Though he’s still a newcomer to the business, Narnia’s Will Poulter is still making waves, having just been cast alongside Jennifer Aniston and Jason Sudeikis in the pot comedy We’re the Millers.
The film stars Sudeikis as a “a veteran pot dealer who creates a fake family as part of his plan to move a huge shipment of weed into the U.S. from Mexico.” Aniston will play the the hooker pretending to be his wife while 19-year-old Poulter, who played the rambunctious yet good-hearted Eustace Scrubb in The Chronicles of Narnia: The Voyage of the Dawn Treader, will star as Kenny, a teenager who Sudeikis’ character pretends is his son. Poulter, whose last film was the Dexter Fletcher-directed indie drama Wild Bill, will begin shooting Millers on July 18.
Rawson Thurber (Dodgeball) directs the New Line comedy using a script by Steve Faber (Wedding Crashers) and Dan Fybel (The Sarah Silverman Program). Ed Helms is also set to star with Tucker Tooley, Vincent Newman, Happy Walters, and David Heyman as producers on the project. [Deadline]
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not […]
In the case of evaluating David Cronenberg, — or at least forming the sort of career narrative seemingly essential to auteurist analysis — it’s inevitable to propose something of a rupture within his oeuvre: the very evident graduation from grindhouse to arthouse, and, with it, an ascension from body to mind. What dictated these labels […]
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. If we were provided screener copies, we’ll have our own write-up, but if that’s not the case, one can find official descriptions from the distributors. Check out […]
Writing about the films of Robert Bresson usually begins by informing reader that his films must be discussed through a trance of hushed tones and quiet veneration. There is no room for rushed judgement or quick-witted observations; Bresson makes Serious Art, as opposed to Hollywood directors who do not. There are the key phrases to […]
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