On Feb. 13, 1998, New Line unveiled The Wedding Singer in theaters in time for Valentine’s Day audiences. The Adam Sandler and Drew Barrymore rom-com went on to earn 123 million globally at the box office. The Hollywood Reporter’s original review is below.
We’ve all heard him, usually at weddings and bar mitzvahs where alcohol often blurs true appreciation of his talents. Song stylist extraordinaire, he has the uncanny ability to make virtually any song, even “In-a-Gadda-Da-Vida,” sound like “Hot Hot Hot.”
Now, thanks to Adam Sandler, he has been finally given his due in The Wedding Singer, a (for the most part) winning romantic comedy that plays off the per former’s sweet, loopy personality. Despite a saggy middle stymied by sappy good intentions, the picture stands as Sandler’s best effort.
Demographically, expect some thing of a trade-off. While all the lovey-dovey stuff might turn off some of his partying young male fans,...
We’ve all heard him, usually at weddings and bar mitzvahs where alcohol often blurs true appreciation of his talents. Song stylist extraordinaire, he has the uncanny ability to make virtually any song, even “In-a-Gadda-Da-Vida,” sound like “Hot Hot Hot.”
Now, thanks to Adam Sandler, he has been finally given his due in The Wedding Singer, a (for the most part) winning romantic comedy that plays off the per former’s sweet, loopy personality. Despite a saggy middle stymied by sappy good intentions, the picture stands as Sandler’s best effort.
Demographically, expect some thing of a trade-off. While all the lovey-dovey stuff might turn off some of his partying young male fans,...
- 2/13/2023
- by Michael Rechtshaffen
- The Hollywood Reporter - Movie News
Exclusive: The stacked multi-generational romantic comedy Maybe I Do, starring a host of A-listers including Diane Keaton and Susan Sarandon, has sold to a bunch of key international territories.
The flick, written and directed by Oscar nominee Michael Jacobs (Quiz Show), has been acquired for the UK (Signature Entertainment), South Africa (Empire Entertainment), France (Originals Factory), Greece (Spentzos Film), Italy (Eagle Pictures), Portugal (Lusomundo), Scandinavia (Mis Label), Spain (YouPlanet Pictures and Beta Fiction), Turkey (Bir Film), Eastern Europe (Vertical), Baltics (Acme), Israel (United King), Latin America (Idc and Muchos Amigos Pictures).
WME Independent handled the deals.
The film’s plot follows Michelle and Allen who have reached the point in their relationship where they are considering the next steps and decide to invite their parents to finally meet. The parents already know each other well – really well – leading to distinct and defining opinions about the value of marriage.
The stacked...
The flick, written and directed by Oscar nominee Michael Jacobs (Quiz Show), has been acquired for the UK (Signature Entertainment), South Africa (Empire Entertainment), France (Originals Factory), Greece (Spentzos Film), Italy (Eagle Pictures), Portugal (Lusomundo), Scandinavia (Mis Label), Spain (YouPlanet Pictures and Beta Fiction), Turkey (Bir Film), Eastern Europe (Vertical), Baltics (Acme), Israel (United King), Latin America (Idc and Muchos Amigos Pictures).
WME Independent handled the deals.
The film’s plot follows Michelle and Allen who have reached the point in their relationship where they are considering the next steps and decide to invite their parents to finally meet. The parents already know each other well – really well – leading to distinct and defining opinions about the value of marriage.
The stacked...
- 11/3/2022
- by Zac Ntim
- Deadline Film + TV
TollywoodIt was recently announced that the actor, who hasn’t worked in Telugu films for over a decade, has been roped in for a Trivikram Srinivas film.Digital NativeInstagram/TabuTabu hasn’t worked in Tollywood for over a decade but recently went on to sign a Telugu film. She was roped in by Trivikram Srinivas to play a pivotal role in the Allu Arjun starrer he is directing. Now we hear that she has inked another deal. She will be starring in Rana Daggubati’s upcoming project to be directed by Venu Udugula, which has Rana playing a police officer and Sai Pallavi playing a Naxalite. Sources told DC, “Director Venu Udugula flew down to Mumbai last month to narrate his story to Tabu. The actress was intrigued by the script and her role in it. In excitement, Tabu agreed to be part of the film, although she hasn’t signed the contract yet,...
- 4/22/2019
- by Vidya
- The News Minute
Harry Dean Stanton says farewell in the movie Lucky, which turned out to be the beloved actor’s last. Not much happens in Lucky and its slow, unhurried style may not appeal to everyone, but this movie has a big heart and a moving performance by Stanton that acts as a summary of his long and extraordinary career.
Lucky follows Lucky (Stanton) and his friends and neighbors who live in the dusty desert town of Cave Creek, Arizona. Lucky is 90 years old but fiercely independent, rejecting any idea of assisted living. The film follows his routines over a few days of his life. Lucky smokes, takes a sponge bath, gets dressed, listens to Spanish-language music, does yoga, and smokes some more. Lucky’s interactions with others consists of eating at a diner run by his friend Joe (Barry Shabaka Henley) where he does his crossword puzzles, and a daily stop at the local watering hole.
Lucky follows Lucky (Stanton) and his friends and neighbors who live in the dusty desert town of Cave Creek, Arizona. Lucky is 90 years old but fiercely independent, rejecting any idea of assisted living. The film follows his routines over a few days of his life. Lucky smokes, takes a sponge bath, gets dressed, listens to Spanish-language music, does yoga, and smokes some more. Lucky’s interactions with others consists of eating at a diner run by his friend Joe (Barry Shabaka Henley) where he does his crossword puzzles, and a daily stop at the local watering hole.
- 10/12/2017
- by Tom Stockman
- WeAreMovieGeeks.com
Warner Bros. has revealed the first trailer for Will Ferrell’s upcoming comedy, Get Hard. From director Etan Cohen, the Gary Sanchez-produced pic looks primed to kickstart Ferrell’s slapstick antics, which have been sorely missing from the cinema calendar as of late.
In the movie, the former SNL star appears as hedge fund manager, James. When the millionaire is indicted for fraud, his impending stint in prison fills him with dread. Luckily, Kevin Hart’s Darnell is on hand to prepare James for all of the experiences that await him behind the bars of San Quentin.
With the first preview now available (via Yahoo! Movies), we’re able to get a sense of what’s in store for the timid chappie while he gets himself ready for prison life. As stories go, the premise overall isn’t that enticing. It simply sounds like a re-hash of countless other...
In the movie, the former SNL star appears as hedge fund manager, James. When the millionaire is indicted for fraud, his impending stint in prison fills him with dread. Luckily, Kevin Hart’s Darnell is on hand to prepare James for all of the experiences that await him behind the bars of San Quentin.
With the first preview now available (via Yahoo! Movies), we’re able to get a sense of what’s in store for the timid chappie while he gets himself ready for prison life. As stories go, the premise overall isn’t that enticing. It simply sounds like a re-hash of countless other...
- 12/19/2014
- by Gem Seddon
- We Got This Covered
Here’s your first look at the poster and photos from Get Hard. The film is scheduled to open nationwide on Friday, March 27, 2015.
When millionaire hedge fund manager James (Will Ferrell) is nailed for fraud and bound for a stretch in San Quentin, the judge gives him 30 days to get his affairs in order. Desperate, he turns to Darnell (Kevin Hart) to prep him for a life behind bars. But despite James’ one-percenter assumptions, Darnell is a hard-working small business owner who has never received a parking ticket, let alone been to prison.
Together, the two men do whatever it takes for James to “get hard” and, in the process, discover how wrong they were about a lot of things – including each other.
Will Ferrell and Kevin Hart join forces in the feature comedy Get Hard, also starring Tip “T.I.” Harris, Alison Brie, and Craig T. Nelson.
The film is directed by Etan Cohen,...
When millionaire hedge fund manager James (Will Ferrell) is nailed for fraud and bound for a stretch in San Quentin, the judge gives him 30 days to get his affairs in order. Desperate, he turns to Darnell (Kevin Hart) to prep him for a life behind bars. But despite James’ one-percenter assumptions, Darnell is a hard-working small business owner who has never received a parking ticket, let alone been to prison.
Together, the two men do whatever it takes for James to “get hard” and, in the process, discover how wrong they were about a lot of things – including each other.
Will Ferrell and Kevin Hart join forces in the feature comedy Get Hard, also starring Tip “T.I.” Harris, Alison Brie, and Craig T. Nelson.
The film is directed by Etan Cohen,...
- 11/25/2014
- by Michelle McCue
- WeAreMovieGeeks.com
(via Kevin Hart’s Facebook page)
Will Ferrell and Kevin Hart are headlining the new comedy, Get Hard, for director Etan Cohen.
The movie is scheduled to open nationwide on Friday, March 27, 2015.
When millionaire hedge fund manager James King (Ferrell) is nailed for fraud and bound for a stretch in San Quentin, the judge gives him 30 days to get his affairs in order. Desperate, he turns to Darnell Lewis (Hart) to prep him for a life behind bars. But despite James’ one-percenter assumptions, Darnell is a hard-working small business owner who has never received a parking ticket, let alone been to prison. Together, the two men do whatever it takes for James to ‘get hard’ and, in the process, discover how wrong they were about a lot of things – including each other.
The film also stars Craig T. Nelson, Alison Brie, and rapper Tip “T.I.” Harris. The movie began...
Will Ferrell and Kevin Hart are headlining the new comedy, Get Hard, for director Etan Cohen.
The movie is scheduled to open nationwide on Friday, March 27, 2015.
When millionaire hedge fund manager James King (Ferrell) is nailed for fraud and bound for a stretch in San Quentin, the judge gives him 30 days to get his affairs in order. Desperate, he turns to Darnell Lewis (Hart) to prep him for a life behind bars. But despite James’ one-percenter assumptions, Darnell is a hard-working small business owner who has never received a parking ticket, let alone been to prison. Together, the two men do whatever it takes for James to ‘get hard’ and, in the process, discover how wrong they were about a lot of things – including each other.
The film also stars Craig T. Nelson, Alison Brie, and rapper Tip “T.I.” Harris. The movie began...
- 3/19/2014
- by Michelle McCue
- WeAreMovieGeeks.com
Chicago – In our latest comedy edition of HollywoodChicago.com Hookup: Film, we have 15 admit-two passes up for grabs to the Chicago screening of “The Invention of Lying”!
“The Invention of Lying” stars Jennifer Garner, Ricky Gervais, Jonah Hill, Louis C.K., Rob Lowe, Tina Fey, Jeffrey Tambor, Fionnula Flanagan, Martin Starr, Jimmi Simpson and Nathan Corddry from writers and directors Ricky Gervais and Matthew Robinson. Ricky Gervais is the award-winning creator and star of the original BBC series “The Office”.
To win your free pass to the Chicago screening of “The Invention of Lying” courtesy of HollywoodChicago.com, all you need to do is answer our trivia question below. That’s it! This screening will be held on Monday, Sept. 28, 2009 at 7 p.m. in downtown Chicago. Directions to enter this Hookup and immediately win can be found beneath the graphic below.
“The Invention of Lying” stars Jennifer Garner, Ricky Gervais, Jonah Hill,...
“The Invention of Lying” stars Jennifer Garner, Ricky Gervais, Jonah Hill, Louis C.K., Rob Lowe, Tina Fey, Jeffrey Tambor, Fionnula Flanagan, Martin Starr, Jimmi Simpson and Nathan Corddry from writers and directors Ricky Gervais and Matthew Robinson. Ricky Gervais is the award-winning creator and star of the original BBC series “The Office”.
To win your free pass to the Chicago screening of “The Invention of Lying” courtesy of HollywoodChicago.com, all you need to do is answer our trivia question below. That’s it! This screening will be held on Monday, Sept. 28, 2009 at 7 p.m. in downtown Chicago. Directions to enter this Hookup and immediately win can be found beneath the graphic below.
“The Invention of Lying” stars Jennifer Garner, Ricky Gervais, Jonah Hill,...
- 9/26/2009
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Release Date: Sept. 4
Director: Mike Judge
Writer: Mike Judge
Starring: Jason Bateman, Mila Kunis, Kristen Wiig, Ben Affleck, J.K. Simmons
Cinematographer: Tim Suhrstedt
Studio/Run Time: Miramax, 91 mins.
Mike Judge returns to the workplace
The new film from Mike Judge (Office Space, King of the Hill) is a welcome addition to this year’s short list of funny movies. The offbeat humor comes at a steady pace, and while it never really turns into outright hilarity, it nurses a warm buzz from beginning to end.
Director: Mike Judge
Writer: Mike Judge
Starring: Jason Bateman, Mila Kunis, Kristen Wiig, Ben Affleck, J.K. Simmons
Cinematographer: Tim Suhrstedt
Studio/Run Time: Miramax, 91 mins.
Mike Judge returns to the workplace
The new film from Mike Judge (Office Space, King of the Hill) is a welcome addition to this year’s short list of funny movies. The offbeat humor comes at a steady pace, and while it never really turns into outright hilarity, it nurses a warm buzz from beginning to end.
- 9/11/2009
- Pastemagazine.com
We have images aplenty in from Warner Bros. Pictures' comedy "17 Again," starring Zac Efron, Matthew Perry, Leslie Mann, Sterling Knight and Michelle Trachtenberg. Burr Steers, director of 2002's "Igby Goes Down," "How to Lose a Guy in Ten Days") helms from the writing by Jason Filardi ("Bringing Down the House"). Filardi's also writing the Adam Shankman helmed "Topper," starring Steve Martin for Mandeville Films and Offspring Entertainment. See all of the images from "17 Again" starring Matthew Perry and Zac Efron. What's it about? What would you do if you got a second shot at life? Class of 1989, Mike O'Donnell (Zac Efron) is a star on the high school basketball court with a college scout in the stands and a bright future in his grasp. But instead, he decides to throw it all away to share his life with his girlfriend Scarlet and the baby he just learned they are expecting.
- 3/19/2009
- Upcoming-Movies.com
This review was written for the theatrical release of "The Last Time". Destination Films
No one is quite who they seem to be in "The Last Time", a twisty drama set against the backdrop of the high-pressure advertising business.
But while Michael Keaton and Brendan Fraser turn in a pair of sturdy performances, the film itself proves to be a harder sell, especially because it looks and sounds like Mamet but proves to be a flimsy knockoff.
Keaton's Ted is a foul-mouthed cynic who has been able to bully his way around New York's Bindview sales firm thanks to his status as the company's No. 1 sales guy.
Fraser's Jamie is an impossibly chipper, naive arrival from the Midwest whom Ted begrudgingly takes under his hard-edged tutelage.
Amber Valletta, meanwhile, is Belisa, ostensibly Ted's fiancee, though it's quite clear she's a woman who realizes the value of a better deal when she sees one.
It doesn't take too long for all three characters to shake off their prototypical shackles to reveal more intriguing shades, which is one of the pitfalls of writer-director Michael Caleo's con job of a script.
In order to move things along to conform to the dictates of the story's big-surprise ending, some of those character shifts transpire before the viewer has had a chance to at least think they've got a handle on the folks they're going to be spending time with for the next hour and a half.
Keaton and Fraser manage to navigate most of those sharp turns with conviction, but Valletta's portrayal of the problematic Belisa grapples with motivation issues every step of the way with little credible success.
Technical aspects are more convincing, with some nicely composed shots provided by cinematographer Tim Suhrstedt ("Office Space", "Grey's Anatomy") and a moody score by Randy Edelman that hints at the film's darker impulses.
No one is quite who they seem to be in "The Last Time", a twisty drama set against the backdrop of the high-pressure advertising business.
But while Michael Keaton and Brendan Fraser turn in a pair of sturdy performances, the film itself proves to be a harder sell, especially because it looks and sounds like Mamet but proves to be a flimsy knockoff.
Keaton's Ted is a foul-mouthed cynic who has been able to bully his way around New York's Bindview sales firm thanks to his status as the company's No. 1 sales guy.
Fraser's Jamie is an impossibly chipper, naive arrival from the Midwest whom Ted begrudgingly takes under his hard-edged tutelage.
Amber Valletta, meanwhile, is Belisa, ostensibly Ted's fiancee, though it's quite clear she's a woman who realizes the value of a better deal when she sees one.
It doesn't take too long for all three characters to shake off their prototypical shackles to reveal more intriguing shades, which is one of the pitfalls of writer-director Michael Caleo's con job of a script.
In order to move things along to conform to the dictates of the story's big-surprise ending, some of those character shifts transpire before the viewer has had a chance to at least think they've got a handle on the folks they're going to be spending time with for the next hour and a half.
Keaton and Fraser manage to navigate most of those sharp turns with conviction, but Valletta's portrayal of the problematic Belisa grapples with motivation issues every step of the way with little credible success.
Technical aspects are more convincing, with some nicely composed shots provided by cinematographer Tim Suhrstedt ("Office Space", "Grey's Anatomy") and a moody score by Randy Edelman that hints at the film's darker impulses.
- 5/18/2007
- The Hollywood Reporter - Movie News
We've all heard him, usually at weddings and bar mitzvahs where alcohol often blurs true appreciation of his talents. Song stylist extraordinaire, he has the uncanny ability to make virtually any song, even "In-A-Gadda-Da-Vida", sound like "Hot Hot Hot".
Now, thanks to Adam Sandler, he has been finally given his due in "The Wedding Singer", a (for the most part) winning romantic comedy that plays off of the performer's sweet, loopy personality.
Despite a saggy middle stymied by sappy good intentions, the picture still stands as Sandler's best effort.
Demographically, expect something of a trade-off. While all the lovey-dovey stuff might turn off some of his partying young male fans, the romantic theme and Valentine's weekend placement will win him a newly appreciative female contingent. Add a soundtrack bursting at the seams with blasts from the not-so-distant '80s past, and "The Wedding Singer" seems certain to make sweet boxoffice music for New Line.
The year is 1985 and Sandler is Robbie Hart, a struggling singer-songwriter trying to make ends meet as a musician/emcee for hire. While "Star Search" will never come knocking on his door, he gets the job done; that is, until his own intended betrothed (Angela Featherstone) abandons him at the altar.
Bitter and morose, Robbie's mood begins to affect his work, as evidenced by unforgettable renditions of Madonna's "Holiday" and the J. Geils Band's "Love Stinks", not to mention his tirades against innocent wedding guests.
But his downward spiral is halted by the nurturing presence of the lovely Julia (Drew Barrymore), a klutzy waitress who works at many of Robbie's functions. While Julia's planning to marry the smarmy Glenn (Matthew Glave) -- a thoroughly '80s combination of Michael Milken and Sonny Crockett -- we know better, even though it takes the leads the rest of the movie to get with the program.
In his previous, more juvenile outings, Sandler has displayed an innocent sweetness that undercut all the sophomoric shenanigans. Here, he relies almost too much on that quality, at times sacrificing some necessary edge that the script doesn't always provide.
As the virtuous-to-a-fault Julia, the always splendid Barrymore finds herself in a similar predicament, doing the best she can to give dimension to a character that has essentially been written as an ideal rather than as a full-fledged person.
Among the fine cast of supporting players, Alexis Arquette grabs some laughs as Sandler's Boy George-wannabe bandmate, and Allen Covert and Christine Taylor score points as the supportive best friends.
After a terrific start, the picture gets a little snagged in its perceptions of romantic-comedic conventions, going top-heavy on the former while seemingly all but forgetting about the latter. Fortunately, the screenplay (by Sandler and frequent collaborator Tim Herlihy) returns to its amusingly offbeat senses in time for the big finale.
Director Frank Coraci, meanwhile, has a nice feel for the comic elements. He never forces them but keeps things moving briskly forward (middle excepted).
The same crisp approach is taken by Tim Suhrstedt's cinematography; while production designer Perry Andelin Blake ("Leave It to Beaver") and costume designer Mona May ("Romy and Michele's High School Reunion") have a lot of fun with the period excesses.
Of course, the soundtrack is a character all its own, serving up not only the usual suspects (Police, Culture Club, the Cars) but also some guilty pleasures from the likes of Musical Youth ("Pass the Dutchie"), Nena ("99 Luftballons") and After the Fire ("Der Kommissar") that will make you forget junk bonds and Michael Jackson's altered skin tone ever happened.
THE WEDDING SINGER
New Line Cinema
A Robert Simonds/Brad Grey production
Director: Frank Coraci
Screenwriters: Adam Sandler, Tim Herlihy
Producers: Robert Simonds, Jack Giarraputo
Executive producers: Brad Grey, Sandy Wernick
Director of photography: Tim Suhrstedt
Production designer: Perry Andelin Blake
Editor: Tom Lewis
Costume designer: Mona May
Music: Teddy Castellucci
Music supervisor: Michael Dilbeck
Casting: Roger Mussenden
Color/stereo
Cast:
Robbie: Adam Sandler
Julia: Drew Barrymore
Holly: Christine Taylor
Sammy: Allen Covert
Linda: Angela Featherstone
Glenn: Mattew Glave
George: Alexis Arquette
Running time -- 97 minutes
MPAA rating: PG-13...
Now, thanks to Adam Sandler, he has been finally given his due in "The Wedding Singer", a (for the most part) winning romantic comedy that plays off of the performer's sweet, loopy personality.
Despite a saggy middle stymied by sappy good intentions, the picture still stands as Sandler's best effort.
Demographically, expect something of a trade-off. While all the lovey-dovey stuff might turn off some of his partying young male fans, the romantic theme and Valentine's weekend placement will win him a newly appreciative female contingent. Add a soundtrack bursting at the seams with blasts from the not-so-distant '80s past, and "The Wedding Singer" seems certain to make sweet boxoffice music for New Line.
The year is 1985 and Sandler is Robbie Hart, a struggling singer-songwriter trying to make ends meet as a musician/emcee for hire. While "Star Search" will never come knocking on his door, he gets the job done; that is, until his own intended betrothed (Angela Featherstone) abandons him at the altar.
Bitter and morose, Robbie's mood begins to affect his work, as evidenced by unforgettable renditions of Madonna's "Holiday" and the J. Geils Band's "Love Stinks", not to mention his tirades against innocent wedding guests.
But his downward spiral is halted by the nurturing presence of the lovely Julia (Drew Barrymore), a klutzy waitress who works at many of Robbie's functions. While Julia's planning to marry the smarmy Glenn (Matthew Glave) -- a thoroughly '80s combination of Michael Milken and Sonny Crockett -- we know better, even though it takes the leads the rest of the movie to get with the program.
In his previous, more juvenile outings, Sandler has displayed an innocent sweetness that undercut all the sophomoric shenanigans. Here, he relies almost too much on that quality, at times sacrificing some necessary edge that the script doesn't always provide.
As the virtuous-to-a-fault Julia, the always splendid Barrymore finds herself in a similar predicament, doing the best she can to give dimension to a character that has essentially been written as an ideal rather than as a full-fledged person.
Among the fine cast of supporting players, Alexis Arquette grabs some laughs as Sandler's Boy George-wannabe bandmate, and Allen Covert and Christine Taylor score points as the supportive best friends.
After a terrific start, the picture gets a little snagged in its perceptions of romantic-comedic conventions, going top-heavy on the former while seemingly all but forgetting about the latter. Fortunately, the screenplay (by Sandler and frequent collaborator Tim Herlihy) returns to its amusingly offbeat senses in time for the big finale.
Director Frank Coraci, meanwhile, has a nice feel for the comic elements. He never forces them but keeps things moving briskly forward (middle excepted).
The same crisp approach is taken by Tim Suhrstedt's cinematography; while production designer Perry Andelin Blake ("Leave It to Beaver") and costume designer Mona May ("Romy and Michele's High School Reunion") have a lot of fun with the period excesses.
Of course, the soundtrack is a character all its own, serving up not only the usual suspects (Police, Culture Club, the Cars) but also some guilty pleasures from the likes of Musical Youth ("Pass the Dutchie"), Nena ("99 Luftballons") and After the Fire ("Der Kommissar") that will make you forget junk bonds and Michael Jackson's altered skin tone ever happened.
THE WEDDING SINGER
New Line Cinema
A Robert Simonds/Brad Grey production
Director: Frank Coraci
Screenwriters: Adam Sandler, Tim Herlihy
Producers: Robert Simonds, Jack Giarraputo
Executive producers: Brad Grey, Sandy Wernick
Director of photography: Tim Suhrstedt
Production designer: Perry Andelin Blake
Editor: Tom Lewis
Costume designer: Mona May
Music: Teddy Castellucci
Music supervisor: Michael Dilbeck
Casting: Roger Mussenden
Color/stereo
Cast:
Robbie: Adam Sandler
Julia: Drew Barrymore
Holly: Christine Taylor
Sammy: Allen Covert
Linda: Angela Featherstone
Glenn: Mattew Glave
George: Alexis Arquette
Running time -- 97 minutes
MPAA rating: PG-13...
- 2/12/1998
- The Hollywood Reporter - Movie News
Blending elements of "Sleepless in Seattle" and "Ghost", Triumph Films' "To Gillian on Her 37th Birthday" is a quiet romantic drama about loss and learning when to finally let go.
But unlike the higher concepts of its forerunners, the delicate "Gillian" definitely takes the low-key approach. If it is held up to any significant degree of scrutiny, its limitations become readily apparent. There just isn't a lot to it.
That said, the bittersweet, offbeat picture features a number of fine performances (with particularly impressive work from Claire Danes) and is certain to strike a significant chord with anyone who has ever gone through the grieving process.
And given a budget that reportedly came in at less than $10 million, "Gillian" could still yield many happy returns for the Sony Pictures division.
Originally taking the form of a 1985 play by Michael Brady, the story has been adapted for the screen by "Chicago Hope" and "Picket Fences" creator David E. Kelley, with Michael Pressman once again handling directing chores.
Peter Gallagher, given the welcome opportunity to play someone sympathetic for a change, stars as David Lewis, a widower who is still very much fixated on his late wife Gillian (Michelle Pfeiffer), who died two years earlier in a boating accident.
Despite the efforts of his teenage daughter, Rachel (Danes), his sister-in-law Esther (Kathy Baker in a "Picket Fences" mode) and her husband Paul (Bruce Altman) to distract him during a traditional Labor Day weekend get-together on Nantucket Island, David would rather run along the shore talking and laughing with the woman only he can still see.
While David might find the situation comforting, Gillian's worried sister Esther thinks his fantasy life has taken its toll on effective parenting and takes advantage of the family gathering to issue an ultimatum.
Gallagher shows an effective vulnerability in his refreshingly cad-free role, while Pfeiffer, whose ethereal beauty makes her a natural as his caught-between-two-worlds wife, is fine considering the part itself hardly qualifies as more than an apparition. The picture really belongs to Danes, whose lovely, deeply felt performance never hits a false note -- whether she's trying to get through to her distracted father or coming home blissfully drunk from a date with a boy (Freddie Prinze Jr.), of whom Daddy does not approve.
It would have been nice if Kelley's script and Pressman's direction showed that same sense of genuine esprit de corps, but its rhythms feel a little too manufactured. Although this is supposed to be a motion picture, you can almost spot where all the commercial breaks would have gone. And in the interest of underplaying virtually every moment for fear of selling out, "Gillian" fails to hit a number of its emotional posts, both comic and tragic.
Elsewhere, lensman Tim Suhrstedt ("Bill and Ted's Excellent Adventure") crisply captures the idyllic New England coast, while James Horner's trademark piano tinkling (a little more subdued here than in "The Spitfire Grill") works in tandem with the story, gently but persistently coaxing the requisite hankie action.
TO GILLIAN ON HER 37TH BIRTHDAY
Sony Pictures Releasing
Triumph Films
A Rastar/David E. Kelley production
A Michael Pressman film
Director Michael Pressman
Screenwriter David E. Kelley
Producers Marykay Powell and David E. Kelley
Based on the play by Michael Brady
Director of photography Tim Suhrstedt
Production designer Linda Pearl
Editor William Scharf
Music James Horner
Costume designer Deborah L. Scott
Casting Lynn Stalmaster
Color/stereo
Cast:
David Lewis Peter Gallagher
Rachel Lewis Claire Danes
Esther Wheeler Kathy Baker
Kevin Danford Wendy Crewson
Paul Wheeler Bruce Altman
Gillian Lewis Michelle Pfeiffer
Cindy Bayles Laurie Fortier
Joey Bost Freddie Prinze Jr.
Running time -- 93 minutes
MPAA rating: PG-13...
But unlike the higher concepts of its forerunners, the delicate "Gillian" definitely takes the low-key approach. If it is held up to any significant degree of scrutiny, its limitations become readily apparent. There just isn't a lot to it.
That said, the bittersweet, offbeat picture features a number of fine performances (with particularly impressive work from Claire Danes) and is certain to strike a significant chord with anyone who has ever gone through the grieving process.
And given a budget that reportedly came in at less than $10 million, "Gillian" could still yield many happy returns for the Sony Pictures division.
Originally taking the form of a 1985 play by Michael Brady, the story has been adapted for the screen by "Chicago Hope" and "Picket Fences" creator David E. Kelley, with Michael Pressman once again handling directing chores.
Peter Gallagher, given the welcome opportunity to play someone sympathetic for a change, stars as David Lewis, a widower who is still very much fixated on his late wife Gillian (Michelle Pfeiffer), who died two years earlier in a boating accident.
Despite the efforts of his teenage daughter, Rachel (Danes), his sister-in-law Esther (Kathy Baker in a "Picket Fences" mode) and her husband Paul (Bruce Altman) to distract him during a traditional Labor Day weekend get-together on Nantucket Island, David would rather run along the shore talking and laughing with the woman only he can still see.
While David might find the situation comforting, Gillian's worried sister Esther thinks his fantasy life has taken its toll on effective parenting and takes advantage of the family gathering to issue an ultimatum.
Gallagher shows an effective vulnerability in his refreshingly cad-free role, while Pfeiffer, whose ethereal beauty makes her a natural as his caught-between-two-worlds wife, is fine considering the part itself hardly qualifies as more than an apparition. The picture really belongs to Danes, whose lovely, deeply felt performance never hits a false note -- whether she's trying to get through to her distracted father or coming home blissfully drunk from a date with a boy (Freddie Prinze Jr.), of whom Daddy does not approve.
It would have been nice if Kelley's script and Pressman's direction showed that same sense of genuine esprit de corps, but its rhythms feel a little too manufactured. Although this is supposed to be a motion picture, you can almost spot where all the commercial breaks would have gone. And in the interest of underplaying virtually every moment for fear of selling out, "Gillian" fails to hit a number of its emotional posts, both comic and tragic.
Elsewhere, lensman Tim Suhrstedt ("Bill and Ted's Excellent Adventure") crisply captures the idyllic New England coast, while James Horner's trademark piano tinkling (a little more subdued here than in "The Spitfire Grill") works in tandem with the story, gently but persistently coaxing the requisite hankie action.
TO GILLIAN ON HER 37TH BIRTHDAY
Sony Pictures Releasing
Triumph Films
A Rastar/David E. Kelley production
A Michael Pressman film
Director Michael Pressman
Screenwriter David E. Kelley
Producers Marykay Powell and David E. Kelley
Based on the play by Michael Brady
Director of photography Tim Suhrstedt
Production designer Linda Pearl
Editor William Scharf
Music James Horner
Costume designer Deborah L. Scott
Casting Lynn Stalmaster
Color/stereo
Cast:
David Lewis Peter Gallagher
Rachel Lewis Claire Danes
Esther Wheeler Kathy Baker
Kevin Danford Wendy Crewson
Paul Wheeler Bruce Altman
Gillian Lewis Michelle Pfeiffer
Cindy Bayles Laurie Fortier
Joey Bost Freddie Prinze Jr.
Running time -- 93 minutes
MPAA rating: PG-13...
- 10/14/1996
- The Hollywood Reporter - Movie News
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