Tiffani Fest, Felissa Rose and Dominique Swain star in director Jody Barton’s exceedingly clever FOR JENNIFER, available now On Demand from JB Films.
After a surprise horror themed birthday party, Jennifer gets a scare that leads to an accident. Jennifer is a horror blogger and huge horror movie fan. Her friends, to cheer her up after the accident, decide they could make a movie. They collect their gopro cameras and phones and begin to shoot. Soon, the discoveries of other low budget horror films similar to theirs begin to intersect with their own movie. This sends Jennifer on a journey to understand where these other “Jennifer” films came from. The journey leads to a discovery about the films she could never have imagined, and she realizes her participation has put her life, and the lives of her friends, in real danger. A danger they have to endure, whether by choice or not … if they want to make a good horror movie.
Lanett Tachel, Rich Finley and Nick Kekeris also star in the film. Nick Kekeris, James Cullen Bressack, Hunter Johnson and Frank Merle produce.
More than 20 years since Will & Grace first graced our TV screens, it’s time to bid farewell once more to your favourite foursome this Friday when the series finale premieres exclusively on Stan.
One of the most beloved and groundbreaking comedy series of all time, in the season finale episode, “It’s Time,” with the apartment packed up, Will (Eric McCormack) is determined to not reminisce about his life in the city or his ex, McCoy (guest star Matt Bomer). Grace (Debra Messing), on the verge of giving birth, keeps having false alarms of going into labour. At the behest of Stan, Karen (Megan Mullally) goes to the top of the Statue of Liberty to get closure with her ex-husband. Jack’s (Sean Hayes) dream of taking a bow on a Broadway stage becomes a very real possibility. Minnie Driver and Brian Jordan Alvarez also guest star.
Will & Grace ran for eight seasons from 1998 to 2006 and was rebooted in 2017, having a 246-episode run over two decades. It scored 91 Emmy Award nominations, 18 Emmy wins (including outstanding comedy series), and seven SAG Awards. The show is also one of the few in television history where each cast member has won an Emmy Award.
Eric McCormack: “We’ve done certain episodes that while they’re very much about right now, they will withstand the text of time. I have a greater appreciation of how great a job this is, so in some ways it’s harder to say goodbye this time.”
Sean Hayes: “All I feel is gratitude to the writers, to my peers, to the fans.”
Debra Messing: “To be able to make people laugh and think and feel, that’s the trifecta. This is a family with a history. No question there’s going to be tears on that last night.”
Megan Mullally: “To have a job doing a show that people liked so much, that’s amazing.”
The finale will premiere on Stan at 3pm this Friday, 24 April. All previous episodes of the award-winning series, including the return seasons, are available to stream now.
The final episode of Will & Grace premieres 3pm Friday 24 April only on Stan – the same day as the US.
Passion River Films has acquired worldwide rights to Jorgy Cruz’s debut feature “Funny Pains.” The feature documentary features Nikki Glaser, whose recent Netflix stand-up comedy special “Bangin” made the NY Times’ Best Comedy Specials on Netflix list. Jim Norton, another comic with real estate on Netflix with his special “Mouthful of Shame,” is also featured. Hot comediansBonnie McFarlane, Andrew Shultz, Yamaneika Saunders, Krystyna Hutchinson, Rich Vos and Mehran Khaghani,who also have specials released on Netflix, Comedy Central, YouTube and other platforms, round out this elite cast of working comics. Krystyna Hutchinson, co-host of the popular feminist podcast “Guys We F’d” served as executive producer, along with Pablo Minier, TahuantyPena, and Daria Scoccimarro.
“Funny Pains” follows stand-up comedian Wendi Starling, whose career, working process and life areclosely examined in the film, as she navigates one of the entertainment’s toughest, most competitive professions – all during the height of the #MeToo movement, feminism, and the infiltration of stand-up comedy by the politically correct. Above all else, the film delves into serious issues of sexual assault and mental health, with Starling revealing her not-so-private personal traumas.
The deal was negotiated by Hewes Pictures’ head of sales and acquisitions Princeton Holt and Passion River’s Director of Sales and Acquisitions Mat Levy, after talks that first began at EFM 2020 in Berlin. About “Funny Pains”, Levy said “We are very proud and honored to release ‘Funny Pains’ and help share Wendi’s brave narrative with the world. Wendi’s story is one of risk and determination, ironically the very essence of great independent cinema. We are confident that you will fall in love with Wendi and be inspired by her bold journey as much as we were. And above all else, we promise you that you will LAUGH!”
Director Jorgy Cruz added, “’Funny Pains’ is a two-part love letter to NYC and to stand-up comedy; both which I love, respect and owe a lot to. Having the support and representation of the superb team at Hewes Pictures made all the difference. They’re one of the main reasons why we are now ready to share our movie with the world on all platforms. I’m grateful and humble.”
Passion River is gearing up for a second quarter 2020 release date.
It is like a match made in heaven. One of the world’s most exciting cult filmmakers teaming up with one of Hollywood’s most under-rated leading men to make a film that is guaranteed to become a cult classic. For Ant Timpson the last few years has seen him re-invigorate the cult film scene working as a producer on films like The ABCs Of Death, Deathgasm and The Greasy Strangler. Now he steps into the director’s seat to direct Elijah Wood in the stunning new thriller Come To Daddy.
“This film really is by baby along with the writer Toby Harvard,” says Timpson laughing when we first begin to talk about the film. “I had worked with him before on a film called The Greasy Strangler so we kind of met through that process and kicked off a friendship and then after my Dad carked it in front of me that was kind of the whole creation of Come To Daddy.”
“So I got in touch with him and said I had this skeleton idea for a film that I want to make,” he goes onto explain. “My Dad’s passing really gave me a kick in the ass. I was really staring mortality in the face and I started to think about what kind of filmmaker I was and wanted to be. My life had taken a completely different path and I had ended up producing other people’s films and I had really gotten busy with a lot of different projects so I ended up taking this to Toby and he ended up writing a draft from there. So it started from an idea I had and then I saw it right through to completion.”
Hearing that leads me to ask Thompson how he found writing about something so personal when some filmmakers find they just can’t put pen to paper when the story is so close to home. “That actually happened to me when I set about doing another project when my mother passed,” he tells me. “That had the reverse effect on me to what this one did. That kind of put me off making anything, but this had completely the opposite effect, this re-energised me and made me want to be far more creative. This time I wanted to be at the helm and do more directing than producing. It was really a case of shit or get off the pot and once I knew I was going to frame it within a genre framework. That was something I felt a lot more comfortable with and it wasn’t going to end up being some morbidly depressing drama about the death of my father then I felt a lot more confident about it and a lot more positive about the whole experience.”
“I didn’t want to put too much weight on him as a man,” says Timpson referring to his father. “But I knew this is something that he would have dug as a viewer, but I knew this would be something that other viewers would dig as well. My whole family have kind of a gallows sense of humour around tragic things – making jokes at the worst possible time so that is kind of the atmosphere that I grew up in – dealing with death was not kind of contemplated it was more about cracking one liners. There is a lot of my background in this when it comes to approaching the subject of death.”
One of the biggest drawcards for this film is Elijah Wood who has been making a name for himself away from blockbusters over the past few years with amazing performances in Cooties, Set Fire To The Stars and the US production of Winifred. It turns out it wasn’t that hard for Thompson to get Wood involved in Come To Daddy.
“I’m good friends with Elijah,” explains Timpson. “That helped obviously. But we had also worked together professionally on The Greasy Strangler, but I had known Elijah for a long time. We had hung out and we had mutual friends in New Zealand also in Austin, Texas where he has his set-up as well. So it was quite easy to approach him and pitch it him, and then when Toby and I were working on the script he was always in the back of our minds and we found ourselves saying quite often ‘wouldn’t it be amazing if Elijah said yes to this.’”
“It felt like that because the character was kind of a really detested person – a white, millennial, rich LA douche bag, hipster, DJ – it was how are we going to get the audience to have an empathy for this character otherwise they would just tune out. But I always knew that Elijah had that inherent likable beneath whatever veneer he is going to put on. There would be some way that he would find a way to make the character really human and really fully-fleshed so people could get behind his journey. It was just so exciting when he came on board because then everything just picked up into a high gear after that.”
Come To Daddy is available on streaming platforms now.
Summary: Sabina Wilson (Kristen Stewart), Elena Houghlin (Naomi Scott), and Jane Kano (Ella Balinska) are working for the mysterious Charles Townsend (Robert Clotworthy), whose security and investigative agency has expanded internationally. With the world’s smartest, bravest, and most highly trained women all over the globe, there are now teams of Angels guided by multiple Bosleys taking on the toughest jobs everywhere.
Australian Cinema Release Date: 14th November 2019
Thailand Cinema Release Date: 2nd December 2019
Australian DVD Release Date: 11th March 2020
Country: United States
Director: Elisabeth Banks
Screenwriter: Elisabeth Banks, David Auburn (story), Evan Spiliotopoulos
Cast: Ella Balinska (Jane Kano), Elisabeth Banks (Bosley), Batur Belirdi (Bettor), Noah Centineo (Langston), Sam Clafin (Alexander Brock), Robert Clotworthy (Charlie (voice)), Anna Drexler (Susan Olson), Nat Faxon (Peter Fleming), Frank Ferruccio (Detective Flynn), Hannah Hoekstra (Ingrid), Djimon Housou (Edgar Bosley), Jiana (Jane Kano), Emre Kentmengolu (Prince Alim Hassan), Sebastian Kroehnert (Sven Ludwig), Robert Maaser (Big Man), Luis Gerardo Mendez (Saint), Chris Pang (Jonny Smith), Murali Perumal (Pradeep Prasad), Andreas Schroders (The Accountant), Naomi Scott (Elena Houghlin), David Schutter (Ralph), Marie-Lou Sellem (Fatima Ahmed), Jaclyn Smith (Kelly Garrett), Kristen Stewart (Sabina Wilson), Patrick Stewart (John Bosley), Jonathan Tucker (Hodak), Franz Xaver Zach (Watchmaker Schmidt)
Running Time: 118 mins
Classification: M (Australia) 13 (Thailand)
OUR CHARLIE’S ANGELS REVIEWS & RATINGS:
Dave Griffiths Review:
We were promised one of the biggest blockbusters of the year, what we got was a C-Grade action flick that didn’t even register a blip at the box office. That really is the only kind way to describe the Charlie’s Angels reboot.
Of course by now you have probably heard the many varied excuses that have been offered up trying to explain why Charlie’s Angels has struggled so badly at the box office. The reason, according to the film’s director, Elizabeth Banks, is that sexism is still rife in Hollywood. But if that were the case then why was the original Charlie’s Angels films such a success and why have films like Tomb Raider, Salt, The Hunger Games etc not suffered the same fate? No, the reason why this film failed so badly is simple – it is a bad film that doesn’t live up to its potential and it suffers from a serious lack of star power.
Plot-wise Charlie’s Angels sees a gifted young scientist, Elena Houghlin (Naomi Scott), help create a device that could be the answer to the Earth’s energy crisis. However, when she learns that it can easily be used as a deadly weapon but it still made public by the corporation she works for she turns to Charlie’s Agency to try and contain the weapon.
Led by Bosley (Elizabeth Banks) Jane Kano (Ella Balinska) and Sabina Wilson (Kristen Stewart) embark on a mission that sees them have to take on a highly skilled assassin know as Hodak (Jonathan Tucker) who is determined to get the weapon into the hands of his employer.
What sounds like a pretty basic synopsis actually turns quite convoluted and is perhaps step one to why so many of the traditional Charlie’s Angels fans have turned their back on this film. The small agency with three angels has now turned into a worldwide agency with a seemingly endless supply of angels and if that doesn’t remove things too far from the original concept the audience is then introduced to an army of Bosleys (mostly notably played by Banks, Patrick Stewart and Djimon Hounsou) within the first five minutes of the film. This worldwide agency idea didn’t work for the last offering in the Men In Black franchise and again doesn’t work here.
Like its plot overload the film is also dangerously let down by its action sequences. What should be straightforward fight and chase sequences look cumbersome and amateurish here. A surprise considering that while Elizabeth Banks has never shot action before her cinematographer Bill Pope has worked on films such as The Matrix and Spider-Man 2 and should have been able to make the film look a lot better than this.
The one saving grace for the film was Kristen Stewart. She may have been let down by a poor script and bad action sequences but she still manages to shine with great charisma and a quick wit which at times is the only thing that makes the film watchable. Still, even her performance couldn’t match the star-power of Cameron Diaz, Drew Barrymore and Lucy Liu like the film’s predecessor had.
With very little star push and a script that made it seem C-Grade Charlie’s Angels seems like it was doomed before it even left the studio floor. Ladies and gentlemen I think we just found this year’s Golden Razzie winner.
Average Subculture Rating:
Other Subculture Entertainment Charlie’s Angels Reviews:
Stan today announced it has joined forces with some of Australia’s top comedians to bring you some much-needed laughs, with the brand new Stan Original Australian Lockdown Comedy Festival.
Fans will see some of their favourite comedians perform material from their planned 2020 shows. And like most Aussies right now, they will speak to us from their kitchens, lounges, bedrooms and perhaps even their bathrooms – because let’s face it, there’s nothing funnier than toilet humour.
Filming will take into consideration all current health measures – including comedians setting up and operating their own cameras, with a director on hand via video conferencing.
Created by Stan and Guesswork Television, the Australian Lockdown Comedy Festival is a brand-new series which will showcase comedians like Wil Anderson, Cal Wilson, Nazeem Hussain, Dave Hughes, Zoe Coombs Marr, Tommy Little, Geraldine Hickey, Dilruk Jayasinha, Steph Tisdell, Aaron Chen, Sam Campbell, Michelle Brasier, Nath Valvo and more to be announced soon.
The Stan original series has been announced as a direct result of the unfortunate cancellation of many of Australia’s most-loved comedy festivals and tours, including the Melbourne International Comedy Festival and Sydney Comedy Festival. So many comedians have worked tirelessly on their 2020 shows – and have so much to say to make us laugh – but no stages to stand on. Not only have the cancellations impacted heavily on local comedians, they have also been felt by hard-working Australians who operate behind the scenes, and on the most important people at comedy shows – the audiences.
Stan’s Chief Content Officer, Nick Forward, said: “The brand-new Stan Original Australian Lockdown Comedy Festival will bring together some of our brightest talent, both in front and behind the camera, joining our already established One Night Stan Comedy Specials to bring some much-needed laughter to the nation.”
Guesswork TV’s Kevin Whyte said: “For those in the comedy community a year without the Melbourne Comedy Festival is unimaginable – the festival bubble is our native habitat. This partnership with Stan gives the comedians a chance to share a bit of what they were cooking and get some support to cover the huge hole in their calendar.”
Wil Anderson said: “Thanks to Stan for their support of Australian comedy during this time – at least when I tell a joke at this gig and no one laughs I will know it is because I am responsibly socially isolating.”
Festival Director, Melbourne International Comedy Festival, Susan Provan AO, said: “Hundreds of comedians worked hard to create brand new shows for their hundreds of thousands of fans to enjoy during the comedy festival season , but artists and audiences never got the chance to laugh in the same room! The Australian Lockdown Comedy Festival goes a long way to fill the gap with an eclectic mix of fantastic current comedy streamed straight to lounge rooms right across Australia.”
Details on the premiere date and full line up of comedians taking part to be announced soon.
The Australian Lockdown Comedy Festival is coming soon, only on Stan.
In Red Rover, coming to digital this May, after feeling he has nothing left to live for on earth, a lonely geologist tries to qualify for a one-way mission to Mars with the help of an offbeat musician who is just as lost as he is.
From director Shane Belcourt, and starring Kristian Bruun (Ready or Not), Cara Gee (The Expanse), Meghan Heffern (“Wynonna Earp”), and Anna Hopkins (“The Expanse”), Red Rover premieres On Demand May 12 from Indiecan Entertainment.
Damon (Kristian Bruun) spends his waking hours searching for that elusive something. Whether it’s for deeper meaning, love, or just “treasure” on the beach with his metal detector, but to no avail. So when Damon meets an offbeat musician named Phoebe (Cara Gee) handing out flyers for a one way trip to Mars, a bond quickly forms. She’s going to help him find that thing he is looking for by sending him 33.9 million miles away, even though what he needs might be right in front of him.
Giant Pictures has announced the long-awaited Digital HD launch of writer/director Michael Reich’s semi-autobiographical experimental comedy She’s Allergic to Cats. She’s Allergic to Cats will be available to rent or own April 7th on Amazon Prime Video and iTunes.
She’s Allergic to Cats is the debut feature from music video director Michael Reich. The film is based in large part on his own experiences of life in Los Angeles. Reich spent years grooming dogs, documenting the underground punk scene, directing music videos for My Chemical Romance, The Shins, Bad Religion and Ryan Adams, as well as appearing as a body double for the gold robot in Daft Punk. The film was produced by his longtime collaborator turned lead actor Mike Pinkney and veteran genre producer Andrew van den Houten (The Ranger, Sadistic Intentions). She’s Allergic to Cats co-stars Sonja Kinski (latest member of the Kinski acting dynasty) and Flula Borg (“Conan”, James Gunn’s The Suicide Squad.
Mike Pinkney stars as Michael Pinkney, a stifled creative artist eeking out a living in Hollywood as a dog groomer. When the girl of his dreams (Sonja Kinski) walks into his shop, he falls down a rabbit hole filled with surrealist detours and melancholic absurdity. She’s Allergic to Cats had its world premiere at the Fantasia International Film Festival, where the festival’s co-director Mitch Davis hailed it as an intoxicatingly insane breath-of-fresh-air. The film went on to screen around the world at the Oldenburg International Film Festival, Vienna’s /slash Filmfestival, Sydney Underground Film Festival, GenreBlast, WhatTheFilm Fest, and Ithaca Fantastik, where it took home the award for Best Film.
Stantoday announced the four-time Oscar® winning black-comedy thriller Parasite will be available to stream in 4K on Stan from Easter Saturday, 11 April, months ahead of its intended streaming release.
Nick Forward, Chief Content Officer at Stan, said: “Just two months after its historic Best Picture Oscar win, Stan is pleased to be making this acclaimed masterpiece from South Korean director Bong Joon-ho available early to all Stan subscribers this Easter.”
Winner of four Academy Awards® including Best Picture and Best Director, and the Palme d’Or (Best Film award) at the Cannes Film Festival – this family tragicomedy is the latest masterpiece from director Bong Joon-ho (Snowpiercer) and confirms his position as one of the world’s most inventive and captivating filmmakers.
Ki-taek’s family of four is close, but all are unemployed and the future looks bleak. However, when his son, Ki-woo is recommended by a fellow university student friend for a well-paid tutoring job, hope spawns for a regular income. Carrying the expectations of the family, Ki-woo arrives at the house of Mr. Park, the owner of a global IT firm, where he meets Yeon-kyo, the young lady of the house. The job interview is a success and soon Ki-woo begins work. But very soon, following this first meeting between the two families, an unstoppable string of mishaps lies in wait…
Parasite will be available to stream on Stan from Easter Saturday, 11 April.