She’s had huge success with The Office, but Jenna Fischer has yet to break out with feature films in any major way. Sticking with mostly comedies (Blade of Glory, Walk Hard, Hall Pass), the actress will add another smaller indie to her belt with The Giant Mechanical Man. Written and directed by her husband Lee Kirk the film pulls together an impressive cast including Chris Messina, Topher Grace, Malin Akerman, Rich Sommer, Lucy Punch and Bob Odenkirk.
We’ve got the first trailer today for the film making its debut at Tribeca and it just looks a bit too predictable for my tastes. I like much of the ensemble, but this seems to fall into trappings of generic independent films with two strangers learning about life through each other while off-kilter friends chime in. Check out the trailer below via Yahoo and let us know your thoughts.
Thirtysomethings Janice (Jenna Fischer) and Tim (Chris Messina) haven’t quite learned how to navigate adulthood. Tim is a street performer whose unique talents as a “living statue” don’t exactly pay the bills. Janice is out of work and under pressure by her sister (Malin Akerman) to date an egotistical self-help guru (Topher Grace). In this charming comedic romance, these two strangers help each other to realize that it only takes one person to make you feel important.
The Giant Mechanical Man premieres at Tribeca Film Festival on April 23rd.
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 […]
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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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