And, here, we have film whose director might be the only source of interest for yours truly. Variety reports that Paul Feig (Bridesmaids) has, somehow, added yet another job to his busy slate, having signed to direct a currently-untitled buddy cop comedy for 20th Century Fox — one that, in the process, will reunite him with Melissa McCarthy and see him work with Sandra Bullock.
The film, written by Parks & Recreation staffer Katie Dippold, revolves around the high-wire dynamic between two members of the law: “a high-strung FBI agent (Bullock) and an unconventional Boston cop (McCarthy),” both of whom must put their differences aside to capture and prosecute a Russian gangster. It all sounds very sitcom-y — which, to be entirely unfair, could coincide with the writing credit — which makes it worth repeating that I, personally, am merely interested because a talented, comedically well-tuned director is doing the legwork.
Chernin Entertainment are producing the film, which should begin production after Feig completes shooting on the Colin Firth-led Untouchable, a remake of this year’s acclaimed French drama The Intouchables.
What are your thoughts on the project as a whole? Does this lineup generate any interest?
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 […]
Latest posts from Beats Per Minute