Oscilloscope Laboratories is set to release a 4K re-edit of Mark Pellington’s “Going All the Way: The Director’s Edit,” starring Ben Affleck, Rachel Weisz, Rose McGowan, Jeremy Davies and Nick Offerman.
The new cut of the 1997 film was rescanned for 4K and features 50 additional minutes of never-before-seen footage. A new title sequence was also created by Sergio Pinheiro, along with 50 minutes of music from composer Pete Adams.
Dan Berger, president of Oscilloscope, said, “Though shot 25 years ago, ‘Going All the Way’ is as fresh, revelatory, and ahead of its time today as it would have been then. I couldn’t be more thrilled that O-Scope will be able to reintroduce this important gem of independent cinema in a way no one has ever experienced before and to collaborate closely with the entire, impassioned filmmaking team to do so.”
Based on Dan Wakefield’s novel of the same name,...
The new cut of the 1997 film was rescanned for 4K and features 50 additional minutes of never-before-seen footage. A new title sequence was also created by Sergio Pinheiro, along with 50 minutes of music from composer Pete Adams.
Dan Berger, president of Oscilloscope, said, “Though shot 25 years ago, ‘Going All the Way’ is as fresh, revelatory, and ahead of its time today as it would have been then. I couldn’t be more thrilled that O-Scope will be able to reintroduce this important gem of independent cinema in a way no one has ever experienced before and to collaborate closely with the entire, impassioned filmmaking team to do so.”
Based on Dan Wakefield’s novel of the same name,...
- 10/25/2022
- by Michaela Zee
- Variety Film + TV
"Autumn in New York" is a blatantly manipulative tear-jerker that's "sincere" in an antiseptic, pristine way. The theory here -- and not being employed the first time in Hollywood history -- is that when you cast glamorous stars, the pain their characters suffer will hit an audience harder, that viewers will take their calamities more to heart. Suckers for sentimental movies may well embrace "Autumn", but the grindingly mechanical nature of the drama will wear down even those most eager for a good weep.
MGM opened "Autumn" on Friday without benefit of an advance press screening, even though such films are usually critic-proof. Outlook is iffy after the first week, not because of critics but word-of-mouth.
Directing her second film, the accomplished actress Joan Chen does a competent job, and her stars, Richard Gere and Winona Ryder, do not let her down. (The script does.) But if there are tears in any critic's eye, it stems from sadness that Chen, after her breathtakingly unsentimental directorial debut in "Xiu Xiu: The Sent-Down Girl", would make a such a misguided film that is not only "Xiu Xiu"'s polar opposite but dishearteningly inert.
Gere plays an aging-well playboy and New York restaurateur who has never met a woman he didn't love -- and leave. Ryder is his "perfect" match: a 22-year-old -- with Ryder playing seven years younger than she is -- guaranteed to be a quickie: She is fatally ill.
There are more than a few jokes about the May-December romance. Ryder's "I collect antiques" is one of the better ones. And much talk -- in fact, downright incessant talk -- about her imminent demise.
Writer Allison Burnett has clearly never heard of subtext. Every scene is right on the money with characters verbalizing their every thought. And the film's father-confessor-cum-bartender, Anthony LaPaglia, neatly sums up the central relationship: "Maybe it makes a sick girl happy and a desperate man think."
Gere and Ryder play their scenes together either with giddy passion or somber intensity that makes you want to like the film more than you do. There was probably a solid idea here about a couple freed from the confines of time to explore dimensions of the male-female dynamic seldom probed. But this couple wastes all that precious time with shallow chat.
Cinematographer Changwei Gu's cool colors and gloomy lighting fit the mood, as do Gabriel Yared's wistful melodies. All production values are first rate.
AUTUMN IN NEW YORK
MGM
A Lakeshore Entertainment and
Gary Lucchesi/Amy Robinson production
Producers: Amy Robinson, Gary Lucchesi, Tom Rosenberg
Director: Joan Chen
Writer: Allison Burnett
Executive producers: Ted Tannebaum, Ron Bozman
Director of photography: Changwei Gu
Production designer: Mark Friedberg
Music: Gabriel Yared
Co-producer: Andre Lamal
Costume designer: Carol Oditz
Editor: Ruby Yang
Color/stereo
Cast:
Will: Richard Gere
Charlotte: Winona Ryder
John: Anthony LaPaglia
Dolly: Elaine Stritch
Lisa: Vera Farmiga
Sarah: Sherry Stringfield
Dr. Sibley: Mary Beth Hurt
Running time -- 105 minutes
MPAA rating: PG-13...
MGM opened "Autumn" on Friday without benefit of an advance press screening, even though such films are usually critic-proof. Outlook is iffy after the first week, not because of critics but word-of-mouth.
Directing her second film, the accomplished actress Joan Chen does a competent job, and her stars, Richard Gere and Winona Ryder, do not let her down. (The script does.) But if there are tears in any critic's eye, it stems from sadness that Chen, after her breathtakingly unsentimental directorial debut in "Xiu Xiu: The Sent-Down Girl", would make a such a misguided film that is not only "Xiu Xiu"'s polar opposite but dishearteningly inert.
Gere plays an aging-well playboy and New York restaurateur who has never met a woman he didn't love -- and leave. Ryder is his "perfect" match: a 22-year-old -- with Ryder playing seven years younger than she is -- guaranteed to be a quickie: She is fatally ill.
There are more than a few jokes about the May-December romance. Ryder's "I collect antiques" is one of the better ones. And much talk -- in fact, downright incessant talk -- about her imminent demise.
Writer Allison Burnett has clearly never heard of subtext. Every scene is right on the money with characters verbalizing their every thought. And the film's father-confessor-cum-bartender, Anthony LaPaglia, neatly sums up the central relationship: "Maybe it makes a sick girl happy and a desperate man think."
Gere and Ryder play their scenes together either with giddy passion or somber intensity that makes you want to like the film more than you do. There was probably a solid idea here about a couple freed from the confines of time to explore dimensions of the male-female dynamic seldom probed. But this couple wastes all that precious time with shallow chat.
Cinematographer Changwei Gu's cool colors and gloomy lighting fit the mood, as do Gabriel Yared's wistful melodies. All production values are first rate.
AUTUMN IN NEW YORK
MGM
A Lakeshore Entertainment and
Gary Lucchesi/Amy Robinson production
Producers: Amy Robinson, Gary Lucchesi, Tom Rosenberg
Director: Joan Chen
Writer: Allison Burnett
Executive producers: Ted Tannebaum, Ron Bozman
Director of photography: Changwei Gu
Production designer: Mark Friedberg
Music: Gabriel Yared
Co-producer: Andre Lamal
Costume designer: Carol Oditz
Editor: Ruby Yang
Color/stereo
Cast:
Will: Richard Gere
Charlotte: Winona Ryder
John: Anthony LaPaglia
Dolly: Elaine Stritch
Lisa: Vera Farmiga
Sarah: Sherry Stringfield
Dr. Sibley: Mary Beth Hurt
Running time -- 105 minutes
MPAA rating: PG-13...
- 8/14/2000
- The Hollywood Reporter - Movie News
Madonna and Rupert Everett are a complete mismatch in "The Next Best Thing". But then, they are only one among many in a film that looks like it was put together by several political action committees with a concern more for engineering audience reaction rather than telling a vivid story. The result is a movie that starts out as a lightweight comedy but devolves into an unlikely and thoroughly unconvincing courtroom melodrama.
Mostly, though, the film wants to deliver messages. But at times it does so like an absent-minded professor who, mixing up his lecture notes, continually shifts topics from unconventional families and the need for tolerance to parental rights, the meaning of fatherhood and the benefits of yoga. Pitched by Paramount as an offbeat comedy, the film will surely disappoint all but the most die-hard Madonna fans. Theatrical prospects look poor despite a snappy soundtrack and production sheen.
Director John Schlesinger and his DP, Elliot Davis, start the film off as though it were an update on Noel Coward, a sort of "Design for Living 2000". Madonna plays a Los Angeles yoga instructor, luckless in love and yearning to settle down with that special guy. Everett is her best buddy, a terribly witty and often quite caustic landscape architect, luckless in love and yearning to settle down with that special guy.
When Madonna suffers her latest breakup with a callous lover (Michael Vartan), Everett manages to put a comic spin on her heartbreak. This causes her to laugh again, and they settle back into their best-buddies mode, singing "American Pie" at a funeral and cocooning with a cozy evening of cocktails and 1930s show tunes.
That particular evening, however, leads to a startling event. They wake up in each other's arms, which leads a few weeks later to an even more startling development -- they are about to become parents. Determined to do the right thing, they move in together, not as lovers but certainly as parents.
Cut to six years later -- with not even a hint of aging for either star -- and everything is running smoothly in this unconventional household. Their son (a lively Malcolm Stumpf) and his playmates occasionally ask embarrassing questions, such as why doesn't Mommy sleep with Daddy. But the couple cheerfully shrug off these queries, saying they'll explains things at a later date, presumably before he graduates from college.
Then an investment-banker stud (Benjamin Bratt) enters their lives. Madonna falls in love with him, causing the expected pouting on Everett's part. But when marriage and the prospect of separation from his son loom -- Bratt lives in New York -- Everett goes berserk and files a custody suit, which lets lawyers, witnesses and a judge swamp the movie's concluding act.
For this jerry-built plot to work at all, an audience must be convinced of the emotional connection between the two soul mates. But Madonna and Everett operate as though they were in different movies.
Everett's smug British flippancy works well in a supporting role such as Julia Roberts' buddy in "My Best Friend's Wedding", where he can act as Greek chorus and foil to the heroine's romantic misfortunes. But in a movie in which he is in nearly every scene, his arch mannerisms prove a drawback to real character development.
Madonna, however, gives the warmest performance of her film career, displaying an emotional vulnerability as well as maternal instincts in her scenes with young Stumpf. Unlike anyone else in the movie, hers is a full-blooded, well-rounded character, a caring, loving, tough yet sometimes insecure woman who continues to maintain high expectations of life despite all evidence to the contrary.
Alas, all other roles are mere caricatures -- disapproving parent, catty friends, sympathetic lawyer and sensitive boyfriend. Indeed when Bratt first appears on screen, he all but has "Madonna Love Interest" stamped on his forehead.
Throughout, Thomas Ropelewski's screenplay suffers from artificiality. Its contrived plot twists and character behavior seem dictated by the need to plant insights and drive home thematic points. Technical credits reflect this determination with a spit-and-polish surface in terms of design, costumes and cinematography, but one that is ultimately little more than a soulless studio glaze.
THE NEXT BEST THING
Paramount Pictures
Lakeshore Entertainment
Producers:Tom Rosenberg, Leslie Dixon, Linne Radmin
Director:John Schlesinger
Writer:Thomas Ropelewski
Executive producers:Gary Lucchesi, Ted Tannebaum, Lewis Manilow
Director of photography:Elliot Davis
Production designer:Howard Cummings
Music:Gabriel Yared
Costume designer:Ruth Myers
Editor:Peter Honess
Color/stereo
Cast:
Abbie:Madonna
Robert:Rupert Everett
Ben:Benjamin Bratt
Elizabeth Ryder:Illeana Douglas
Kevin:Michael Vartan
Richard Whittaker:Josef Sommer
Sam:Malcolm Stumpf
Helen Whittaker:Lynn Redgrave
Running time -- 107 minutes
MPAA rating: PG-13...
Mostly, though, the film wants to deliver messages. But at times it does so like an absent-minded professor who, mixing up his lecture notes, continually shifts topics from unconventional families and the need for tolerance to parental rights, the meaning of fatherhood and the benefits of yoga. Pitched by Paramount as an offbeat comedy, the film will surely disappoint all but the most die-hard Madonna fans. Theatrical prospects look poor despite a snappy soundtrack and production sheen.
Director John Schlesinger and his DP, Elliot Davis, start the film off as though it were an update on Noel Coward, a sort of "Design for Living 2000". Madonna plays a Los Angeles yoga instructor, luckless in love and yearning to settle down with that special guy. Everett is her best buddy, a terribly witty and often quite caustic landscape architect, luckless in love and yearning to settle down with that special guy.
When Madonna suffers her latest breakup with a callous lover (Michael Vartan), Everett manages to put a comic spin on her heartbreak. This causes her to laugh again, and they settle back into their best-buddies mode, singing "American Pie" at a funeral and cocooning with a cozy evening of cocktails and 1930s show tunes.
That particular evening, however, leads to a startling event. They wake up in each other's arms, which leads a few weeks later to an even more startling development -- they are about to become parents. Determined to do the right thing, they move in together, not as lovers but certainly as parents.
Cut to six years later -- with not even a hint of aging for either star -- and everything is running smoothly in this unconventional household. Their son (a lively Malcolm Stumpf) and his playmates occasionally ask embarrassing questions, such as why doesn't Mommy sleep with Daddy. But the couple cheerfully shrug off these queries, saying they'll explains things at a later date, presumably before he graduates from college.
Then an investment-banker stud (Benjamin Bratt) enters their lives. Madonna falls in love with him, causing the expected pouting on Everett's part. But when marriage and the prospect of separation from his son loom -- Bratt lives in New York -- Everett goes berserk and files a custody suit, which lets lawyers, witnesses and a judge swamp the movie's concluding act.
For this jerry-built plot to work at all, an audience must be convinced of the emotional connection between the two soul mates. But Madonna and Everett operate as though they were in different movies.
Everett's smug British flippancy works well in a supporting role such as Julia Roberts' buddy in "My Best Friend's Wedding", where he can act as Greek chorus and foil to the heroine's romantic misfortunes. But in a movie in which he is in nearly every scene, his arch mannerisms prove a drawback to real character development.
Madonna, however, gives the warmest performance of her film career, displaying an emotional vulnerability as well as maternal instincts in her scenes with young Stumpf. Unlike anyone else in the movie, hers is a full-blooded, well-rounded character, a caring, loving, tough yet sometimes insecure woman who continues to maintain high expectations of life despite all evidence to the contrary.
Alas, all other roles are mere caricatures -- disapproving parent, catty friends, sympathetic lawyer and sensitive boyfriend. Indeed when Bratt first appears on screen, he all but has "Madonna Love Interest" stamped on his forehead.
Throughout, Thomas Ropelewski's screenplay suffers from artificiality. Its contrived plot twists and character behavior seem dictated by the need to plant insights and drive home thematic points. Technical credits reflect this determination with a spit-and-polish surface in terms of design, costumes and cinematography, but one that is ultimately little more than a soulless studio glaze.
THE NEXT BEST THING
Paramount Pictures
Lakeshore Entertainment
Producers:Tom Rosenberg, Leslie Dixon, Linne Radmin
Director:John Schlesinger
Writer:Thomas Ropelewski
Executive producers:Gary Lucchesi, Ted Tannebaum, Lewis Manilow
Director of photography:Elliot Davis
Production designer:Howard Cummings
Music:Gabriel Yared
Costume designer:Ruth Myers
Editor:Peter Honess
Color/stereo
Cast:
Abbie:Madonna
Robert:Rupert Everett
Ben:Benjamin Bratt
Elizabeth Ryder:Illeana Douglas
Kevin:Michael Vartan
Richard Whittaker:Josef Sommer
Sam:Malcolm Stumpf
Helen Whittaker:Lynn Redgrave
Running time -- 107 minutes
MPAA rating: PG-13...
A potentially great cast is not the same as an undeniably hot one, and even the dreamiest lineup of actors can't make up for a mediocre screenplay. But Take That might-be-great cast and combine it with a tired concept and corrosively irritating final script and you get "200 Cigarettes" by debut filmmaker Risa Bramon Garcia (a successful casting director), who has an altogether stagey approach to the ensemble comedy set on New Year's Eve 1981. It's not exactly the 1999 party film that distributor Paramount might have got rich on.
Current fortysomethings will appreciate the inclusion of rocker Elvis Costello in Garcia and screenwriter Shana Larsen's agenda, but the targeted younger audience is going to be dazed and confused by this retro adventure. A substantial limited release, "200 Cigarettes" is not destined to smoke the competition its opening weekend or inhale big profits in post-theatrical markets.
Nobody talks about martial law in Poland, the assassination of Sadat or even Princess Di's wedding in this sometimes genuine, but more often shallow look at the era. Jumping around from couples or pairs on their roundabout ways to a Manhattan party being held by Monica (Martha Plimpton), the movie is almost exclusively interested in sex and the quest for it.
Alas, "200 Cigarettes" makes one titanic miscalculation. The buildup to Monica's blowout takes 95% of the movie and the best laughs occur in the wrap-up montage where you find out who ended up in bed with whom. Other than snapshots taken by the ubiquitous Disco Cabbie (Dave Chapelle), there are no scenes of the party -- nada. And so effectively does this make the bulk of the film instantly forgettable that one is puzzled at what Garcia and crew thought they were up to.
Instead of seeing Janeane Garofalo's feisty East Village artist pump it up with a famous rock star, we are teased with the idea. The whole movie is a tease, personified best by Courtney Love's "I dare you to fuck me" challenge to whiny, hard-luck case Paul Rudd, who is Garofalo's former boyfriend. At least there's some rewarding sense of anticipation as these old friends circle around each other.
While Love and Rudd's subplot is easily the most involving, vying for the least rewarding is Christina Ricci and Gaby Hoffmann as a pair of Long Island cuties looking for the party and ending up with nicer-than-they-look punk rockers (Casey Affleck, Guillermo Diaz). Also not amounting to much is the pursuit of Nicole Parker's irritable, would-be femme fatale of a show-offy but cute bartender (Ben Affleck), with her man-hungry friend (Angela Featherstone) also on the hunt.
Old-as-the-hills jokes about sexy guys who are slimy yuppies, guys who can't please any woman and can't figure out why, girls who have meltdowns when nobody comes early to their party and klutzy virgins with the wrong guys are ultimately all the film has to offer. When the performers are inspired by the material -- Kate Hudson as a daffy mate to Jay Mohr's slick romeo, Plimpton as the frazzled hostess -- the film has its share of hilarious moments. But what about that party?
David Johansen and Costello make brief appearances to go along with the gargantuan song list, including cuts by Blondie, the Cars, Queen, Grace Jones and Nick Lowe. Soundtrack music and a couple of songs are supplied by Devo founders Mark and Bob Mothersbaugh.
200 CIGARETTES
Paramount Pictures
Paramount Pictures and Lakeshore Entertainment present
in association with MTV Films and Dogstar Films
Director: Risa Bramon Garcia
Screenwriter: Shana Larsen
Producers: Betsy Beers, David Gale, Van Toffler
Executive producers: Tom Rosenberg, Mike Newell, Alan Greenspan, Ted Tannebaum, Sigurjon Sighvatsson
Director of photography: Frank Prinzi
Production designer: Ina Mayhew
Editor: Lisa Zeno Churgin
Costume designer: Susan Lyall
Music: Bob and Mark Mothersbaugh
Casting: Deborah Aquila, Sarah Halley Finn
Color/stereo
Cast:
Lucy: Courtney Love
Kevin: Paul Rudd
Cindy: Kate Hudson
Jack: Jay Mohr
Val: Christina Ricci
Stephie: Gaby Hoffman
Monica: Martha Plimpton
Eric: Brian McCardie
Disco Cabbie: Dave Chappelle
Bridget: Nicole Parker
Caitlyn: Angela Featherstone
Ellie: Janeane Garofalo
Running time -- 101 minutes
MPAA rating: R*...
Current fortysomethings will appreciate the inclusion of rocker Elvis Costello in Garcia and screenwriter Shana Larsen's agenda, but the targeted younger audience is going to be dazed and confused by this retro adventure. A substantial limited release, "200 Cigarettes" is not destined to smoke the competition its opening weekend or inhale big profits in post-theatrical markets.
Nobody talks about martial law in Poland, the assassination of Sadat or even Princess Di's wedding in this sometimes genuine, but more often shallow look at the era. Jumping around from couples or pairs on their roundabout ways to a Manhattan party being held by Monica (Martha Plimpton), the movie is almost exclusively interested in sex and the quest for it.
Alas, "200 Cigarettes" makes one titanic miscalculation. The buildup to Monica's blowout takes 95% of the movie and the best laughs occur in the wrap-up montage where you find out who ended up in bed with whom. Other than snapshots taken by the ubiquitous Disco Cabbie (Dave Chapelle), there are no scenes of the party -- nada. And so effectively does this make the bulk of the film instantly forgettable that one is puzzled at what Garcia and crew thought they were up to.
Instead of seeing Janeane Garofalo's feisty East Village artist pump it up with a famous rock star, we are teased with the idea. The whole movie is a tease, personified best by Courtney Love's "I dare you to fuck me" challenge to whiny, hard-luck case Paul Rudd, who is Garofalo's former boyfriend. At least there's some rewarding sense of anticipation as these old friends circle around each other.
While Love and Rudd's subplot is easily the most involving, vying for the least rewarding is Christina Ricci and Gaby Hoffmann as a pair of Long Island cuties looking for the party and ending up with nicer-than-they-look punk rockers (Casey Affleck, Guillermo Diaz). Also not amounting to much is the pursuit of Nicole Parker's irritable, would-be femme fatale of a show-offy but cute bartender (Ben Affleck), with her man-hungry friend (Angela Featherstone) also on the hunt.
Old-as-the-hills jokes about sexy guys who are slimy yuppies, guys who can't please any woman and can't figure out why, girls who have meltdowns when nobody comes early to their party and klutzy virgins with the wrong guys are ultimately all the film has to offer. When the performers are inspired by the material -- Kate Hudson as a daffy mate to Jay Mohr's slick romeo, Plimpton as the frazzled hostess -- the film has its share of hilarious moments. But what about that party?
David Johansen and Costello make brief appearances to go along with the gargantuan song list, including cuts by Blondie, the Cars, Queen, Grace Jones and Nick Lowe. Soundtrack music and a couple of songs are supplied by Devo founders Mark and Bob Mothersbaugh.
200 CIGARETTES
Paramount Pictures
Paramount Pictures and Lakeshore Entertainment present
in association with MTV Films and Dogstar Films
Director: Risa Bramon Garcia
Screenwriter: Shana Larsen
Producers: Betsy Beers, David Gale, Van Toffler
Executive producers: Tom Rosenberg, Mike Newell, Alan Greenspan, Ted Tannebaum, Sigurjon Sighvatsson
Director of photography: Frank Prinzi
Production designer: Ina Mayhew
Editor: Lisa Zeno Churgin
Costume designer: Susan Lyall
Music: Bob and Mark Mothersbaugh
Casting: Deborah Aquila, Sarah Halley Finn
Color/stereo
Cast:
Lucy: Courtney Love
Kevin: Paul Rudd
Cindy: Kate Hudson
Jack: Jay Mohr
Val: Christina Ricci
Stephie: Gaby Hoffman
Monica: Martha Plimpton
Eric: Brian McCardie
Disco Cabbie: Dave Chappelle
Bridget: Nicole Parker
Caitlyn: Angela Featherstone
Ellie: Janeane Garofalo
Running time -- 101 minutes
MPAA rating: R*...
- 2/26/1999
- The Hollywood Reporter - Movie News
TriStar's "Homegrown", which opened in Seattle and surrounding areas last weekend, is a surprisingly good comedy caper set in California's woodsy Humboldt County, where local cultivators of marijuana plants hire adventuresome types to guard and tend their multimillion-dollar crops on secret "plantations."
With a trio of hot actors -- Billy Bob Thornton, Hank Azaria and Ryan Phillippe -- as the grungy leads and a sharp, believable script co-written by director Stephen Gyllenhaal ("Losing Isaiah") and Nicholas Kazan based on a story by Gyllenhaal and Jonah Raskin, "Homegrown" should cultivate a sizable following in urban situations and harvest more fans when it lights up in the cable and video markets.
Not at all silly or slapstick in the tradition of past "stoner" films but not overly violent or judgmental in the fashion of downer drug movies, "Homegrown" is more akin in ambition to such classics as "The Killing" and "The Treasure of the Sierra Madre."
This approach works most of the time, with humor arising from the earthy characters and the paranoid milieu providing a steady increase of tension with nifty payoffs. There's sex, violence and rock 'n' roll, but the modestly budgeted project also has many choice lines and offbeat moments that keep one intrigued and entertained even through a few rough spots.
With insight into the ins and outs of making a big deal, matter-of-fact details about "trimming" and bagging the "buds" for transport and sale, and evocative sequences of guarding the potent product in rainy, secluded outposts, "Homegrown" is a sometimes startling look at a mysterious subculture that combines 1960s "radical" values of preserving the land and getting high all the time with 1990s-style greed and erosion of morals.
The film opens with the shocking murder of longtime "grower" Malcolm (John Lithgow) near his ranch, witnessed by his hired hands Jack (Thornton), Carter (Azaria) and Harlan (Phillippe). The nervous trio expect the worst, but the illegal crop worth millions is strangely left untouched.
They decide to cut down a few dozen plants and leave for town in a hurry, where Carter's sometime girlfriend Lucy (Kelly Lynch) takes them in. A regular "packager" for Malcolm, Lucy agrees to help the guys when Jack lies about who the pot belongs to and why it's being sold.
A charade ensues, with Jack covering up Malcolm's disappearance by partially assuming his identity and returning phone calls. There is a central mystery -- who had Malcolm killed? -- that baffles and worries the three, but they go ahead with a plan to harvest the whole farm and almost get away with it.
The strong supporting cast includes Jon Bon Jovi as a slick "buyer," Jon Tenney as a vicious assassin who terrorizes the principals in a wild sequence, Judge Reinhold as a corrupt sheriff and Jamie Lee Curtis as the regal, cagey leader of the entrenched regional entrepreneurs.
HOMEGROWN
Sony Pictures
TriStar Pictures
In association with Lakeshore Entertainment
A Rollercoaster Films production
Director: Stephen Gyllenhaal
Producer: Jason Clark
Screenwriters: Nicholas Kazan,
Stephen Gyllenhaal
Executive producers: Tom Rosenberg,
Sigurjon Sighvatsson, Ted Tannebaum,
Naomi Foner
Director of photography: Greg Gardiner
Production designer: Richard Sherman
Editor: Michael Jablow
Costume designer: Joseph Porro
Music: Trevor Rabin
Casting: Linda Lowy, John Brace
Color/stereo
Cast:
Jack: Billy Bob Thornton
Carter: Hank Azaria
Harlan: Ryan Phillippe
Lucy: Kelly Lynch
Malcolm/Robert: John Lithgow
Danny: Jon Bon Jovi
Running time -- 98 minutes
MPAA rating: R...
With a trio of hot actors -- Billy Bob Thornton, Hank Azaria and Ryan Phillippe -- as the grungy leads and a sharp, believable script co-written by director Stephen Gyllenhaal ("Losing Isaiah") and Nicholas Kazan based on a story by Gyllenhaal and Jonah Raskin, "Homegrown" should cultivate a sizable following in urban situations and harvest more fans when it lights up in the cable and video markets.
Not at all silly or slapstick in the tradition of past "stoner" films but not overly violent or judgmental in the fashion of downer drug movies, "Homegrown" is more akin in ambition to such classics as "The Killing" and "The Treasure of the Sierra Madre."
This approach works most of the time, with humor arising from the earthy characters and the paranoid milieu providing a steady increase of tension with nifty payoffs. There's sex, violence and rock 'n' roll, but the modestly budgeted project also has many choice lines and offbeat moments that keep one intrigued and entertained even through a few rough spots.
With insight into the ins and outs of making a big deal, matter-of-fact details about "trimming" and bagging the "buds" for transport and sale, and evocative sequences of guarding the potent product in rainy, secluded outposts, "Homegrown" is a sometimes startling look at a mysterious subculture that combines 1960s "radical" values of preserving the land and getting high all the time with 1990s-style greed and erosion of morals.
The film opens with the shocking murder of longtime "grower" Malcolm (John Lithgow) near his ranch, witnessed by his hired hands Jack (Thornton), Carter (Azaria) and Harlan (Phillippe). The nervous trio expect the worst, but the illegal crop worth millions is strangely left untouched.
They decide to cut down a few dozen plants and leave for town in a hurry, where Carter's sometime girlfriend Lucy (Kelly Lynch) takes them in. A regular "packager" for Malcolm, Lucy agrees to help the guys when Jack lies about who the pot belongs to and why it's being sold.
A charade ensues, with Jack covering up Malcolm's disappearance by partially assuming his identity and returning phone calls. There is a central mystery -- who had Malcolm killed? -- that baffles and worries the three, but they go ahead with a plan to harvest the whole farm and almost get away with it.
The strong supporting cast includes Jon Bon Jovi as a slick "buyer," Jon Tenney as a vicious assassin who terrorizes the principals in a wild sequence, Judge Reinhold as a corrupt sheriff and Jamie Lee Curtis as the regal, cagey leader of the entrenched regional entrepreneurs.
HOMEGROWN
Sony Pictures
TriStar Pictures
In association with Lakeshore Entertainment
A Rollercoaster Films production
Director: Stephen Gyllenhaal
Producer: Jason Clark
Screenwriters: Nicholas Kazan,
Stephen Gyllenhaal
Executive producers: Tom Rosenberg,
Sigurjon Sighvatsson, Ted Tannebaum,
Naomi Foner
Director of photography: Greg Gardiner
Production designer: Richard Sherman
Editor: Michael Jablow
Costume designer: Joseph Porro
Music: Trevor Rabin
Casting: Linda Lowy, John Brace
Color/stereo
Cast:
Jack: Billy Bob Thornton
Carter: Hank Azaria
Harlan: Ryan Phillippe
Lucy: Kelly Lynch
Malcolm/Robert: John Lithgow
Danny: Jon Bon Jovi
Running time -- 98 minutes
MPAA rating: R...
- 4/22/1998
- The Hollywood Reporter - Movie News
A jazzy ensemble sex comedy with a strong cast playing eccentric showbiz types in New York, the fourth film of independent filmmaker Tom DiCillo ("Box of Moonlight") is a bit cluttered with name actors and subplots, but overall, the Paramount release is insightful and entertaining.
Needing real good reviews and word-of-mouth to make a splash, "The Real Blonde" should garner some of both and generate healthy business in major markets. With a potent appeal to adult women, DiCillo's often hilarious, poignantly honest portrayal of the sexual attitudes of urban couples and diverse singles is probing but nonjudgmental.
What is real and what is not? In keeping with the movie's theme, "The Real Blonde" is far from perfect, but it's adept storytelling not dependent on narrative hooks. Humor arises from the engaging characterizations, and there are a few outlandish gags that work beautifully ("Il Piano"?), while there's satisfaction in watching the performers have fun with the sharp-witted dialogue and sometimes-terrific comic flourishes.
The lead couple is Joe (Matthew Modine) and makeup artist Mary (Catherine Keener), lovers for seven years who are not interested in children or marriage. Indeed, their sex life is stalled, along with his acting career, and she is growing frustrated. Their minor and major spats, in and out of bed, are among the film's best moments, with his moneyless situation and her hostility fueling ugly-but-over-quick shouting matches.
Meanwhile, Joe's fellow actor and friend Bob (Maxwell Caulfield) gets a job on a soap opera, starts earning good money and pursues an ideal of womanhood, though he's not exactly the girl toy he wants. His career starting to take off, Bob backs off from a relationship with a sweet, sensitive model (Bridgette Wilson) and starts a fling with his seductive co-star (Daryl Hannah).
The most ironic development is that likable rogue Bob is unhappy searching for perfection, but hapless Joe encounters an unreal blonde on the prowl (Elizabeth Berkley), first as an instant-fantasy object on the street and later as a stand-in for Madonna on the set of a video shoot.
How cocky, persistent Joe gets his first acting job is a story involving a crabby casting agent (Kathleen Turner). How tough, tender Mary takes the advice of her demure shrink (Buck Henry) and enrolls in a self-defense course taught by a rugged hunk (Denis Leary) is likewise a plot line with surprises and crowd-pleasing moments.
Other veterans in small-but-memorable roles include Marlo Thomas as the commanding fashion photographer Mary Works for -- who creates erotic tableaus using Wilson's character -- and Christopher Lloyd as the dour catering-service owner.
THE REAL BLONDE
Paramount Pictures
Lakeshore Entertainment
A Marcus Viscidi production
Writer-director: Tom DiCillo
Producers: Marcus Viscidi, Tom Rosenberg
Executive producers: Sigurjon Sighvatsson,
Ted Tannebaum, Terry McKay
Director of photography: Frank Prinzi
Production designer: Christopher Nowak
Editors: Camilla Toniolo, Keiko Deguchi
Costume designer: Jennifer Von Mayrhauser
Music: Jim Farmer
Casting: Avy Kaufman
Color/stereo
Cast:
Joe: Matthew Modine
Mary: Catherine Keener
Kelly: Daryl Hannah
Bob: Maxwell Caulfield
Tina: Elizabeth Berkley
Blair: Marlo Thomas
Sahara: Bridgette Wilson
Dr. Leuter: Buck Henry
Ernst: Christopher Lloyd
Dee Dee Taylor: Kathleen Turner
Doug: Denis Leary
Running time -- 106 minutes
MPAA rating: R...
Needing real good reviews and word-of-mouth to make a splash, "The Real Blonde" should garner some of both and generate healthy business in major markets. With a potent appeal to adult women, DiCillo's often hilarious, poignantly honest portrayal of the sexual attitudes of urban couples and diverse singles is probing but nonjudgmental.
What is real and what is not? In keeping with the movie's theme, "The Real Blonde" is far from perfect, but it's adept storytelling not dependent on narrative hooks. Humor arises from the engaging characterizations, and there are a few outlandish gags that work beautifully ("Il Piano"?), while there's satisfaction in watching the performers have fun with the sharp-witted dialogue and sometimes-terrific comic flourishes.
The lead couple is Joe (Matthew Modine) and makeup artist Mary (Catherine Keener), lovers for seven years who are not interested in children or marriage. Indeed, their sex life is stalled, along with his acting career, and she is growing frustrated. Their minor and major spats, in and out of bed, are among the film's best moments, with his moneyless situation and her hostility fueling ugly-but-over-quick shouting matches.
Meanwhile, Joe's fellow actor and friend Bob (Maxwell Caulfield) gets a job on a soap opera, starts earning good money and pursues an ideal of womanhood, though he's not exactly the girl toy he wants. His career starting to take off, Bob backs off from a relationship with a sweet, sensitive model (Bridgette Wilson) and starts a fling with his seductive co-star (Daryl Hannah).
The most ironic development is that likable rogue Bob is unhappy searching for perfection, but hapless Joe encounters an unreal blonde on the prowl (Elizabeth Berkley), first as an instant-fantasy object on the street and later as a stand-in for Madonna on the set of a video shoot.
How cocky, persistent Joe gets his first acting job is a story involving a crabby casting agent (Kathleen Turner). How tough, tender Mary takes the advice of her demure shrink (Buck Henry) and enrolls in a self-defense course taught by a rugged hunk (Denis Leary) is likewise a plot line with surprises and crowd-pleasing moments.
Other veterans in small-but-memorable roles include Marlo Thomas as the commanding fashion photographer Mary Works for -- who creates erotic tableaus using Wilson's character -- and Christopher Lloyd as the dour catering-service owner.
THE REAL BLONDE
Paramount Pictures
Lakeshore Entertainment
A Marcus Viscidi production
Writer-director: Tom DiCillo
Producers: Marcus Viscidi, Tom Rosenberg
Executive producers: Sigurjon Sighvatsson,
Ted Tannebaum, Terry McKay
Director of photography: Frank Prinzi
Production designer: Christopher Nowak
Editors: Camilla Toniolo, Keiko Deguchi
Costume designer: Jennifer Von Mayrhauser
Music: Jim Farmer
Casting: Avy Kaufman
Color/stereo
Cast:
Joe: Matthew Modine
Mary: Catherine Keener
Kelly: Daryl Hannah
Bob: Maxwell Caulfield
Tina: Elizabeth Berkley
Blair: Marlo Thomas
Sahara: Bridgette Wilson
Dr. Leuter: Buck Henry
Ernst: Christopher Lloyd
Dee Dee Taylor: Kathleen Turner
Doug: Denis Leary
Running time -- 106 minutes
MPAA rating: R...
- 2/20/1998
- The Hollywood Reporter - Movie News
A solid feature directing debut by award-winning music videomaker Mark Pellington and an excellent showcase for several up-and-coming actors, "Going All the Way" has only a few awkward moments as it illuminates the dilemma of a decidedly awkward Midwestern protagonist on the threshold of manhood in the transitional early 1950s.
Shown in competition at the Sundance Film Festival, the Gramercy Pictures release is a high-profile independent that will probably struggle to find the audience it deserves in the jammed theatrical market. Over time, though, it will go far with discerning viewers who don't mind a little hot-and-heavy sex with a probing character study.
Advertised as an ensemble comedy-drama in the same league as "Inventing the Abbotts", "Going All the Way" is a different kettle of Americana. Based on screenwriter Dan Wakefield's popular 1970 novel of the same name, the story centers on Korean War-era veteran Sonny Burns (Jeremy Davies) in Indianapolis.
Although surrounded by a perfect supporting cast - including Ben Affleck, Amy Locane, Rachel Weisz, Rose McGowan, Jill Clayburgh and Lesley Ann Warren - Davies ("Spanking the Monkey", "The Locusts") delivers a knockout performance as introverted Sonny, who never got further than Kansas City in the Army and struggles with depression upon his return home. It's his good fortune to cross paths with former schoolmate Gunner (Affleck), who drinks sake and has no trouble attracting girls.
One is immediately sympathetic toward Sonny when he's smothered by the attentions of his religious mother (Clayburgh) and high school sweetheart (Locane), while he clearly longs for an ideal female that he initially encounters in the curvaceous form of Gunner's wild bachelorette mother (Warren). Unable to look anyone in the eye for long and barely able to form sentences, Sonny is so nerdish on the surface that one is caught by surprise when he proves to be sexually voracious and not at all unliberated.
But he has a dark, scattered interior dialogue that we are privy to in heated moments, and he lacks the confidence that keeps Gunner on course to escaping the doldrums of Middle America. As the pair go drinking and looking for the next "fuckathon," Gunner's macho persona is shown to be a front for his desire to be taken seriously, while Sonny seems to be quietly working on his approach to life.
Both are in for major changes and challenges when Gunner hooks up with East Coast collegiate beauty Marty (Weisz), his match in sex appeal and a cultural liberator. At a fateful dance, her friend Gail (McGowan) brings out the lion in mousy Sonny, but he experiences manic highs and lows that reveal the depths of his problems.
Not at all catering to the MTV crowd but with a hot soundtrack of vintage tunes, "Going" is a well-realized adaptation that takes time out for wickedly funny details and interludes with colorful secondary characters. But it convincingly moves into potent drama and captures the sometimes dreadful confusion and conflicts of the era.
GOING ALL THE WAY
Gramercy Pictures
PolyGram Filmed Entertainment presents
a Tom Gorai/Lakeshore Entertainment production
A film by Mark Pellington
Director Mark Pellington
Screenwriter Dan Wakefield
Producers Tom Gorai, Sigurjon Sighvatsson
Executive producers Tom Rosenberg,
Ted Tannebaum, Michael Mendelsohn
Director of photography Bobby Bukowski
Editor Leo Trombetta
Production designer Therese DePrez
Costume designer Arianne Phillips
Music tomandandy
Casting Ellen Chenoweth
Color/stereo
Cast:
Sonny Burns Jeremy Davies
Gunner Casselman Ben Affleck
Buddy Porter Amy Locane
Gale Rose McGowan
Marty Rachel Weisz
Alma Burns Jill Clayburgh
Nina Casselman Lesley Ann Warren
Running time -- 102 minutes
MPAA rating: R...
Shown in competition at the Sundance Film Festival, the Gramercy Pictures release is a high-profile independent that will probably struggle to find the audience it deserves in the jammed theatrical market. Over time, though, it will go far with discerning viewers who don't mind a little hot-and-heavy sex with a probing character study.
Advertised as an ensemble comedy-drama in the same league as "Inventing the Abbotts", "Going All the Way" is a different kettle of Americana. Based on screenwriter Dan Wakefield's popular 1970 novel of the same name, the story centers on Korean War-era veteran Sonny Burns (Jeremy Davies) in Indianapolis.
Although surrounded by a perfect supporting cast - including Ben Affleck, Amy Locane, Rachel Weisz, Rose McGowan, Jill Clayburgh and Lesley Ann Warren - Davies ("Spanking the Monkey", "The Locusts") delivers a knockout performance as introverted Sonny, who never got further than Kansas City in the Army and struggles with depression upon his return home. It's his good fortune to cross paths with former schoolmate Gunner (Affleck), who drinks sake and has no trouble attracting girls.
One is immediately sympathetic toward Sonny when he's smothered by the attentions of his religious mother (Clayburgh) and high school sweetheart (Locane), while he clearly longs for an ideal female that he initially encounters in the curvaceous form of Gunner's wild bachelorette mother (Warren). Unable to look anyone in the eye for long and barely able to form sentences, Sonny is so nerdish on the surface that one is caught by surprise when he proves to be sexually voracious and not at all unliberated.
But he has a dark, scattered interior dialogue that we are privy to in heated moments, and he lacks the confidence that keeps Gunner on course to escaping the doldrums of Middle America. As the pair go drinking and looking for the next "fuckathon," Gunner's macho persona is shown to be a front for his desire to be taken seriously, while Sonny seems to be quietly working on his approach to life.
Both are in for major changes and challenges when Gunner hooks up with East Coast collegiate beauty Marty (Weisz), his match in sex appeal and a cultural liberator. At a fateful dance, her friend Gail (McGowan) brings out the lion in mousy Sonny, but he experiences manic highs and lows that reveal the depths of his problems.
Not at all catering to the MTV crowd but with a hot soundtrack of vintage tunes, "Going" is a well-realized adaptation that takes time out for wickedly funny details and interludes with colorful secondary characters. But it convincingly moves into potent drama and captures the sometimes dreadful confusion and conflicts of the era.
GOING ALL THE WAY
Gramercy Pictures
PolyGram Filmed Entertainment presents
a Tom Gorai/Lakeshore Entertainment production
A film by Mark Pellington
Director Mark Pellington
Screenwriter Dan Wakefield
Producers Tom Gorai, Sigurjon Sighvatsson
Executive producers Tom Rosenberg,
Ted Tannebaum, Michael Mendelsohn
Director of photography Bobby Bukowski
Editor Leo Trombetta
Production designer Therese DePrez
Costume designer Arianne Phillips
Music tomandandy
Casting Ellen Chenoweth
Color/stereo
Cast:
Sonny Burns Jeremy Davies
Gunner Casselman Ben Affleck
Buddy Porter Amy Locane
Gale Rose McGowan
Marty Rachel Weisz
Alma Burns Jill Clayburgh
Nina Casselman Lesley Ann Warren
Running time -- 102 minutes
MPAA rating: R...
- 9/17/1997
- The Hollywood Reporter - Movie News
Attempting to break up the paint-by-numbers feel of most romantic-comedies, " 'Til There Was You" serves up contemporary relationships in an unusually paced blend of drama and humor.
But like the constantly shifting parallel lives of its destined-for-each-other protagonists, the picture's elements never quite intersect despite some pleasing performances and thoughtful direction.
Given the current crowded slate of moviegoing options, Paramount will likely have to wait 'til there's video for the film to find a supportive audience.
As with all instances of the genre, we know from the outset that Gwen Moss (Jeanne Tripplehorn) and Nick Dawkan (Dylan McDermott) are meant for each other no matter how many plot points would appear to conspire against them. Of course, the novelty is always in the placement of the various obstacles that stand in the way of true happiness. In their case, the roadblocks are considerable.
She's an unlucky-in-love ghost writer who's struggling to keep her own sense of identity from doing a vanishing act. He's an ambitious architect who's a bit of a cad in the commitment department. She's a hopeless romantic who clings to the love-at-first-sight ideals of her parents. He's an emotional shut-in who has revamped his background to bury an unhappy childhood.
While they never truly come face to face until the end of the film, the crazed orbits of their seemingly opposing lives begin to find a common path with the arrival of Francesca Lanfield Sarah Jessica Parker in another great comedic performance), a former "Brady Bunch-esque" child star who is looking to write her life story (enter Gwen) and for a new warm body (enter Nick). Not to mention the fact that Francesca just happens to own La Fortuna, the idyllic, historic garden apartment complex into which Gwen has just moved and which Nick's firm is planning to raze.
Initially charming, all the ensuing wild coincidence and near misses begin to take their toll. Making his feature directorial debut, Scott Winant ("My So-Called Life", "thirtysomething") demonstrates a smart visual sense and has coaxed some warm, winning performances from his ensemble, but ultimately he's unable to overcome screenwriter Winnie Holzman's mopey, tediously introspective script.
Among the acting contributions, Tripplehorn delivers on the chance to show a seldom-seen funny side; while McDermott finally makes the romantic lead leap with his most appealing turn to date. But it's the always terrific Parker who is particularly wonderful this time as the self-involved Francesca, a k a Taffy, who spent puberty in front of millions of viewers on "One Big, Happy Family" and continues to pay the price. Michael Tucker also has his moment in a shocking bit of revelation that stands as the film's funniest scene.
Tech credits are strong, although the score, composed in part by the late Miles Goodman and Terence Blanchard, is a poor fit. Most often heard in Spike Lee films, Blanchard's signature low-key jazz style does no favors for the picture's already languid pace.
'TIL THERE WAS YOU
Paramount Lakeshore Entertainment and Paramount Pictures
present a Penney Finkelman Cox production
Director:Scott Winant
Screenwriter:Winnie Holzman
Producers:Penney Finkelman Cox, Tom Rosenberg, Alan Poul
Executive producers:Sigurjon Sighvatsson, Ted Tannebaum
Director of photography:Bobby Bukowski
Production designer:Craig Stearns
Editors:Richard Marks, Joannna Cappuccilli
Music:Miles Goodman and Terence Blanchard
Color/stereo
Cast:
Gwen:Jeanne Tripplehorn
Nick:Dylan McDermott
Francesca:Sarah Jessica Parker
Debbie:Jennifer Aniston
Jon:Craig Bierko
Sophia Monroe:Nina Foch
Harriet:Alice Drummond
Beebee:Christine Ebersole
Saul:Michael Tucker
Running time -- 114 minutes
MPAA Rating: PG-13...
But like the constantly shifting parallel lives of its destined-for-each-other protagonists, the picture's elements never quite intersect despite some pleasing performances and thoughtful direction.
Given the current crowded slate of moviegoing options, Paramount will likely have to wait 'til there's video for the film to find a supportive audience.
As with all instances of the genre, we know from the outset that Gwen Moss (Jeanne Tripplehorn) and Nick Dawkan (Dylan McDermott) are meant for each other no matter how many plot points would appear to conspire against them. Of course, the novelty is always in the placement of the various obstacles that stand in the way of true happiness. In their case, the roadblocks are considerable.
She's an unlucky-in-love ghost writer who's struggling to keep her own sense of identity from doing a vanishing act. He's an ambitious architect who's a bit of a cad in the commitment department. She's a hopeless romantic who clings to the love-at-first-sight ideals of her parents. He's an emotional shut-in who has revamped his background to bury an unhappy childhood.
While they never truly come face to face until the end of the film, the crazed orbits of their seemingly opposing lives begin to find a common path with the arrival of Francesca Lanfield Sarah Jessica Parker in another great comedic performance), a former "Brady Bunch-esque" child star who is looking to write her life story (enter Gwen) and for a new warm body (enter Nick). Not to mention the fact that Francesca just happens to own La Fortuna, the idyllic, historic garden apartment complex into which Gwen has just moved and which Nick's firm is planning to raze.
Initially charming, all the ensuing wild coincidence and near misses begin to take their toll. Making his feature directorial debut, Scott Winant ("My So-Called Life", "thirtysomething") demonstrates a smart visual sense and has coaxed some warm, winning performances from his ensemble, but ultimately he's unable to overcome screenwriter Winnie Holzman's mopey, tediously introspective script.
Among the acting contributions, Tripplehorn delivers on the chance to show a seldom-seen funny side; while McDermott finally makes the romantic lead leap with his most appealing turn to date. But it's the always terrific Parker who is particularly wonderful this time as the self-involved Francesca, a k a Taffy, who spent puberty in front of millions of viewers on "One Big, Happy Family" and continues to pay the price. Michael Tucker also has his moment in a shocking bit of revelation that stands as the film's funniest scene.
Tech credits are strong, although the score, composed in part by the late Miles Goodman and Terence Blanchard, is a poor fit. Most often heard in Spike Lee films, Blanchard's signature low-key jazz style does no favors for the picture's already languid pace.
'TIL THERE WAS YOU
Paramount Lakeshore Entertainment and Paramount Pictures
present a Penney Finkelman Cox production
Director:Scott Winant
Screenwriter:Winnie Holzman
Producers:Penney Finkelman Cox, Tom Rosenberg, Alan Poul
Executive producers:Sigurjon Sighvatsson, Ted Tannebaum
Director of photography:Bobby Bukowski
Production designer:Craig Stearns
Editors:Richard Marks, Joannna Cappuccilli
Music:Miles Goodman and Terence Blanchard
Color/stereo
Cast:
Gwen:Jeanne Tripplehorn
Nick:Dylan McDermott
Francesca:Sarah Jessica Parker
Debbie:Jennifer Aniston
Jon:Craig Bierko
Sophia Monroe:Nina Foch
Harriet:Alice Drummond
Beebee:Christine Ebersole
Saul:Michael Tucker
Running time -- 114 minutes
MPAA Rating: PG-13...
- 5/30/1997
- The Hollywood Reporter - Movie News
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