Bridesmaids

This Week in DVD

Welcome back to another jammed to the gills edition of This Week In DVD! Once again there’s a lot to love hitting shelves today including new movies like Bridesmaids and Bride Flight, TV on DVD releases like Modern Family, Castle, and Happy Endings, a new Bruce Willis movie that never saw the inside of a theater, and even a few re-issues of older movies you may never have heard of before… like the one starring a young Charlie Sheen as a mass murdering punk from the Midwest. As always, if you see something you like, click on the image to buy it. HitRECord Recollection Volume 1 Joseph Gordon-Levitt is well known and well liked as an actor from TV and films like Third Rock From the Sun and 500 Days of Summer, but he’s interested in more than just a life in front of the camera. HitRECord.org is his web-centered creation that sees projects small and smaller develop from the ground up as collaborative efforts with friends and strangers alike. Everything submitted is up for remix and recreation. One person’s short story can see pictures, animation, voice-overs, a score, and more added by any number of people. It’s an intriguing concept, and while some of the end results have premiered at Sundance and SXSW, this collection is the first retail release. The book itself is very McSweeney’s-ish, which is awesome, and includes a wraparound half-sleeve, creative text and artwork, a CD, and a DVD of short films, videos, and more. […]

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Drinking Games

It was one of the uproarious, raunchiest and most beloved comedies of the summer. No, we’re not talking about The Hangover: Part II. We’re talking about the ultimate women’s lib movie, Bridesmaids, which showed that beautiful ladies can burp, fart and poop on screen just like the men can. The DVD and Blu-ray of Bridesmaids drops today, complete with an unrated version of the film, so now you can invite your mom, grandmother and aunt over for a maid of honor toast with your favorite beverage and enjoy the movie again.

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There’s not a single mean-spirited bone in Paul Feig‘s Bridesmaids. This is a rare comedy, in the sense of how sweet and clearly in love the director and cast are with its characters. This is a film about genuinely good people who make terrible, but understandable, mistakes. Whenever the tone skirts towards taking a mean turn, Feig reverts back to honesty and realism. The writer-director is no stranger to that type of grounded comedy; just look at his cult classic show Freaks and Geeks. The only character that many will find despicable is one: Ted (played by Jon Hamm). Ted is that moronic jock who thinks he can take and have whatever he wants. Nearly every other line he says reeks of an idiot, and yet he’s still oddly likable. Someone so narcissistic should never be this charming. Here’s what the friendly and talkative Paul Feig had to say about mean-spirited comedy, shooting comedic sex, and having characters talk like real people:

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Labor Day marks the end of summer, and like every other year the online bitching and moaning about how bad of a summer it was at the movies has already begun. Twenty-one rejects got together for our bi-weekly bake sale/FSR office cleaning day, and we got to thinking. That’s just bullshit. Because there were actually some surprisingly solid and entertaining movies that hit theaters over the past four months. From comic book heroes that soared above the competition, to legendary directors who returned with their best work in decades, to R-rated comedies that made us wet ourselves, to prequels that proved going backwards can sometimes be a genius move, this summer offered up plenty of bang for the buck. So we each jotted down our five favorite films of the summer, assigned a point value to each rank (5 pts for 1st, 4 pts for 2nd, etc), and fed the raw data into our Commodore Vic-20 office computer. It finished processing eighteen hours later, and we ended up with the results below. So screw the haters… let’s embrace the movies that made us laugh, gasp, applaud, and sit up and take notice this past summer. Here are FSR’s Favorite Movies of Summer 2011!

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Since her hilarious, Guy Fieri-inspired turn in Bridesmaids, Melissa McCarthy has been flooded with praise (including an Emmy nomination for Mike & Molly) and offers for new work (including a part in Judd Apatow’s next and a role written for her by Bridesmaids helmer Paul Feig), along with selling a pitch to Paramount with Bridesmaids scribe Annie Mumolo. If that wasn’t impressive enough, McCarthy’s work in the summer smash was apparently enough to get Jason Bateman to flip the script on his next film, ID Theft. Bateman will star in and produce the film, which gave him the clout to ask that the script (from Steve Conrad with a rewrite by Craig Mazin) be tweaked to focus on a male lead and a female lead, not the dueling males it first called for. Bateman will star as a guy who gets his identity stolen by McCarthy’s character. Bateman reportedly asked not only that the sex-changing rewrite happen, but that it happen specifically for McCarthy to take the role. We can only guess that Bateman will play a hapless everyman who gets his identity jacked by McCarthy’s thief, which sounds like a battle of the wide-eyed goofball titans, and the only way that identity theft could ever be even somewhat amusing. The film is set to start filming in April of next year when McCarthy’s Mike & Molly is on hiatus. [Deadline Scottsdale]

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Fresh off of her head turning performance in this year’s breakout comedy hit Bridesmaids Melissa McCarthy is riding her momentum right into the next Judd Apatow movie. The new film is a revisiting of Paul Rudd and Leslie Mann’s married couple from Knocked Up that was once and may still be titled This is Forty. McCarthy is said to be playing the mother of a child that attends the same school Rudd and Mann’s children do, and her kid is going to be played by Super 8’s Ryan Lee. There aren’t any more details than that, but I’m guessing that her character will also be loud and mouthy. Gotta dance with the one who brought you. Despite the fact that she was the big revelation of Bridesmaids, and she’s got a bunch of film offers coming her way, McCarthy is still one of the stars of the CBS sitcom Mike & Molly. Probably she’s going to need to get out of that deal, because while I haven’t actually seen it, I hear that show is pretty atrocious. We can’t be having a big network anchor tied around our neck when that Apatow money starts rolling in, know what I mean? I say we start a free Melissa McCarthy petition. [THR]

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Not only has director Paul Feig’s latest film Bridesmaids been both a critical and financial success, it has also started a lot of talk about women’s place in the film world and how their potential to bring in big box office dollars hasn’t ever been fully exploited. Now that Bridesmaids has pulled in $189 million worldwide, will it mark the beginning of a huge trend where movies aimed at women are given the chance to be released with big budgets and huge marketing campaigns on par with the latest things-blow-up-real-loud movies? Only if Hollywood plays it right and chooses the perfect projects to put out as Bridesmaids follow-ups. And right now they’re playing the situation exactly the same way they always do; by taking a new thing and trying to shoe horn it into something they already know. What does that mean in concrete terms? It means that they are looking for a new film to aim at women, so instead of looking for original scripts that might appeal to women they’re trying to rekindle success from the past. It means they’re going to make a new Bridget Jones movie. And they’re even trying to get Paul Feig to direct it. Do you see the logic here? Bridget Jones’ Diary made a lot of money with women, Paul Feig made a lot of money with women, put them together and you get double money! Do you ever get the feeling that you could be a Hollywood executive, no problem? I […]

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What is Movie News After Dark? It’s a nightly entertainment news column that doesn’t usually participate in such overt misogyny. However, in a week that has inundated us with more Michael Bayhem than the world was built to handle, it would like to take out its man card, flop it down on the table like a wet fish and display it to the world. Yes, this is about to get sexual. And no, it will not last long. That’s just how any good late-nite movie news linkdump rolls. It’s a slow news night. Allow me to illustrate right off the bat: Tonight’s lead story is about Brooklyn Decker, model-turned-actress and all-around attractive human being who has been cast in What to Expect When You’re Expecting alongside Cameron Diaz and Jennifer Lopez. Chris Rock will also star. The only thing about this story that I find interesting is the image above, which has less to do with a movie based on a pregnancy self-help book and more to do with reasons why anyone would want to make Brooklyn Decker pregnant in the first place. I think we all still win.

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The Reject Report

And around and around it goes. Kind of like the box office. It comes and goes, and sometimes you look around and wonder what exactly is changing? Well, the movies are getting bigger. The animation is getting slicker. And the sequels are starting to take over. They’ve even got PIXAR in their grubby claws this weekend. Cars 2 is the big Summer movie, the likeliest candidate to the the top spot, but where will it rank among the rest of Pixar’s slate? Does Bad Teacher have a shot at a big opening? Is Ryan Reynolds still flying around space or did he get eaten by the Super 8 monster? Okay, that last question probably won’t be broached, but we’ll hit on everything else in this week’s Reject Report.

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The Reject Report

In darkened theaters… In brightest lobbies… Yeah, I’m not finishing that. Instead I’m looking forward at what’s in those darkened theaters this weekend. We have Green Lantern. We have Mr. Popper’s Penguins. We also have the returning Super 8 looking to hold onto that nostalgia for one more weekend. One of these is sure to come out on top of the heap. The other two will be submerged into a vat of self-pity. Unless the winner is the penguin movie. Then all three films as well as American audiences should really take a hard look in the mirror and gauge their worth. But I’m not judging. It’s the Reject Report, and no evil shall escape our site. Lame.

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What is Movie News After Dark? It’s usually a rather tame and family friendly nightly column that rounds up all the best and most interesting news and views from the world of film. It’s worth noting, as it doesn’t always lead with headlines about Anne Hathaway’s rear end. It’s usually something Doctor Who or Michael Bay related. Pick your poison, I suppose. This will likely go down as the dumbest lead story I’ve ever run in MNAD, but the Sunday edition works on the conceit that movie news happens over the weekend. Spoiler: movie news doesn’t usually happen over the weekend, so we’re doing our best. Also, do you really have a problem talking about Anne Hathaway’s ass? Apparently the tightness of her costume and aggressiveness of her stunt work on the set of The Dark Knight Rises has given other cast and crew a unique view of her hind-quarters. There’s something news-worthy in that, I’m sure of it.

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The Reject Report

Oh, yeah. It’s a verb now. It’s not easy for anyone to open a period piece with no A-list names and the only brand loyalty coming in the form of its director and producer. It’s even difficult for J.J. Abrams and Steven Spielberg, which would indicate why Super 8 underperformed in its opening weekend. Don’t get me wrong. $37m is a great opening. When you consider the sci-fi/family drama/coming of age story reportedly cost $50m, that $37m seems even more impressive. Analysts, myself included, were estimating in the $45-55m range, and much of that stemmed from Spielberg and Abrams, who is directing his first film that isn’t part of a large franchise with this one. We obviously overshot the estimate, but maybe some of us just wanted the film to perform better.

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The Reject Report

Imagine Brad Pitt standing on a desolate road holding a gun on director J.J. Abrams. Sitting in front of Abrams is the mystery box, that figurative enclosure in which Abrams stores the secrets of his latest project. Brad Pitt screams a phrase we haven’t heard him scream since 1995, and as Abrams reaches into the box to reveal what’s inside (hint: it’s not Gwyneth Paltrow’s head), a shot rings out. Abrams drops dead, but it isn’t Pitt’s gun that fired. It’s Judy Moody who is standing behind Pitt and who, as of now, is NOT having a bummer summer. Yeah, yeah, yeah, it’s a lame story with a stupid ending. You try writing these intros out every week. Let’s get to the number, okay?

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The Reject Report

Could have been a B-. Maybe even a C+. The point being X-Men: First Class rose to a somewhat acceptable occasion, about what was expected. Especially by analysts who realized the film wasn’t being backed by Hugh Jackman, the first time in the franchise, and was comprised of an entirely new cast. Add into that mix the idea that X-Men: The Last Stand and X-Men Origins: Wolverine were both such colossal disappointments, and it seems X-Men: First Class did rather well despite all it has going against it. It still opened larger than 2000’s original X-Men, but the film still came in fourth among the franchise’s debuts.

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The Reject Report

And I hope they’re teaching math. But this class is probably more about learning skills like flinging energy beams from your eyes or learning how to hone you telekinetic abilities. I kind of wish I had some of those right now. That way I’d know exactly how many audience members will be attending X-Men: First Class this weekend, and my numbers will be a bit more accurate than they were this time last week. Thanks a lot, Kung Fu Panda 2. Regardless, it seems pretty evident First Class will come in #1 this weekend, as it opens unopposed. That is, if you consider the gargantuan second weekend Hangover Part II is likely to have. Still, I’m sticking with my guns. First Class all the way, but its debut might not be as astonishing as some would hope. Let’s look into that more right now.

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Let’s just get this out of the way. I was wrong. The Hangover Part II came out with a fury last Thursday and not only took the weekend with minimal effort but shook up some rankings on some very important records books. Upon its release it had already taken the #1 spot on the widest R-rated opening ever with 3615 screens under its belt (FYI, the previous record-holder for that was Watchmen with 3611 screens). While The Hangover Part II wouldn’t take the top for any other records beyond the size of its release, it would certainly reorganize some notable lists.

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What is Movie News After Dark? It’s a nightly movie news column that often sits around in its best lingerie a little too much. Like Emma Frost in the new X-Men film, it loves walking around in its skivvies. However, unlike Ms. Frost and her lovely attire, it does not receive a positive response. It’s okay, because this movie news column is not a real thing. It’s just an object. We begin tonight with a scantly glad, hollow-gazing January Jones lounging around in Matthew Vaughn’s uber-stylish X-Men: First Class. What I find interesting about Jones is that whether she’s about to turn into a woman with diamond-coated skin or she’s waiting for Don Draper to come home from a night of whoring around, it’s the same facial expression. That’s consistency.

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There’s no point in parsing words here. A lot of the advertising for Bridesmaids was lying to its audience. What was labeled as a “Female Hangover” with tons of laugh-out-loud, raucous, wacky, hilarious, raunchy, you-won’t-believe-that-women-fart humor turned out to be a thoughtful, slightly depressing character breakdown interspersed with some truly outrageous (Jem would be proud) moments. Misleading advertising is a menace. It’s craven in its attempt to trick people into buying tickets they wouldn’t normally buy, and it’s usually deployed to hide a lack of quality. That’s something all movie fans are all too aware of. However, with Bridesmaids, the false advertising actually proves one universal benefit that either didn’t exist before or hasn’t been celebrated as widely as it needs to be.

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The Reject Report

They set sail. They walked the plank. They scuttled some…things you might scuttle. And in the end, whether it lived up to expectations of analysts or the openings for the previous two films, Pirates of the Caribbean: On stranger Tides ripped into theaters with an impressive debut. Unlike Dead Man’s Chest or At World’s End, this fourth entry in the Disney franchise didn’t smash any records, but it ranked fairly well on charts such as biggest May opening and biggest opening day gross. Where On Stranger Tides goes from here is curious. The film ended up costing a reported $250 million despite Disney’s claims they were “cutting back” on the visual grandeur and overall budget. Regardless, the film has already punched out $346.4 million in worldwide ticket sales, so the future seems to be in order for Captain Jack Sparrow to return for Pirates 5.

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The above headline is a direct quote from direct Paul Feig when Vulture asked him about the possibility of a sequel. Thus, it seems like creatively, he’s on board, but it remains to be seen if the business end of things will give him and the cast an opportunity. Personally, Bridesmaids 2: This Time It’s Personal would make a much better sequel than, say, 28 Dresses so that’s a bonus. There’s no real news here, but it’s important to note when a director is so in love with his cast that he’d want to see them come together again, especially when the distinction is actually warranted. Melissa McCarthy, who stole most of the scenes she was in, shared his enthusiasm, saying, “I will show up wherever these guys tell me to go. If it’s a play in their backyard, I will gladly do it. I’ll do kids’ parties for them, I’ll do bar mitzvahs; I’m in.” Hopefully Bridesmaids 2 will hit theaters and not just someone’s backyard in Hollywood.

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published: 12.17.2014
B+
published: 12.15.2014
B
published: 12.12.2014
D+
published: 12.05.2014
C+


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