Sitting in Bars with Cake is a comedy-drama film directed by Trish Sie from a screenplay by Audrey Shulman. The Prime Video film is inspired by true events and it follows two best friends Jane (Yara Shahidi) and Corrine (Odessa A’zion) living in Los Angeles. Corrine is an extrovert and Jane is an introvert. In order to get Jane to meet more people Corrine gets her to bake cakes for a year and take them to a bar. But when Corrine gets a life-altering diagnosis, both Jane and Corrine’s friendship is put to the test. Sitting in Bars with Cake also stars Bette Midler, Ron Livingston, and Maia Mitchell in supporting roles. So, if you loved the Prime Video film here are some similar movies you could watch next.
Me and Earl and the Dying Girl (Prime Video Add-On & Hulu Add-On) Credit – Searchlight Pictures
Synopsis: Me And Earl And The Dying Girl...
Me and Earl and the Dying Girl (Prime Video Add-On & Hulu Add-On) Credit – Searchlight Pictures
Synopsis: Me And Earl And The Dying Girl...
- 9/9/2023
- by Kulwant Singh
- Cinema Blind
Bottoms is a teen sex comedy film directed by Emma Seligman, who also worked on the script with Rachel Sennott. The film follows two unpopular lesbian high school senior girls who set up a fight club in the name of a self-defense class in order to get with their crushes. Bottoms stars Rachel Sennott and Ayo Edebiri in the lead roles of Pj and Josie. So, if you loved Bottoms here are some similar movies you could watch next.
Good Boys (Rent on Prime Video) Credit – Universal Pictures
Synopsis: Just how bad can one day get? The creative minds behind Superbad and Sausage Party take on sixth grade hard in this innocent yet raunchy comedy. 12-year-olds Max, Thor, and Lucas decide to skip school in an attempt to learn how to kiss in time for a kissing party. Their odyssey of epically bad decisions involves some accidentally stolen drugs, frat-house paintball,...
Good Boys (Rent on Prime Video) Credit – Universal Pictures
Synopsis: Just how bad can one day get? The creative minds behind Superbad and Sausage Party take on sixth grade hard in this innocent yet raunchy comedy. 12-year-olds Max, Thor, and Lucas decide to skip school in an attempt to learn how to kiss in time for a kissing party. Their odyssey of epically bad decisions involves some accidentally stolen drugs, frat-house paintball,...
- 8/27/2023
- by Kulwant Singh
- Cinema Blind
Universal City, California, March 20, 2020 – Let there be light! Dive deeper into the electric true story behind one of the greatest unknown battles in American invention and ingenuity in The Current War: Director’S Cut, available on Digital now and on Blu-ray, DVD and On Demand on March 31, 2020, from Universal Pictures Home Entertainment. This suspenseful “smart historical drama” gives an inside look at one of the most impactful events in history as it set the foundation for modern life – the creation of electricity. With “vivid performances” from an all-star cast including Benedict Cumberbatch, Michael Shannon, Nicholas Hoult and Tom Holland, the film from director Alfonso Gomez-Rejon and with a script by Michael Mitnick provides a compelling tug-of-war story that is enhanced through both the immersive visual style and powerful cast performances. Full of emotionally gripping moments from beginning to end, audiences can see the fascinating The Current War: Director’S Cut when the film arrives on Digital,...
- 3/21/2020
- by ComicMix Staff
- Comicmix.com
"The Current War", based on true events, is a period drama about the greatest inventors of the nineteenth century industrial age -- Thomas Edison (Benedict Cumberbatch) and George Westinghouse (Michael Shannon). It captures the passion, charisma and genius of these visionaries. It also throws a light on the advent of commercial and domestic electrical systems during that era.
Set in the 1880s, the film tells us about how the duo engaged in a battle of technology and ideas to determine whose electrical system was superior. While Edison ruthlessly promotes his direct-current technology, George Westinghouse sees the limitation in Edison's work, so he begins working successfully with alternating current, allowing him to forge ahead in the game of supremacy.
The complicated lives and work habits of these two innovators reflects a lot of what we see in today's complex entrepreneurs. You admire them for their foresight to change the course of...
Set in the 1880s, the film tells us about how the duo engaged in a battle of technology and ideas to determine whose electrical system was superior. While Edison ruthlessly promotes his direct-current technology, George Westinghouse sees the limitation in Edison's work, so he begins working successfully with alternating current, allowing him to forge ahead in the game of supremacy.
The complicated lives and work habits of these two innovators reflects a lot of what we see in today's complex entrepreneurs. You admire them for their foresight to change the course of...
- 11/2/2019
- GlamSham
The New York Times tweet was triumphant, music to #Resistance ears:
Breaking News: The Senate, in a stinging bipartisan rebuke to President Trump, advanced a measure opposing his moves to withdraw troops in Syria and Afghanistan. https://t.co/nVRmQidkIY
— The New York Times (@nytimes) January 31, 2019
On the surface, it was a truly bipartisan defeat of Trump. A full 22 of those 68 yeas were Democrats.
But every Senate Democrat who’s even rumored to be running for president voted nay. The list included Kamala Harris, Cory Booker, Bernie Sanders, Elizabeth Warren,...
Breaking News: The Senate, in a stinging bipartisan rebuke to President Trump, advanced a measure opposing his moves to withdraw troops in Syria and Afghanistan. https://t.co/nVRmQidkIY
— The New York Times (@nytimes) January 31, 2019
On the surface, it was a truly bipartisan defeat of Trump. A full 22 of those 68 yeas were Democrats.
But every Senate Democrat who’s even rumored to be running for president voted nay. The list included Kamala Harris, Cory Booker, Bernie Sanders, Elizabeth Warren,...
- 2/1/2019
- by Matt Taibbi
- Rollingstone.com
George Miller's "Mad Max: Fury Road" and Adam McKay's "The Big Short" were the big winners at the recently concluded Ace Eddie Awards. "Mad Max" took home Best Edited Feature Film (Dramatic) while "The Big Short" won Best Edited Feature Film (Comedy). What? Not "The Martian?" Ha!
.Inside Out. (edited by Kevin Nolting, Ace) won Best Edited Animated Feature Film and .Amy. (edited by Chris King) won Best Edited Documentary (Feature).
Here's the complete list winners (highlighted) and nominees of the 66th Ace Eddie Awards:
Best Edited Feature Film (Dramatic):
Mad Max: Fury Road -- Margaret Sixel -- Winner
The Martian -- Pietro Scalia (Ace)
The Revenant -- Stephen Mirrione (Ace)
Sicario -- Joe Walker (Ace)
Star Wars: The Force Awakens -- Maryann Brandon (Ace) and Mary Jo Markey (Ace)
Best Edited Feature Film (Comedy):
Ant-Man -- Dan Lebental (Ace) and Colby Parker, Jr. (Ace)
The Big Short...
.Inside Out. (edited by Kevin Nolting, Ace) won Best Edited Animated Feature Film and .Amy. (edited by Chris King) won Best Edited Documentary (Feature).
Here's the complete list winners (highlighted) and nominees of the 66th Ace Eddie Awards:
Best Edited Feature Film (Dramatic):
Mad Max: Fury Road -- Margaret Sixel -- Winner
The Martian -- Pietro Scalia (Ace)
The Revenant -- Stephen Mirrione (Ace)
Sicario -- Joe Walker (Ace)
Star Wars: The Force Awakens -- Maryann Brandon (Ace) and Mary Jo Markey (Ace)
Best Edited Feature Film (Comedy):
Ant-Man -- Dan Lebental (Ace) and Colby Parker, Jr. (Ace)
The Big Short...
- 1/31/2016
- by Manny
- Manny the Movie Guy
The American Cinema Editors has announced the nominees of their 66th Annual Ace Eddie Awards and J.J. Abrams' "Star Wars: The Force Awakens" is one of the contenders in the Best Edited Feature Film (Dramatic) category while Peyton Reed's "Ant-Man" is a nominee in the Comedy category.
Writer/director Nancy Meyers ("The Intern," "It's Complicated," "Something's Gotta Give") will receive the Ace Golden Eddie Filmmakers of the Year Award. Winners will be announced during a January 29 gala at the Beverly Hilton.
Here's the complete list of the nominees of the 66th Ace Eddie Awards:
Best Edited Feature Film (Dramatic):
Mad Max: Fury Road -- Margaret Sixel
The Martian -- Pietro Scalia (Ace)
The Revenant -- Stephen Mirrione (Ace)
Sicario -- Joe Walker (Ace)
Star Wars: The Force Awakens -- Maryann Brandon (Ace) and Mary Jo Markey (Ace)
Best Edited Feature Film (Comedy):
Ant-Man -- Dan Lebental (Ace) and Colby Parker,...
Writer/director Nancy Meyers ("The Intern," "It's Complicated," "Something's Gotta Give") will receive the Ace Golden Eddie Filmmakers of the Year Award. Winners will be announced during a January 29 gala at the Beverly Hilton.
Here's the complete list of the nominees of the 66th Ace Eddie Awards:
Best Edited Feature Film (Dramatic):
Mad Max: Fury Road -- Margaret Sixel
The Martian -- Pietro Scalia (Ace)
The Revenant -- Stephen Mirrione (Ace)
Sicario -- Joe Walker (Ace)
Star Wars: The Force Awakens -- Maryann Brandon (Ace) and Mary Jo Markey (Ace)
Best Edited Feature Film (Comedy):
Ant-Man -- Dan Lebental (Ace) and Colby Parker,...
- 1/5/2016
- by Manny
- Manny the Movie Guy
American Cinema Editors (Ace) today announced nominations for the 66th Annual Ace Eddie Awards recognizing outstanding editing in ten categories of film, television and documentaries. Winners will be revealed during Ace’s annual black-tie awards ceremony on Friday, January 29, 2016 in the International Ballroom of the Beverly Hilton Hotel and will be presided over by Ace President, Alan Heim.
As previously announced, writer/director Nancy Meyers will receive the Ace Golden Eddie Filmmaker of the Year award. Two Career Achievement honorees will be announced later this week.
Nominees For 66th Annual Ace Eddie Awards Best Edited Feature Film (Dramatic): Mad Max: Fury Road
Margaret SixelThe Martian
Pietro Scalia, ACEThe Revenant
Stephen Mirrione, Ace
Sicario
Joe Walker, Ace
Star Wars: The Force Awakens
Maryann Brandon, Ace & Mary Jo Markey, Ace
Best Edited Feature Film (Comedy):
Ant-Man
Dan Lebental, Ace & Colby Parker, Jr., ACEThe Big Short
Hank Corwin, ACEJoy
Jay Cassidy,...
As previously announced, writer/director Nancy Meyers will receive the Ace Golden Eddie Filmmaker of the Year award. Two Career Achievement honorees will be announced later this week.
Nominees For 66th Annual Ace Eddie Awards Best Edited Feature Film (Dramatic): Mad Max: Fury Road
Margaret SixelThe Martian
Pietro Scalia, ACEThe Revenant
Stephen Mirrione, Ace
Sicario
Joe Walker, Ace
Star Wars: The Force Awakens
Maryann Brandon, Ace & Mary Jo Markey, Ace
Best Edited Feature Film (Comedy):
Ant-Man
Dan Lebental, Ace & Colby Parker, Jr., ACEThe Big Short
Hank Corwin, ACEJoy
Jay Cassidy,...
- 1/4/2016
- by Michelle McCue
- WeAreMovieGeeks.com
Writer Jesse Andrews and director Alfonso Gomez-Rejon overturn the formula for the modern teen comedy: they lay on the quirky storytelling and goofy movie parodies, but also give us characters that are reasonably human and complex. We're soon invested in a warm and rewarding drama. Young actors Thomas Mann, Rj Cyler and Olivia Cooke deal with real problems, and the movie doesn't try to change the subject to sex in every scene. A charming show, very worthwhile. Me and Earl and the Dying Girl Blu-ray 20th Century Fox Home Entertainment 2015 / Color / 2:35 widescreen / 105 min. / Street Date October 6, 2015 / Starring Thomas Mann, Rj Cyler, Olivia Cooke, Nick Offerman, Connie Britton, Molly Shannon, Jon Bernthal, Katherine C. Hughes, Matt Bennett. Masam Holden. <Cinematography Chung-hoon Chung Film Editor David Trachtenberg Original Music Brian Eno, Nico Muhly Written by Jesse Andrews from his novel Produced by Jeremy Dawson, Dan Fogelman, Steven Rales Directed by Alfonso Gomez-Rejon...
- 10/20/2015
- by Glenn Erickson
- Trailers from Hell
This is the part where this writer attempts to eloquently describe his stirring experience with a film that redefined his notion of what a coming-of-age story could be. There is a boy, a girl, a sidekick, high school politics, and many of the adolescent insecurities and yearnings that come with the territory, but what’s unexpectedly striking are the stylistic and dramatic sensibilities with which these ingredients are manipulated to assemble a transcendent reinvention. Laughter and tears flow in a continuum of brilliantly executed emotional turns that are hard to shake off even months after the first viewing.
Behind "Me and Earl and the Dying Girl” are inspired debutant author Jesse Andrews, who penned both the original novel and its screen version, and director Alfonso Gomez-Rejon - whose bulk of work prior to this project was in television and as a second unit director. Their tonally nuanced and visually inventive collaboration resulted in a fascinating work that's nothing short of a cinephile's dream come true. Surely one of the year's best films and by far the best young-adult fiction adaption of the decade. This tragicomedy invokes tropes from a familiar realm and deconstructs or tailors them to the uniquely poignant circumstances of it's characters.
Awkwardly concerned with superficially knowing everyone at school but not truly knowing anyone at all, Greg (Thomas Mann) is a 17-year-old high school senior that has mastered the art of blending in and avoiding developing meaningful relationships that could compromise his wallflower status. He is equally self-deprecating about his talents and his appearance, but efficiently conceals this uneasiness beneath witty remarks and his acerbic sense of humor. Overcoming a stint of raunchy comedies and other forgettable endeavors, Mann ultimately gets a shot at a richly layered role that demanded a camouflaged vulnerability, which eventually becomes visible as his defense mechanisms give in to intimacy.
Using Andrew’s hometown of Pittsburgh, and more specifically the house he grew up in and the high school he attended, as principal locations in Greg’s life, the director creates even more of a profound connection between the source material and his vision. Adorned with an assortment of film-related paraphernalia, such as a “400 Blows “ poster or a copy of Gomez-Rejon's favorite book “Scorsese on Scorsese,” Greg’s room is a shrine to medium. Such interest was encouraged by his father, played by the reliably amusing Nick Offerman, who is a flamboyant lover of exotic foods and art house titles that introduced him to great filmmakers like Werner Herzog at an early age.
Opposing this parenting approach is the boy’s mother (Connie Britton), a substantially more traditional figure who hopes he'll become a well-rounded adult in time for college. In her efforts to do this, Greg’s mother pushes him to befriend Rachel (Olivia Cooke), a classmate that has just been diagnosed with cancer. Greg's not pleased with the idea, but with time their initially forced hang out sessions evolve into a form of companionship and support neither of them anticipated.
Rachel has leukemia, and there is no way to entirely diminish how that weights on Greg, but she is never reduced to a defeated or pitiful token to coerce compassion out of the viewer. Yes, the possibility of tragedy, of lost promise, of truncated youth, is latent, but cancer is always boldly affronted and never shied away from in a didactic manner. Tactfully, yet certainly with the intention of posing some sharp questions about the way those who are ill are treated and perceived, the film depicts Rachel's transition from a lively girl to a physically fragile cancer patient with an authentic range of emotions and avoiding formulaic over-sentimentalism.
Cooke and Mann are on the same wavelength and the charming complicity between the two young stars is evident. Still, there is no doubt that in the crucial, most affecting sequences the actress' performance stands out as she conveys the character's powerlessness and anger towards the cards she's been dealt. Her friendship is a precious gift for Greg to figure out who he wants to become and to bet on sympathy over isolation. To know that the boy’s primordial interest is not to get the girl is fantastically refreshing. It decisively confirms that this is not a touching romantic tale but a film about a more intricate and untainted type of affection.
To balance out the heightened emotional heaviness as the narrative develops and to provide an assertive counterpart to Greg's self-doubt, the third variant in this equation, Earl (Rj Cyler), blesses every scene with pragmatic, comedic observations and outrageously straightforward lines. The somewhat unbreakable toughness with glimpses of a softer side that newcomer Cyler brings, is what makes Earl a peculiarly charismatic buddy. While Greg - afraid of labeling any interaction with anyone around him - introduces Earl as a coworker, these two are almost family. Growing up in a rougher neighborhood just across from Greg's side of town, Earl spent most of his childhood discovering film with his friend and eventually making them.
Their oeuvre is comprised of spoof films that reshape classics of World Cinema into hilariously juvenile and cheaply made treasures from the mind of a pair of outcasts who, like many of us, find refuge in the art form's ability to transform the mundane into the extraordinary. Gems like “2:38 Pm Cowboy,” "Pooping Tom,” ”Monorash" or “A Box O’ Lips Wow” exemplify the pure joy of making movies without any agenda or ulterior pretension. In Greg and Earl’s purposeless, yet passionate craftsmanship, both Andrews and Gomez-Rejon see their profound connection to the films they love validated and perpetuated on screen. These ridiculous little homages are as entertaining and original as the feature itself because their vibrant and precisely designed to be memorable - they are awesome.
Whether is entering a "subhuman" state to ignore annoying conversations, hallucinating creepy characters, dealing with a war zone called cafeteria, or spending time with his secretly wise teacher Mr. McCarthy (Jon Bernthal), Greg’s existence is a puzzle glued together by his fear of rejection. He makes films but never lets anyone see them worried about what they’ll think, he has a friend but doesn’t dare to call him a friend, and he refuses to accept he has the potential to become something greater even when everyone else points it out. It’s only when he realizes that entirely devoting his time for someone else’s happiness can be an exponentially more fulfilling and transformative adventure than selfishly hiding away, that Greg grows. The kindhearted and sincere nature of the filmmaking showcased in "Me and Earl" elevates the story even at times that could have been faulted as excessively twee if handled by a different artist.
Broad and unimaginably coherent in his use of various techniques - including a number of claymation sequences that express Greg's conviction that beautiful girls have the inherent power to shatter a young man's life into smithereens - Gomez-Rejon direction is award-worthy on all counts. Not only did he channel his own cinematic obsessions through the elaborate and awe-inspiring production design, but he also used this film to process loss in his own life by dedicating it to his father. The incredible significance of it all is reflected in every creative aspect he commanded from Chung-hoon Chung's colorful cinematography, to David Trachtenberg's meticulous editing, and, of course, the cast’s honest commitment. Putting that much heart into a project can’t go unnoticed.
With a non-verbal sequence highlighted by Brian Eno's subtly industrial and evocative score, the film finally hits you with full force and very few resist the urge to surrender to the overwhelming tenderness of a moment that's simultaneously hopeful, shattering, and strikingly visual. By honoring life, celebrating artistry, and treasuring every unfolding truth about these characters, Gomez-Rejon took Andrews book and embellished it with a strangely imaginative magic that ingeniously beguiles you to fall in love with every instant of it .
This is, indeed, the part where this writer signs off hoping many others will find “Me and Earl and the Dying Girl” as ravishing as he did.
"Me and Earl and the Dying Girl" opens Friday in L.A. and NYC.
Behind "Me and Earl and the Dying Girl” are inspired debutant author Jesse Andrews, who penned both the original novel and its screen version, and director Alfonso Gomez-Rejon - whose bulk of work prior to this project was in television and as a second unit director. Their tonally nuanced and visually inventive collaboration resulted in a fascinating work that's nothing short of a cinephile's dream come true. Surely one of the year's best films and by far the best young-adult fiction adaption of the decade. This tragicomedy invokes tropes from a familiar realm and deconstructs or tailors them to the uniquely poignant circumstances of it's characters.
Awkwardly concerned with superficially knowing everyone at school but not truly knowing anyone at all, Greg (Thomas Mann) is a 17-year-old high school senior that has mastered the art of blending in and avoiding developing meaningful relationships that could compromise his wallflower status. He is equally self-deprecating about his talents and his appearance, but efficiently conceals this uneasiness beneath witty remarks and his acerbic sense of humor. Overcoming a stint of raunchy comedies and other forgettable endeavors, Mann ultimately gets a shot at a richly layered role that demanded a camouflaged vulnerability, which eventually becomes visible as his defense mechanisms give in to intimacy.
Using Andrew’s hometown of Pittsburgh, and more specifically the house he grew up in and the high school he attended, as principal locations in Greg’s life, the director creates even more of a profound connection between the source material and his vision. Adorned with an assortment of film-related paraphernalia, such as a “400 Blows “ poster or a copy of Gomez-Rejon's favorite book “Scorsese on Scorsese,” Greg’s room is a shrine to medium. Such interest was encouraged by his father, played by the reliably amusing Nick Offerman, who is a flamboyant lover of exotic foods and art house titles that introduced him to great filmmakers like Werner Herzog at an early age.
Opposing this parenting approach is the boy’s mother (Connie Britton), a substantially more traditional figure who hopes he'll become a well-rounded adult in time for college. In her efforts to do this, Greg’s mother pushes him to befriend Rachel (Olivia Cooke), a classmate that has just been diagnosed with cancer. Greg's not pleased with the idea, but with time their initially forced hang out sessions evolve into a form of companionship and support neither of them anticipated.
Rachel has leukemia, and there is no way to entirely diminish how that weights on Greg, but she is never reduced to a defeated or pitiful token to coerce compassion out of the viewer. Yes, the possibility of tragedy, of lost promise, of truncated youth, is latent, but cancer is always boldly affronted and never shied away from in a didactic manner. Tactfully, yet certainly with the intention of posing some sharp questions about the way those who are ill are treated and perceived, the film depicts Rachel's transition from a lively girl to a physically fragile cancer patient with an authentic range of emotions and avoiding formulaic over-sentimentalism.
Cooke and Mann are on the same wavelength and the charming complicity between the two young stars is evident. Still, there is no doubt that in the crucial, most affecting sequences the actress' performance stands out as she conveys the character's powerlessness and anger towards the cards she's been dealt. Her friendship is a precious gift for Greg to figure out who he wants to become and to bet on sympathy over isolation. To know that the boy’s primordial interest is not to get the girl is fantastically refreshing. It decisively confirms that this is not a touching romantic tale but a film about a more intricate and untainted type of affection.
To balance out the heightened emotional heaviness as the narrative develops and to provide an assertive counterpart to Greg's self-doubt, the third variant in this equation, Earl (Rj Cyler), blesses every scene with pragmatic, comedic observations and outrageously straightforward lines. The somewhat unbreakable toughness with glimpses of a softer side that newcomer Cyler brings, is what makes Earl a peculiarly charismatic buddy. While Greg - afraid of labeling any interaction with anyone around him - introduces Earl as a coworker, these two are almost family. Growing up in a rougher neighborhood just across from Greg's side of town, Earl spent most of his childhood discovering film with his friend and eventually making them.
Their oeuvre is comprised of spoof films that reshape classics of World Cinema into hilariously juvenile and cheaply made treasures from the mind of a pair of outcasts who, like many of us, find refuge in the art form's ability to transform the mundane into the extraordinary. Gems like “2:38 Pm Cowboy,” "Pooping Tom,” ”Monorash" or “A Box O’ Lips Wow” exemplify the pure joy of making movies without any agenda or ulterior pretension. In Greg and Earl’s purposeless, yet passionate craftsmanship, both Andrews and Gomez-Rejon see their profound connection to the films they love validated and perpetuated on screen. These ridiculous little homages are as entertaining and original as the feature itself because their vibrant and precisely designed to be memorable - they are awesome.
Whether is entering a "subhuman" state to ignore annoying conversations, hallucinating creepy characters, dealing with a war zone called cafeteria, or spending time with his secretly wise teacher Mr. McCarthy (Jon Bernthal), Greg’s existence is a puzzle glued together by his fear of rejection. He makes films but never lets anyone see them worried about what they’ll think, he has a friend but doesn’t dare to call him a friend, and he refuses to accept he has the potential to become something greater even when everyone else points it out. It’s only when he realizes that entirely devoting his time for someone else’s happiness can be an exponentially more fulfilling and transformative adventure than selfishly hiding away, that Greg grows. The kindhearted and sincere nature of the filmmaking showcased in "Me and Earl" elevates the story even at times that could have been faulted as excessively twee if handled by a different artist.
Broad and unimaginably coherent in his use of various techniques - including a number of claymation sequences that express Greg's conviction that beautiful girls have the inherent power to shatter a young man's life into smithereens - Gomez-Rejon direction is award-worthy on all counts. Not only did he channel his own cinematic obsessions through the elaborate and awe-inspiring production design, but he also used this film to process loss in his own life by dedicating it to his father. The incredible significance of it all is reflected in every creative aspect he commanded from Chung-hoon Chung's colorful cinematography, to David Trachtenberg's meticulous editing, and, of course, the cast’s honest commitment. Putting that much heart into a project can’t go unnoticed.
With a non-verbal sequence highlighted by Brian Eno's subtly industrial and evocative score, the film finally hits you with full force and very few resist the urge to surrender to the overwhelming tenderness of a moment that's simultaneously hopeful, shattering, and strikingly visual. By honoring life, celebrating artistry, and treasuring every unfolding truth about these characters, Gomez-Rejon took Andrews book and embellished it with a strangely imaginative magic that ingeniously beguiles you to fall in love with every instant of it .
This is, indeed, the part where this writer signs off hoping many others will find “Me and Earl and the Dying Girl” as ravishing as he did.
"Me and Earl and the Dying Girl" opens Friday in L.A. and NYC.
- 6/10/2015
- by Carlos Aguilar
- Sydney's Buzz
Portal: No Escape Short Film. Dan Trachtenberg‘s Portal: No Escape (2011) short film stars Danielle Rayne. Portal: No Escape‘s plot synopsis: “Chell, a prisoner,… discovers an Aperture Science Handheld Portal Device (Portal gun) and uses it to try and escape imprisonment but all is not what is seems.”
This is a pretty cool science fiction short film but I enjoyed Dan Trachtenberg’s previous effort, the More than You Can Chew Short Film, far more. I also prefer the tech present in the Bionic short film. That being said, all the allusions to Danielle Rayne resembling Sarah Connor from Terminator: Judgement Day I can see but Lena Headey‘s Sarah Connor for Terminator: The Sarah Connor Chronicles is the one that has left a lasting impression in my mind.
The people behind the Portal video game have got to be happy that their main concept is being used in a venue like this.
This is a pretty cool science fiction short film but I enjoyed Dan Trachtenberg’s previous effort, the More than You Can Chew Short Film, far more. I also prefer the tech present in the Bionic short film. That being said, all the allusions to Danielle Rayne resembling Sarah Connor from Terminator: Judgement Day I can see but Lena Headey‘s Sarah Connor for Terminator: The Sarah Connor Chronicles is the one that has left a lasting impression in my mind.
The people behind the Portal video game have got to be happy that their main concept is being used in a venue like this.
- 8/24/2011
- by filmbook
- Film-Book
[1] Portal: No Escape is a must see for everyone, but especially video game fans. The film is directed by Dan Trachtenberg [2], who has been directing commercials for the last few years, slowly working towards his feature film directorial debut. In May, he directed a horror short film "More Than You Can Chew" [3] for Black Box TV, which got a bunch of people in Hollywood talking. Dan surprise premiered a new short film at Comic-Con, which was met with a standing ovation by the almost packed crowd. The film brings a grounded realism to this sci-fi concept, which is rarely seen in video game movie adaptations. Watch Portal: No Escape now embedded after the jump. Trivia: ?The movie stars Danielle Rayne, who has been working on tv for the last two decades, including a regular stint on All My Children. If the strong female action character reminds you of Sarah Conner,...
- 8/23/2011
- by Peter Sciretta
- Slash Film
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.