Josh Boone

Katie Holmes in Thank You For Smoking

Joey Potter, if there was any doubt you’d make it out of the Creek and make it big, that’s rightly been shattered. Katie Holmes is continuing her streak of pushing haters to the left and taking on unique, out-of-character projects by tackling her directorial debut with All We Had. Variety reports the drama, also a starring vehicle for Holmes, is an adaptation of the recently released Annie Weatherwax novel of the same name, scripted by Josh Boone. Boone’s name may sound familiar, as he just directed the self-refilling teenage pond of tears and despair called The Fault in Our Stars last spring. This means he has ample experience in dealing with misery and emotional mayhem, which will bode well in writing the movie — it’s a story centered upon a mother and her 13-year-old daughter who are struggling to hold their heads above water and escape poverty.


The Fault In Our Stars

Late last night, as you were attempting to watch Mad Men or Game of Thrones, or file your taxes at the last minute, you might have heard an eerie howling carried in the wind through your open window, making you pause for a minute and consider the possibility of something terrible afoot. Nope, it was just the sound of thousands of teens simultaneously freaking out while watching the MTV Movie Awards — the first clip from The Fault In Our Stars was released during the broadcast, and it was positively swoon-worthy. Stars is the highly anticipated adapatation of the YA novel by John Green that has a near cult-like following at this point by teens and younger readers. The story follows Hazel Grace Lancaster (Shailene Woodley), a sixteen-year-old girl suffering from cancer whose parents make her attend a support group meeting for young patients. There she meets Augustus Waters (Ansel Elgort), an ex-basketball player whose beaten bout with osteosarcoma cost him his leg in the process. The two strike up a friendship over their unfortunate bond, as well as their passion for books, and as these things happen, they begin to fall for each other as well.


The Stand

Great cultural contributions are not fluid. A classic book does not need to automatically be turned into a feature film. A stirring song does not need to be adapted for a TV theme song. A beloved miniseries does not need to be turned into a comic book. Some things are just good as is, on their own, and in their original form. Such is the case with Stephen King’s “The Stand,” which continues to be forcibly pushed through the Hollywood studio system in an attempt to make the 1100 page-plus tome into an easily digestible feature film – sort of like movie breakfast sausage. The “film” (and, yes, we’re putting this one in quotes, because it sure as hell isn’t a real film just yet) has been through nearly every incarnation imaginable over the course of three years, cycling through writers and directors and even possible runtimes with a startling regularity that appears to lower the possible quality of the film at every turn. Think about it this way – back in 2011, we were going to have a multi-film event from the very best Harry Potter team, now this project will be directed by a guy who has just two films under his belt and, oh, yeah, it will just be one single film. How did we get here?



Quick, like a bomb going off, young actress Shailene Woodley made an impact in Hollywood. All it took was starring opposite George Clooney in The Descendants and she was made. Honestly, people were only buzzing about her for about fifteen minutes and she had already lined up a dozen or so new jobs starring in adaptations of various, popular works of youth-oriented literature. Recently we’ve started to see the end results of those early deals, and so far the results have been good. Though The Spectacular Now was a bit more of an acting showcase for the equally great Miles Teller, Woodley continued to convert fans with her performance as the female lead there, and now we have a trailer for her latest YA adaptation, The Fault in Our Stars, which not only seems to be a film that shines the spotlight fully on her growing star, but is also one that gives her the inherent drama of a deadly illness to tug at our heartstrings with. This one should be an easy layup for her. Now she’s a shoo-in for being the favorite actress of a whole new generation of weepy teen girls. Or, at the very least, this thing looks a lot more promising than that questionable Divergent movie they’ve also got her starring in. That one’s encroaching just a little bit too much on Jennifer Lawrence’s turf for comfort.


The Fault in Our Stars

Author Nicholas Sparks has built an entire empire based on writing books about people who have terminal illnesses falling in love. It turns out he’s not the only guy out there with an interest in cancer romance though, because John Green got into the game with his 2012 novel “The Fault in Our Stars,” and he earned quite a bit of critical acclaim for his efforts. Well, given the quality of the source material, and given the fact that Hollywood has made about a gajillion dollars adapting Sparks’ weepy nonsense into movies, plans are now in the works to make a The Fault in Our Stars movie. According to THR, Fox 2000 is putting the project together with young director Josh Boone on board to helm and Twilight and Safe Haven vets Wyck Godfrey and Marty Bowen on board as producers. Boone is new enough to the game that you probably haven’t heard of him yet, but his debut film as a writer/director, Stuck in Love (formerly Writers), shows a lot of promise for a first time filmmaker and is scheduled for release in the US in April, so chances are you might know who he is soon.



If you’re looking to make a talking heads movie that’s able to create big drama using little more than simple dialogue scenes, then populating your cast of characters with a bunch of sensitive, insecure creative types is probably a good strategy. And it’s exactly the strategy that first time writer-director Josh Boone has used for his debut picture, Writers. The film focuses on an unusual family that includes a critically acclaimed author (Greg Kinnear) as its patriarch, a daughter (Lily Collins) who has just published her first work, a teenaged son (Nat Wolff) who is developing his craft through journal writing, and a mother (Jennifer Connelly) who has been excommunicated from the family, probably because the guy she left the father for doesn’t have an impressive enough personal library. Each character has a struggle to go through. Kinnear hasn’t been able to get through the dissolution of his marriage, and he has found himself in a slump of depression that has not only affected his work but also turned him into the sort of creepy weirdo who hides in his ex’s bushes and peers through her windows. Collins, still processing the loss of innocence she experienced due to the infidelity in her parents’ marriage, has built a wall of acting out and defensiveness between herself and the rest of the world and may be in danger of becoming permanently bitter. Wolff is dealing with the pitfalls of being a sensitive young man in a world where thoughtlessness is a more […]

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published: 01.27.2015
published: 01.27.2015
published: 01.26.2015
published: 01.26.2015

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