by flashbacks and other stylistic flourishes. The acting foursome is excellent, with Steve Coogan a standout as a truly disturbed character. Four adults debate their sons’ high crimes and misdemeanors over designer cuisine.
The Dinner
Blu-ray + Digital HD
Lionsgate
2017 / Color / 1:85 widescreen / 120 min. / Street Date August 8, 2017 / 24.99
Starring: Richard Gere, Laura Linney, Steve Coogan, Rebecca Hall, Chloë Sevigny, Charlie Plummer, Adepero Oduye, Michael Chernus, Taylor Rae Almonte, Joel Bissonnette.
Cinematography: Bobby Bukowski
Film Editor: Alex Hall
Written by Owen Moverman from the novel by Herman Koch
Produced by Caldecott Chub, Lawrence Inglee, Julia Lebedev, Eddie Valsman
Directed by Oren Moverman
Herman Koch’s novel The Dinner comes to America after two successful European versions,...
The Dinner
Blu-ray + Digital HD
Lionsgate
2017 / Color / 1:85 widescreen / 120 min. / Street Date August 8, 2017 / 24.99
Starring: Richard Gere, Laura Linney, Steve Coogan, Rebecca Hall, Chloë Sevigny, Charlie Plummer, Adepero Oduye, Michael Chernus, Taylor Rae Almonte, Joel Bissonnette.
Cinematography: Bobby Bukowski
Film Editor: Alex Hall
Written by Owen Moverman from the novel by Herman Koch
Produced by Caldecott Chub, Lawrence Inglee, Julia Lebedev, Eddie Valsman
Directed by Oren Moverman
Herman Koch’s novel The Dinner comes to America after two successful European versions,...
- 8/5/2017
- by Glenn Erickson
- Trailers from Hell
Principles of Privilege: Moverman Dresses Morality Drama in American Clothes
Susan Sontag once famously wrote, “The white race is the cancer of human history,” an epithet which dangles like a deadly albatross throughout the fourth film by Oren Moverman, The Dinner, a drama about morality based on the novel by Dutch writer Herman Koch. Once meant as a property for the directorial debut of Cate Blanchett, Moverman swoops in for a heady, Pinteresque examination of WASPish mentality one would expect from A.R. Gurney if he were searching for an infinitely fouler disposition of his favored subject. However, Moverman elevates and refines this material for his own particular purposes of skewering white affluent folks intent on wielding their inherent privilege to protect the virtuous futures of their troubled broods in what stands as the third cinematic treatment of the novel (following a 2013 Dutch version and a 2014 Italian adaptation).
The Lohmans are a tense bunch as of late. Ex-high school teacher Paul (Steve Coogan) and wife Claire (Laura Linney) have opposing feelings about meeting Paul’s brother Stan (Richard Gere) and his second wife Katelyn (Rebecca Hall) for dinner. With Stan in the middle of a troubled run for governor, the importance of the dinner seems odd during such a touchy period. Until we learn both sets of parents have come together to decide what to do about their kids, who recently committed a monstrous act, something which could go unpunished…as long as no one says anything.
Moverman expands upon the stagey theatricality of the narrative scope, beginning with its troubling, lavish opening credits, highlighting frivolousness amidst colorful splashes of gourmet cuisine, as the credits of a high profile cast and crew (including Moverman’s reunion with Dp Bobby Bukowski) march over them. This time around, we become manipulated to sympathize with several of these characters’ perspectives only to be flayed by dismay when it sinks in—the quartet of well-bred, wealthy, emotionally stagnant white people we have been watching, are without a doubt, highly flawed, incredibly unlikeable beings. But how Moverman manages to trick us into making them seem compelling is where the absolute power of his version of The Dinner lies.
Initially, we gravitate towards Steve Coogan’s withering, Civil war enthusiast, who sets a tone of trenchant sides, one against the other. Breaking the fourth wall in narration, he’s the snide, withering voice of reason, or so we assume, leading up to the eponymous, cryptic meal he will be sharing with his brother, a suave smooth talker (or as he’s described, a “deal maker”). Until we get a clearer composite of his psychological background, and Moverman’s film takes pains (and delights) in stomping on our initial understandings of each of these surely good people. Gere is as exceptionally believable as Coogan is superbly dour, and there’s a definite switch at a certain point, where we’re led to abandon the side of one and root for the other.
Their wives are defined in more troubling, murky terms, particularly Laura Linney (who steals a handful of sequences with resplendent facial expression). Rebecca Hall, looking fantastic, has the less dynamic role as a trophy wife who desires to be rewarded for her saintly efforts by becoming the wife of a governor. But what exactly happened to Barbara, the socially conscious first wife of Stan, who fled the marriage and her children for an ashram in India? Chloe Sevigny delights in her two flashback sequences as the opinionated, arguably ideal character. The audience becomes complicit in this game of shifting alliances, where family becomes collapsed as another ideation of the political arena.
And Moverman perhaps spends a bit too much time in these flashbacks, revolving between past periods of the adults’ lives, while reenacting the terrible act committed by two insensitive young white boys against a homeless, racial other. Although these continual snippets of the heinous act are there for a purpose, meant to slowly inform us of what kind of people we’re spending an unusually expensive dining experience with, they are also greatly at odds with the formal hustling and bustling of the dinner, to the degree where these Bunelian interruptions from the topic at hand take on a tone of artificial comedy. At one point, a teary Hall gets an aside where she clutches at Linney and Coogan, informing them they’re all blessed (she doesn’t have to spell out she means white and wealthy by such a statement), but these devoted moments eventually seem like a belabored way to cement the callousness of all.
Although not about race, per se, the trio of racial others on the periphery of this narrative irrevocably inform and trouble the proceedings. The black son Beau (Miles J. Harvey), whom Barbara adopted with Stan (before she abandons him) is particularly interesting, because it is both Paul and his son Michael’s relationship with the boy which explain their hardwired disdain for the current state of affairs. Coogan gets a particularly telling tirade when he accuses the eight-year old Beau of playing the ‘race card’ when he’s terrorized by his son, claiming his views are not racist because he’s a teacher who sometimes educates black students.
When the boys are teenagers and on the eve of their defining moment, Moverman pads an exchange pertaining to Michael’s internalized racism a bit too directly just prior to what they do to their unfortunate victim. And then, there’s a curious role for Adepero Oduye (Pariah, 2011) as Gere’s valiantly tireless assistant, a character who likely informs is own approach to the scenario, but only to a point. Moverman’s dinner is certainly barbed, and often venomous, but in spending two solid hours with such unlikeable company is an ordeal in itself, even one as handsomely crafted and executed as this.
Reviewed on February 10 at the 2017 Berlin International Film Festival – Competition. 120 Mins.
★★★½/☆☆☆☆☆
The post The Dinner | Review appeared first on Ioncinema.com.
Susan Sontag once famously wrote, “The white race is the cancer of human history,” an epithet which dangles like a deadly albatross throughout the fourth film by Oren Moverman, The Dinner, a drama about morality based on the novel by Dutch writer Herman Koch. Once meant as a property for the directorial debut of Cate Blanchett, Moverman swoops in for a heady, Pinteresque examination of WASPish mentality one would expect from A.R. Gurney if he were searching for an infinitely fouler disposition of his favored subject. However, Moverman elevates and refines this material for his own particular purposes of skewering white affluent folks intent on wielding their inherent privilege to protect the virtuous futures of their troubled broods in what stands as the third cinematic treatment of the novel (following a 2013 Dutch version and a 2014 Italian adaptation).
The Lohmans are a tense bunch as of late. Ex-high school teacher Paul (Steve Coogan) and wife Claire (Laura Linney) have opposing feelings about meeting Paul’s brother Stan (Richard Gere) and his second wife Katelyn (Rebecca Hall) for dinner. With Stan in the middle of a troubled run for governor, the importance of the dinner seems odd during such a touchy period. Until we learn both sets of parents have come together to decide what to do about their kids, who recently committed a monstrous act, something which could go unpunished…as long as no one says anything.
Moverman expands upon the stagey theatricality of the narrative scope, beginning with its troubling, lavish opening credits, highlighting frivolousness amidst colorful splashes of gourmet cuisine, as the credits of a high profile cast and crew (including Moverman’s reunion with Dp Bobby Bukowski) march over them. This time around, we become manipulated to sympathize with several of these characters’ perspectives only to be flayed by dismay when it sinks in—the quartet of well-bred, wealthy, emotionally stagnant white people we have been watching, are without a doubt, highly flawed, incredibly unlikeable beings. But how Moverman manages to trick us into making them seem compelling is where the absolute power of his version of The Dinner lies.
Initially, we gravitate towards Steve Coogan’s withering, Civil war enthusiast, who sets a tone of trenchant sides, one against the other. Breaking the fourth wall in narration, he’s the snide, withering voice of reason, or so we assume, leading up to the eponymous, cryptic meal he will be sharing with his brother, a suave smooth talker (or as he’s described, a “deal maker”). Until we get a clearer composite of his psychological background, and Moverman’s film takes pains (and delights) in stomping on our initial understandings of each of these surely good people. Gere is as exceptionally believable as Coogan is superbly dour, and there’s a definite switch at a certain point, where we’re led to abandon the side of one and root for the other.
Their wives are defined in more troubling, murky terms, particularly Laura Linney (who steals a handful of sequences with resplendent facial expression). Rebecca Hall, looking fantastic, has the less dynamic role as a trophy wife who desires to be rewarded for her saintly efforts by becoming the wife of a governor. But what exactly happened to Barbara, the socially conscious first wife of Stan, who fled the marriage and her children for an ashram in India? Chloe Sevigny delights in her two flashback sequences as the opinionated, arguably ideal character. The audience becomes complicit in this game of shifting alliances, where family becomes collapsed as another ideation of the political arena.
And Moverman perhaps spends a bit too much time in these flashbacks, revolving between past periods of the adults’ lives, while reenacting the terrible act committed by two insensitive young white boys against a homeless, racial other. Although these continual snippets of the heinous act are there for a purpose, meant to slowly inform us of what kind of people we’re spending an unusually expensive dining experience with, they are also greatly at odds with the formal hustling and bustling of the dinner, to the degree where these Bunelian interruptions from the topic at hand take on a tone of artificial comedy. At one point, a teary Hall gets an aside where she clutches at Linney and Coogan, informing them they’re all blessed (she doesn’t have to spell out she means white and wealthy by such a statement), but these devoted moments eventually seem like a belabored way to cement the callousness of all.
Although not about race, per se, the trio of racial others on the periphery of this narrative irrevocably inform and trouble the proceedings. The black son Beau (Miles J. Harvey), whom Barbara adopted with Stan (before she abandons him) is particularly interesting, because it is both Paul and his son Michael’s relationship with the boy which explain their hardwired disdain for the current state of affairs. Coogan gets a particularly telling tirade when he accuses the eight-year old Beau of playing the ‘race card’ when he’s terrorized by his son, claiming his views are not racist because he’s a teacher who sometimes educates black students.
When the boys are teenagers and on the eve of their defining moment, Moverman pads an exchange pertaining to Michael’s internalized racism a bit too directly just prior to what they do to their unfortunate victim. And then, there’s a curious role for Adepero Oduye (Pariah, 2011) as Gere’s valiantly tireless assistant, a character who likely informs is own approach to the scenario, but only to a point. Moverman’s dinner is certainly barbed, and often venomous, but in spending two solid hours with such unlikeable company is an ordeal in itself, even one as handsomely crafted and executed as this.
Reviewed on February 10 at the 2017 Berlin International Film Festival – Competition. 120 Mins.
★★★½/☆☆☆☆☆
The post The Dinner | Review appeared first on Ioncinema.com.
- 5/5/2017
- by Nicholas Bell
- IONCINEMA.com
(l-r) Steve Coogan, Laura Linney, Richard Gere and Rebecca Hall in Oren Moverman’s The Dinner. Photo courtesy of The Orchard (c)
Richard Gere stars as Stan Lohman, a congressman running for governor, who invites his brother Paul (Steve Coogan) and wife Claire (Laura Linney) to dine with him and his wife Kate (Rebecca Hall) at a very upscale restaurant. The brothers don’t get along and Paul does not want to go but his wife Claire is relishing the chance to have dinner at one of the town’s most exclusive restaurants. While the brothers are estranged, their 16-year-old sons Michael (Charlie Plummer) and Rick (Seamus Davey-Fitzpatrick) are friends. It is something the boys did together, something awful, that Stan wants to talk about at this tense family dinner.
The Dinner is a dramatic examination of how far one might go for family, as well as explorations of mental illness,...
Richard Gere stars as Stan Lohman, a congressman running for governor, who invites his brother Paul (Steve Coogan) and wife Claire (Laura Linney) to dine with him and his wife Kate (Rebecca Hall) at a very upscale restaurant. The brothers don’t get along and Paul does not want to go but his wife Claire is relishing the chance to have dinner at one of the town’s most exclusive restaurants. While the brothers are estranged, their 16-year-old sons Michael (Charlie Plummer) and Rick (Seamus Davey-Fitzpatrick) are friends. It is something the boys did together, something awful, that Stan wants to talk about at this tense family dinner.
The Dinner is a dramatic examination of how far one might go for family, as well as explorations of mental illness,...
- 5/5/2017
- by Cate Marquis
- WeAreMovieGeeks.com
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