Exclusive: As his acclaimed comedic thriller Hit Man approaches its June 7 release on Netflix, filmmaker Richard Linklater may have identified his next project, as sources tell Deadline that he’s in development on a film called Blue Moon.
Taking its name from the 1934 ballad written by Richard Rodgers and Lorenz Hart, the film follows Hart as he attempts to save face while celebrating his former partner Rodgers’ great success on the night of his musical Oklahoma!‘s Broadway opening. While it’s believed that this will end up being Linklater’s next film, that’s not entirely clear at present.
We’re told that Robert Kaplow — co-writer of Linklater’s 2008 film Me and Orson Welles — penned the script for Blue Moon and that Linklater will produce the project alongside his manager John Sloss.
A legendary American songwriting duo known for their contributions to musical theater, Rodgers and Hart collaborated between 1919 and the early 1940s,...
Taking its name from the 1934 ballad written by Richard Rodgers and Lorenz Hart, the film follows Hart as he attempts to save face while celebrating his former partner Rodgers’ great success on the night of his musical Oklahoma!‘s Broadway opening. While it’s believed that this will end up being Linklater’s next film, that’s not entirely clear at present.
We’re told that Robert Kaplow — co-writer of Linklater’s 2008 film Me and Orson Welles — penned the script for Blue Moon and that Linklater will produce the project alongside his manager John Sloss.
A legendary American songwriting duo known for their contributions to musical theater, Rodgers and Hart collaborated between 1919 and the early 1940s,...
- 6/3/2024
- by Matt Grobar
- Deadline Film + TV
The line-up for the new series of Variety’s Actors On Actors has been revealed, with high profile movie performers interviewing each other.
Variety’s Actors On Actors is one of the most delightful series you can watch as a film fan. The central conceit is that two actors sit down for a natter about their work, often going off on tangents, acting as a unique insight into the industry.
Generally, the pairings are quite surprising, with the actors concerned often never having worked together and, in some cases, seeming quite random, but each one is fascinating and, usually, an absolute hoot. You can see Kate Winslet shooting the breeze with Gary Oldman, for example, or Beanie Feldstein with Florence Pugh – we are still waiting for Jason Statham to make an appearence.
Variety has revealed this year’s Actors on Actors lineup. Here’s what’s in store…
Leo Woodall...
Variety’s Actors On Actors is one of the most delightful series you can watch as a film fan. The central conceit is that two actors sit down for a natter about their work, often going off on tangents, acting as a unique insight into the industry.
Generally, the pairings are quite surprising, with the actors concerned often never having worked together and, in some cases, seeming quite random, but each one is fascinating and, usually, an absolute hoot. You can see Kate Winslet shooting the breeze with Gary Oldman, for example, or Beanie Feldstein with Florence Pugh – we are still waiting for Jason Statham to make an appearence.
Variety has revealed this year’s Actors on Actors lineup. Here’s what’s in store…
Leo Woodall...
- 5/30/2024
- by Jake Godfrey
- Film Stories
Richard Linklater sits in awe of Paul Mescal during production on “Merrily We Roll Along.”
Linklater is adapting the Stephen Sondheim musical across two decades, with Mescal playing the composer character Franklin Shepard. Ben Platt and Beanie Feldstein are also in the cast.
Linklater told The Times UK that Mescal is “transcendent” in the role, which he took on still as a rising star — in other words, before his Oscar nomination for “Aftersun.”
“He’s just a transcendent talent,” Linklater said of Mescal, “and he can really sing…I’m just so happy we connected right before he went supernova.”
Mescal previously showed off his singing range in the musical “Carmen.” He also presented his stage acting skills during a West End revival of “A Streetcar Named Desire.”
“I just love it,” Mescal told British Vogue of acting on stage. “It’s so gratifying – it’s a very difficult thing...
Linklater is adapting the Stephen Sondheim musical across two decades, with Mescal playing the composer character Franklin Shepard. Ben Platt and Beanie Feldstein are also in the cast.
Linklater told The Times UK that Mescal is “transcendent” in the role, which he took on still as a rising star — in other words, before his Oscar nomination for “Aftersun.”
“He’s just a transcendent talent,” Linklater said of Mescal, “and he can really sing…I’m just so happy we connected right before he went supernova.”
Mescal previously showed off his singing range in the musical “Carmen.” He also presented his stage acting skills during a West End revival of “A Streetcar Named Desire.”
“I just love it,” Mescal told British Vogue of acting on stage. “It’s so gratifying – it’s a very difficult thing...
- 5/22/2024
- by Samantha Bergeson
- Indiewire
Another season of The Masked Singer is ready to end, and fans are eagerly trying to guess the identities of the two remaining contestants.
Fans have not been so excited for another reveal since Season 10 of The Masked Singer unmasked Ne-Yo as the Cow.
Fans have debated who is who during the episodes all season long, and the finale is no different.
With Gumball and Goldfish as the two remaining characters, fans declare who they think is who, and the list is long for both characters.
Not only do we need to find out who they are, but the winner is still up in the air. Their singing styles are vastly different, yet both are amazing. At this point, it remains anyone’s game.
The Masked Singer’s crew have been sharing videos on social media, causing fans to speculate who will be under the masks in the finale for Gumball and Goldfish.
Fans have not been so excited for another reveal since Season 10 of The Masked Singer unmasked Ne-Yo as the Cow.
Fans have debated who is who during the episodes all season long, and the finale is no different.
With Gumball and Goldfish as the two remaining characters, fans declare who they think is who, and the list is long for both characters.
Not only do we need to find out who they are, but the winner is still up in the air. Their singing styles are vastly different, yet both are amazing. At this point, it remains anyone’s game.
The Masked Singer’s crew have been sharing videos on social media, causing fans to speculate who will be under the masks in the finale for Gumball and Goldfish.
- 5/22/2024
- by Pamela Roy
- Monsters and Critics
Inspiration can strike at any time and from any source. For some TV, the idea comes from true events throughout history.
While the storyline may get dramatized or include events that didn't occur, the true parts can be enough to inspire a story fit for entertainment.
We've found our favorite 11 TV shows based on real-life events. Find out about each story's truth, the actors who made it awesome, and where you can watch each piece.
American Crime Story (2016-ongoing)
Where to watch: Hulu subscription
American Crime Story is an anthology series focusing on criminals and crimes throughout the U.S.
This series has portrayed some of the biggest criminal cases fought in the American court system, starting with the trial of Oj Simpson in American Crime Story Season 1.
Other high-profile cases covered in this award-winning series include the death of popular clothes designer Gianni Versace and the affair between President Bill Clinton and Monica Lewinsky.
While the storyline may get dramatized or include events that didn't occur, the true parts can be enough to inspire a story fit for entertainment.
We've found our favorite 11 TV shows based on real-life events. Find out about each story's truth, the actors who made it awesome, and where you can watch each piece.
American Crime Story (2016-ongoing)
Where to watch: Hulu subscription
American Crime Story is an anthology series focusing on criminals and crimes throughout the U.S.
This series has portrayed some of the biggest criminal cases fought in the American court system, starting with the trial of Oj Simpson in American Crime Story Season 1.
Other high-profile cases covered in this award-winning series include the death of popular clothes designer Gianni Versace and the affair between President Bill Clinton and Monica Lewinsky.
- 5/20/2024
- by Sara Trimble
- TVfanatic
Jennifer Lawrence has gained acclaim for her understatedly luxurious casual fashion sense, favoring high-end yet subtly elegant pieces.
And when she steps onto the red carpet, the 33-year-old American movie actress effortlessly commands attention with her breathtaking presence, undoubtedly making waves with her striking appearance.
The 35th Annual GLAAD Media Awards
On Saturday night, May 11, Jennifer Lawrence made a memorable impression when she graced the 35th Annual GLAAD Media Awards at the New York Hilton Midtown in New York City.
Her attendance at the event was to honor her “favorite musician and good friend,” Orville Peck, who received the prestigious Vito Russo Award, named after the late activist and author of The Celluloid Closet.
Jennifer Lawrence exudes sophistication in a subtly elegant, black plunging Alaïa gown, seamlessly blending contemporary flair with timeless style (Credit: Jennifer Graylock / INSTARimages)
This annual ceremony recognizes individuals in the media who have made outstanding contributions to fair,...
And when she steps onto the red carpet, the 33-year-old American movie actress effortlessly commands attention with her breathtaking presence, undoubtedly making waves with her striking appearance.
The 35th Annual GLAAD Media Awards
On Saturday night, May 11, Jennifer Lawrence made a memorable impression when she graced the 35th Annual GLAAD Media Awards at the New York Hilton Midtown in New York City.
Her attendance at the event was to honor her “favorite musician and good friend,” Orville Peck, who received the prestigious Vito Russo Award, named after the late activist and author of The Celluloid Closet.
Jennifer Lawrence exudes sophistication in a subtly elegant, black plunging Alaïa gown, seamlessly blending contemporary flair with timeless style (Credit: Jennifer Graylock / INSTARimages)
This annual ceremony recognizes individuals in the media who have made outstanding contributions to fair,...
- 5/13/2024
- by Florie Mae Malapit
- Your Next Shoes
Exclusive: Megan Brophy Young, Matt Haberman and Chase Lehner have been promoted to Vice President of Talent at the leading PR firm Narrative.
Lehner will work out of the company’s Los Angeles office, with Brophy Young and Haberman continuing to co-lead the company’s New York City outpost, as Brophy Young splits her time between Texas and New York.
Young has spent more than a decade curating an impressive client roster including prominent actors, athletes, musicians, thought leaders and industry innovators. Beginning her career in-house at AMC Networks, she developed a passion for talent representation and transitioned to personal publicity in 2012. In 2017, Brophy took her expertise to Nashville where she immersed herself in the country music industry, working at Big Machine Label Group before landing at Narrative in 2018, closely after its inception. To date, she’s been the driving force for campaigns for the likes of Lily Allen, Lucy Boynton,...
Lehner will work out of the company’s Los Angeles office, with Brophy Young and Haberman continuing to co-lead the company’s New York City outpost, as Brophy Young splits her time between Texas and New York.
Young has spent more than a decade curating an impressive client roster including prominent actors, athletes, musicians, thought leaders and industry innovators. Beginning her career in-house at AMC Networks, she developed a passion for talent representation and transitioned to personal publicity in 2012. In 2017, Brophy took her expertise to Nashville where she immersed herself in the country music industry, working at Big Machine Label Group before landing at Narrative in 2018, closely after its inception. To date, she’s been the driving force for campaigns for the likes of Lily Allen, Lucy Boynton,...
- 5/9/2024
- by Matt Grobar
- Deadline Film + TV
Busy Philipps is opening up about being diagnosed with Adhd later in life.
The 44-year-old actress revealed in a new interview with People that she was diagnosed with the disorder five years ago when she was seeking treatment for her now-15-year-old daughter Birdie.
The National Institute of Mental Health says that Adhd is “marked by an ongoing pattern of inattention and/or hyperactivity-impulsivity that interferes with functioning or development.”
Keep reading to find out more…
“It wasn’t until we were sitting there with my daughter’s doctor and he was going through the checklist that my ex-husband and I started looking at each other, and I had all of them. ‘Wait, that’s me. 100% me.’ So I went to my own doctor and sure enough, I very much have Adhd,” Busy told People.
She added, “My personal experience was it wasn’t an external chaos. It was an...
The 44-year-old actress revealed in a new interview with People that she was diagnosed with the disorder five years ago when she was seeking treatment for her now-15-year-old daughter Birdie.
The National Institute of Mental Health says that Adhd is “marked by an ongoing pattern of inattention and/or hyperactivity-impulsivity that interferes with functioning or development.”
Keep reading to find out more…
“It wasn’t until we were sitting there with my daughter’s doctor and he was going through the checklist that my ex-husband and I started looking at each other, and I had all of them. ‘Wait, that’s me. 100% me.’ So I went to my own doctor and sure enough, I very much have Adhd,” Busy told People.
She added, “My personal experience was it wasn’t an external chaos. It was an...
- 5/3/2024
- by Just Jared
- Just Jared
True crime genre is getting more and more popular each day and there’s no secret why: gripping stories about things that seem impossible in real life. However, what makes them even more exciting for the viewers is the fact that what is shown on screen has actually happened in reality, and that just makes people lose their minds.
One of the recently released true crime dramas is Netflix’s Baby Reindeer. The miniseries tells the gripping story of the performer Richard Gadd, who at his young age was harassed by a female stalker.
The story is powerful and already got 100% on Rotten Tomatoes, but here we have 5 more jaw-dropping series that follow real-life terrifying stories.
1. When They See Us (2019)
When They See Us is just 3% short of a perfect score, but that means nothing in this case because the series is considered the best true crime of all time.
One of the recently released true crime dramas is Netflix’s Baby Reindeer. The miniseries tells the gripping story of the performer Richard Gadd, who at his young age was harassed by a female stalker.
The story is powerful and already got 100% on Rotten Tomatoes, but here we have 5 more jaw-dropping series that follow real-life terrifying stories.
1. When They See Us (2019)
When They See Us is just 3% short of a perfect score, but that means nothing in this case because the series is considered the best true crime of all time.
- 4/22/2024
- by info@startefacts.com (Rachel Bailey)
- STartefacts.com
This is a stacked weekend for movies that could get awards attention but probably won’t, both in theaters and on digital platforms. First up is a lively ode to one of cinema’s musical masters.
The contender to watch this week: “Ennio”
Giuseppe Tornatore‘s documentary about influential composer Ennio Morricone has been a long time coming, and not only because Morricone’s career dates back to 1946. “Ennio” premiered at the Venice International Film Festival in 2021 and was released in Italy in 2022. But don’t take its delayed domestic debut as a bad omen: The movie is a spellbinding tribute to the two-time Oscar winner, who wrote the scores for “The Good, the Bad and the Ugly,” “Days of Heaven,” “The Untouchables,” “The Hateful Eight,” and Tornatore’s own “Cinema Paradiso.” The talking heads include Quentin Tarantino, Clint Eastwood, Quincy Jones, and Bruce Springsteen. Following a theatrical run in February,...
The contender to watch this week: “Ennio”
Giuseppe Tornatore‘s documentary about influential composer Ennio Morricone has been a long time coming, and not only because Morricone’s career dates back to 1946. “Ennio” premiered at the Venice International Film Festival in 2021 and was released in Italy in 2022. But don’t take its delayed domestic debut as a bad omen: The movie is a spellbinding tribute to the two-time Oscar winner, who wrote the scores for “The Good, the Bad and the Ugly,” “Days of Heaven,” “The Untouchables,” “The Hateful Eight,” and Tornatore’s own “Cinema Paradiso.” The talking heads include Quentin Tarantino, Clint Eastwood, Quincy Jones, and Bruce Springsteen. Following a theatrical run in February,...
- 4/13/2024
- by Matthew Jacobs
- Gold Derby
Take a look at more footage from “Drive-Away Dolls”, the new road comedy feature, written and directed by Ethan Coen, starring Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, Colman Domingo, Pedro Pascal, Bill Camp and Matt Damon, streaming April 12, 2024 on Peacock:
“…’Jamie’, an uninhibited free spirit bemoans yet another breakup with a girlfriend, while her demure friend ‘Marian’ desperately needs to loosen up.
“In search of a fresh start, the two embark on an impromptu road trip to Tallahassee, but things quickly go awry when they cross paths with a group of creeps along the way…”
Click the images to enlarge…...
“…’Jamie’, an uninhibited free spirit bemoans yet another breakup with a girlfriend, while her demure friend ‘Marian’ desperately needs to loosen up.
“In search of a fresh start, the two embark on an impromptu road trip to Tallahassee, but things quickly go awry when they cross paths with a group of creeps along the way…”
Click the images to enlarge…...
- 4/5/2024
- by Unknown
- SneakPeek
Here’s a look at this week’s biggest premieres, parties and openings in Los Angeles and New York, including events for Ripley, Civil War and Monkey Man.
Steve! (Martin) A Documentary in 2 Pieces premiere
Steve Martin was joined by Selena Gomez, Jimmy Fallon, Diane Sawyer, Richard Kind and Finn Wittrock at the New York premiere of his new Apple TV+ documentary on March 29.
Selena Gomez and Steve Martin Director Morgan Neville, Steve Martin and Jimmy Fallon
Civil War special screening
After debuting Civil War at SXSW, writer-director Alex Garland and stars Kirsten Dunst, Wagner Moura, Cailee Spaeny, Jesse Plemons and Nick Offerman screened the film in Los Angeles on Tuesday.
Alex Garland, Nick Offerman, Cailee Spaeny, Wagner Moura, Kirsten Dunst, Jesse Plemons and Jojo T. Gibbs
Ripley premiere
Andrew Scott and Dakota Fanning joined creator Steven Zaillian at the Los Angeles premiere of their new Netflix series on Wednesday.
Steve! (Martin) A Documentary in 2 Pieces premiere
Steve Martin was joined by Selena Gomez, Jimmy Fallon, Diane Sawyer, Richard Kind and Finn Wittrock at the New York premiere of his new Apple TV+ documentary on March 29.
Selena Gomez and Steve Martin Director Morgan Neville, Steve Martin and Jimmy Fallon
Civil War special screening
After debuting Civil War at SXSW, writer-director Alex Garland and stars Kirsten Dunst, Wagner Moura, Cailee Spaeny, Jesse Plemons and Nick Offerman screened the film in Los Angeles on Tuesday.
Alex Garland, Nick Offerman, Cailee Spaeny, Wagner Moura, Kirsten Dunst, Jesse Plemons and Jojo T. Gibbs
Ripley premiere
Andrew Scott and Dakota Fanning joined creator Steven Zaillian at the Los Angeles premiere of their new Netflix series on Wednesday.
- 4/5/2024
- by Kirsten Chuba
- The Hollywood Reporter - Movie News
Exclusive: Monarch Media, 11-time Emmy winner Julia Louis-Dreyfus, Point Grey Pictures, Lylas Pictures and Giant Ant Films are teaming to bring Sarah Leavitt’s graphic novel Tangles: A Story About Alzheimer’s, My Mother and Me, to the big screen as a feature-length animated film.
Along with Louis-Dreyfus, the cast includes Abbi Jacobson, Bryan Cranston, Samira Wiley, Beanie Feldstein, Seth Rogen, Wanda Sykes, Bowen Yang, Pamela Adlon and Sarah Silverman.
In Tangles, when Alzheimer’s disease begins to strip away her mother’s vibrant personality, a headstrong young woman is forced to return to her oddball family in the conservative small town she recently fled in order to care for her. She quickly realizes she must accept the cruel and warped reality of the disease — and the imperfect beauty of her family — in order to become the daughter they need.
Leavitt adapted her novel for film along with Trev Renney and Leah Nelson.
Along with Louis-Dreyfus, the cast includes Abbi Jacobson, Bryan Cranston, Samira Wiley, Beanie Feldstein, Seth Rogen, Wanda Sykes, Bowen Yang, Pamela Adlon and Sarah Silverman.
In Tangles, when Alzheimer’s disease begins to strip away her mother’s vibrant personality, a headstrong young woman is forced to return to her oddball family in the conservative small town she recently fled in order to care for her. She quickly realizes she must accept the cruel and warped reality of the disease — and the imperfect beauty of her family — in order to become the daughter they need.
Leavitt adapted her novel for film along with Trev Renney and Leah Nelson.
- 4/2/2024
- by Anthony D'Alessandro
- Deadline Film + TV
Hollywood isn't investing nearly as much in straight-up comedies as they used to. While 2023 saw many of the best comedies of the year come from the indie and arthouse world. "Barbie" was a big winner last year, but that's a blockbuster doing a lot more heavy-lifting than just bringing laughs, with an adventure fueled by one of the most recognizable intellectual properties of all time. "No Hard Feelings" and "Anyone But You" brought some raunchy, romantic laughs to the proceedings, and we were certainly grateful that Jennifer Lawrence and Sydney Sweeney took risks as producers on R-rated studio comedies like that. Otherwise, most of the laughs come from cross-genre comedy hybrids that have bigger box office potential because of a high-concept story that just so happens to bring some hilarity, such as "Spider-Man: Across the Spider-Verse" or "Cocaine Bear."
So how is comedy shaping up in 2024? Unfortunately, with some worrisome box office potential,...
So how is comedy shaping up in 2024? Unfortunately, with some worrisome box office potential,...
- 3/29/2024
- by SlashFilm Staff
- Slash Film
Leah Michele is pregnant with her second child. The Glee and Broadway star announced she is expecting again with a series of maternity photos posted to Instagram on Wednesday.
“Mommy, Daddy and Ever are overjoyed,” Michele wrote.
View this post on Instagram
A post shared by Lea Michele (@leamichele)
Michele married husband Zandy Reich in 2019. The couple welcomed their first child, son Ever, now 3 years old, in 2020.
Michele finished her final performance as Funny Girl‘s Fanny Brice — after replacing Beanie Feldstein in July 2022 — last September. The Broadway revival had initially debuted to mixed reviews, with many criticizing Feldstein’s performance. During Michele’s run, producers were reportedly able to recoup capitalization costs, according to The New York Times, with the show boasting almost 600 performances at the August Wilson Theatre in New York.
Michele received seven standing ovations during her final performance. “Thank you for all the love and support,...
“Mommy, Daddy and Ever are overjoyed,” Michele wrote.
View this post on Instagram
A post shared by Lea Michele (@leamichele)
Michele married husband Zandy Reich in 2019. The couple welcomed their first child, son Ever, now 3 years old, in 2020.
Michele finished her final performance as Funny Girl‘s Fanny Brice — after replacing Beanie Feldstein in July 2022 — last September. The Broadway revival had initially debuted to mixed reviews, with many criticizing Feldstein’s performance. During Michele’s run, producers were reportedly able to recoup capitalization costs, according to The New York Times, with the show boasting almost 600 performances at the August Wilson Theatre in New York.
Michele received seven standing ovations during her final performance. “Thank you for all the love and support,...
- 3/28/2024
- by Zoe G Phillips
- The Hollywood Reporter - Movie News
"Drive-Away Dolls" Ethan Coen branches off from working with brother Joel Cohen and directed “Drive-Away Dolls” with a script he co-wrote with his wife Tricia Cooke. The film stars Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, Colman Domingo, Pedro Pascal, Bill Camp, and Matt Damon. https://youtu.be/yhPxumWcCKQ?si=UZp0BhfrAil2wZy7 "Ordinary Angels" Two-time Oscar winner Hilary Swank returns to
The post Movie Reviews: “Drive-Away Dolls,” “Ordinary Angels” appeared first on Manny the Movie Guy.
The post Movie Reviews: “Drive-Away Dolls,” “Ordinary Angels” appeared first on Manny the Movie Guy.
- 3/19/2024
- by manny
- Manny the Movie Guy
Well, it’s over. Now that the 2024 film awards season is in the rearview mirror, the onslaught of prestige titles hitting digital platforms will come to a temporary halt. Thankfully, this week still brings a pretty decent crop of new releases.
The contender to watch this week: “Drive-Away Dolls“
Ethan Coen‘s second movie without Joel — his first was the documentary “Jerry Lee Lewis: Trouble in Mind,” which is streaming exclusively on Prime Video — has posted modest box-office returns, but the breezy road comedy seems destined for cult-favorite status. Margaret Qualley and Geraldine Viswanathan play friends who get caught up in a band of maladroit criminals during a road trip down South. Co-written with Tricia Cooke, who edited “The Big Lebowski” and other Coen-brother movies, “Drive-Away Dolls” also features Beanie Feldstein, Pedro Pascal, Matt Damon, and newly minted Oscar nominee Colman Domingo. It’s available to rent or purchase on VOD.
The contender to watch this week: “Drive-Away Dolls“
Ethan Coen‘s second movie without Joel — his first was the documentary “Jerry Lee Lewis: Trouble in Mind,” which is streaming exclusively on Prime Video — has posted modest box-office returns, but the breezy road comedy seems destined for cult-favorite status. Margaret Qualley and Geraldine Viswanathan play friends who get caught up in a band of maladroit criminals during a road trip down South. Co-written with Tricia Cooke, who edited “The Big Lebowski” and other Coen-brother movies, “Drive-Away Dolls” also features Beanie Feldstein, Pedro Pascal, Matt Damon, and newly minted Oscar nominee Colman Domingo. It’s available to rent or purchase on VOD.
- 3/16/2024
- by Christopher Rosen
- Gold Derby
Stars: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, Colman Domingo, Pedro Pascal, Bill Camp, Matt Damon | Written by Ethan Coen, Tricia Clarke | Directed by Ethan Coen
Directed by Ethan Coen, who co-wrote the script with his wife, Tricia Clarke, Drive-Away Dolls (previously known as Drive-Away Dykes) is a queer road movie-slash-crime caper anchored by a pair of delightful performances by co-leads Margaret Qualley and Geraldine Viswanathan. The plot is admittedly slight and the jokes will almost certainly prove too puerile for some tastes, but it has attitude to spare and the fun characters carry it through.
Set in 1999, on the eve of Y2K, the film begins in Philadelphia, where Texan good-time-girl Jamie (Qualley) has just broken up with her hot-tempered cop lover Sukie (Beanie Feldstein). Needing to get out of town, Jamie jumps at the chance to accompany her strait-laced lesbian best friend Marian (Viswanathan) on a road trip to Tallahassee,...
Directed by Ethan Coen, who co-wrote the script with his wife, Tricia Clarke, Drive-Away Dolls (previously known as Drive-Away Dykes) is a queer road movie-slash-crime caper anchored by a pair of delightful performances by co-leads Margaret Qualley and Geraldine Viswanathan. The plot is admittedly slight and the jokes will almost certainly prove too puerile for some tastes, but it has attitude to spare and the fun characters carry it through.
Set in 1999, on the eve of Y2K, the film begins in Philadelphia, where Texan good-time-girl Jamie (Qualley) has just broken up with her hot-tempered cop lover Sukie (Beanie Feldstein). Needing to get out of town, Jamie jumps at the chance to accompany her strait-laced lesbian best friend Marian (Viswanathan) on a road trip to Tallahassee,...
- 3/15/2024
- by Matthew Turner
- Nerdly
It’s hard to put into words the kind of the disappointment that comes with realising that one of your favourite filmmakers has made a truly terrible movie. That realisation hit me approximately 10 minutes into Drive-Away Dolls, the new film by one half of acclaimed filmmaking duo The Coen Brothers.
Alongside his brother Joel, Ethan Coen has given us more than 4 decades of brilliant films ranging from quirky black comedies – A Serious Man, Hail, Caesar!, Inside Llewyn Davis – to beautifully devised crime capers – Blood Simple, No Country for Old Men and True Grit being just a few – but recently the prolific brothers took a break from working together. This resulted in Joel Coen’s multi-awarded nominated The Tragedy of Macbeth in 2021, and the soon to be released chaotic lesbian sexploitation comedy Drive-Away Dolls from his brother Ethan.
Written by Coen and Tricia Cooke, Drive-Away Dolls follows the antics of Jamie...
Alongside his brother Joel, Ethan Coen has given us more than 4 decades of brilliant films ranging from quirky black comedies – A Serious Man, Hail, Caesar!, Inside Llewyn Davis – to beautifully devised crime capers – Blood Simple, No Country for Old Men and True Grit being just a few – but recently the prolific brothers took a break from working together. This resulted in Joel Coen’s multi-awarded nominated The Tragedy of Macbeth in 2021, and the soon to be released chaotic lesbian sexploitation comedy Drive-Away Dolls from his brother Ethan.
Written by Coen and Tricia Cooke, Drive-Away Dolls follows the antics of Jamie...
- 3/14/2024
- by Linda Marric
- HeyUGuys.co.uk
Take a look at more footage from “Drive-Away Dolls”, the new road comedy feature, written and directed by Ethan Coen, starring Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, Colman Domingo, Pedro Pascal, Bill Camp and Matt Damon, now available for rent or purchase on digital platforms from Universal Pictures Home Entertainment:
“…’Jamie’, an uninhibited free spirit bemoans yet another breakup with a girlfriend, while her demure friend ‘Marian’ desperately needs to loosen up.
“In search of a fresh start, the two embark on an impromptu road trip to Tallahassee, but things quickly go awry when they cross paths with a group of creeps along the way…”
Click the images to enlarge…...
“…’Jamie’, an uninhibited free spirit bemoans yet another breakup with a girlfriend, while her demure friend ‘Marian’ desperately needs to loosen up.
“In search of a fresh start, the two embark on an impromptu road trip to Tallahassee, but things quickly go awry when they cross paths with a group of creeps along the way…”
Click the images to enlarge…...
- 3/13/2024
- by Unknown
- SneakPeek
Geraldine Viswanathan lends a quiet seriousness to her role that anchors this otherwise flimsy, silly story
Here is a saucy, silly, queer road-movie caper from director Ethan Coen and his partner, co-writer and co-producer Tricia Cooke; it’s Coen’s second film without his brother, Joel, following his Jerry Lee Lewis documentary in 2022. Drive-Away Dolls is a flimsy lark wrapped up smartly and economically in 84 minutes with a perfunctory (and cheerfully nonsensical) MacGuffiny premise that makes it look like a Xerox of Coen brothers classics such as No Country For Old Men or Fargo. Lead player Margaret Qualley’s twangy down-home accent is moreover something that could have been re-thought in rehearsal. But it rattles along watchably enough. Geraldine Viswanathan nicely underplays her part and Beanie Feldstein delivers the gags with resounding gusto. There’s a nice sprinkling of A-lister cameos, including Colman Domingo, who I wished had been in the action a bit more.
Here is a saucy, silly, queer road-movie caper from director Ethan Coen and his partner, co-writer and co-producer Tricia Cooke; it’s Coen’s second film without his brother, Joel, following his Jerry Lee Lewis documentary in 2022. Drive-Away Dolls is a flimsy lark wrapped up smartly and economically in 84 minutes with a perfunctory (and cheerfully nonsensical) MacGuffiny premise that makes it look like a Xerox of Coen brothers classics such as No Country For Old Men or Fargo. Lead player Margaret Qualley’s twangy down-home accent is moreover something that could have been re-thought in rehearsal. But it rattles along watchably enough. Geraldine Viswanathan nicely underplays her part and Beanie Feldstein delivers the gags with resounding gusto. There’s a nice sprinkling of A-lister cameos, including Colman Domingo, who I wished had been in the action a bit more.
- 3/13/2024
- by Peter Bradshaw
- The Guardian - Film News
Warner Bros.’ “Dune: Part II” continued its reign at the U.K. and Ireland box office for the second weekend in a row with £5.9 million ($7.5 million), according to numbers released by Comscore.
Denis Villeneuve’s anticipated sequel has an all-star cast including Timothée Chalamet, Rebecca Ferguson, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya, Charlotte Rampling and Javier Bardem reprising their roles from the first film, with Austin Butler, Florence Pugh, Christopher Walken and Léa Seydoux joining them. After two weekends, the film’s total stands at £19.4 million in the territory.
In second place, Studiocanal’s “Wicked Little Letters” collected £898,390 in its third weekend for a total of £6 million. In its fourth weekend, Paramount’s “Bob Marley: One Love” earned £830,382 in third position for a total of £15.1 million. In fourth place, Universal’s “Migration” took in £671,666 in its sixth weekend for a total of £18.3 million.
Lionsgate’s “Imaginary” debuted in fifth...
Denis Villeneuve’s anticipated sequel has an all-star cast including Timothée Chalamet, Rebecca Ferguson, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya, Charlotte Rampling and Javier Bardem reprising their roles from the first film, with Austin Butler, Florence Pugh, Christopher Walken and Léa Seydoux joining them. After two weekends, the film’s total stands at £19.4 million in the territory.
In second place, Studiocanal’s “Wicked Little Letters” collected £898,390 in its third weekend for a total of £6 million. In its fourth weekend, Paramount’s “Bob Marley: One Love” earned £830,382 in third position for a total of £15.1 million. In fourth place, Universal’s “Migration” took in £671,666 in its sixth weekend for a total of £18.3 million.
Lionsgate’s “Imaginary” debuted in fifth...
- 3/13/2024
- by Naman Ramachandran
- Variety Film + TV
"Drive-Away Dolls" may be fresh out in theaters, but the wild (and wildly entertaining) road trip comedy from Ethan Coen and Tricia Cooke has already reached one destination quicker than expected: it's now available on digital platforms.
If you missed your chance to catch "Drive-Away Dolls" in cinemas -- which, given the lackluster box office impression it made during its late February debut, wouldn't be surprising -- you can still watch the ribald queer comedy from the comfort of your living room for about the price of two matinee tickets. The movie is currently available to rent or own on premium video-on-demand platforms, including Prime Video, Apple TV, Vudu, and Google Play. Each platform seems to be offering a 4K Ultra HD rental option for $19.99, while some also include a purchase price of $29.99. When it comes to the film's rollout on the home market, though, "Drive-Away Dolls" still has some road left to travel.
If you missed your chance to catch "Drive-Away Dolls" in cinemas -- which, given the lackluster box office impression it made during its late February debut, wouldn't be surprising -- you can still watch the ribald queer comedy from the comfort of your living room for about the price of two matinee tickets. The movie is currently available to rent or own on premium video-on-demand platforms, including Prime Video, Apple TV, Vudu, and Google Play. Each platform seems to be offering a 4K Ultra HD rental option for $19.99, while some also include a purchase price of $29.99. When it comes to the film's rollout on the home market, though, "Drive-Away Dolls" still has some road left to travel.
- 3/12/2024
- by Valerie Ettenhofer
- Slash Film
Margaret Qualley has been to some interesting venues to promote her new film, Drive-Away Dolls.
The actress stopped by Late Night With Seth Meyers where she discussed the project from Ethan Coen and his wife, Tricia Cooke. While chatting with Meyers, Qualley explained that its press tour took her to a vibrator museum in San Francisco.
“It was memorable,” she told the late night host. “You know, I wanted more time there, but I left thinking, like, ‘I don’t know that anyone should put that inside of them.’ Like, those ancient vibrators… It seemed dangerous.”
She and Meyers went on to joke about how the scientists who worked on the technological improvements of more recent vibrators were the “real heroes,” who should have TV shows made about them, instead of those made about people at NASA.
Elsewhere in the appearance, Qualley noted that the film was originally titled Drive-Away Dykes...
The actress stopped by Late Night With Seth Meyers where she discussed the project from Ethan Coen and his wife, Tricia Cooke. While chatting with Meyers, Qualley explained that its press tour took her to a vibrator museum in San Francisco.
“It was memorable,” she told the late night host. “You know, I wanted more time there, but I left thinking, like, ‘I don’t know that anyone should put that inside of them.’ Like, those ancient vibrators… It seemed dangerous.”
She and Meyers went on to joke about how the scientists who worked on the technological improvements of more recent vibrators were the “real heroes,” who should have TV shows made about them, instead of those made about people at NASA.
Elsewhere in the appearance, Qualley noted that the film was originally titled Drive-Away Dykes...
- 2/28/2024
- by Christy Piña
- The Hollywood Reporter - Movie News
This past weekend was sort of the calm before the storm at the box office, with "Bob Marley: One Love" sort of holding it down until "Dune: Part Two" arrives to help rescue 2024's abysmal ticket sales thus far. But a couple of new movies did hit theaters, with "Demon Slayer: Kimetsu no Yaiba—To the Hashira Training" leading the way and maintaining the trend of anime finding its audience in theaters. Unfortunately, the weekend's other big new release, Ethan Coen's "Drive-Away Dolls," didn't fare nearly as well and now ranks as one of the year's early theatrical disappointments.
The film earned just $2.4 million in its debut, placing eighth on the charts just behind "Wonka" ($2.45 million), a film in its 11th weekend, and just ahead of "The Beekeeper" ($1.9 million), a film in its seventh weekend. The Focus Feature release is essentially dead on arrival as the next few weeks are going to be very busy,...
The film earned just $2.4 million in its debut, placing eighth on the charts just behind "Wonka" ($2.45 million), a film in its 11th weekend, and just ahead of "The Beekeeper" ($1.9 million), a film in its seventh weekend. The Focus Feature release is essentially dead on arrival as the next few weeks are going to be very busy,...
- 2/26/2024
- by Ryan Scott
- Slash Film
The last full weekend of February was another dour and dreary time at the box office as none of the three new wide releases made much of a mark. Read on for the weekend box office report.
Despite the release of three new movies, Paramount’s biopic, “Bob Marley: One Love,” starring Kingsley Ben-Adir and Lashana Lynch, remained atop the box office despite a fairly large 53% drop from Presidents Day weekend. It took first place with an estimated $13.5 million, bringing its domestic total to $71.2 million. Over the weekend, it hit $100 million globally in less than two weeks of release, adding another $15 million internationally for a global total of $120.6 million.
Opening in 1,949 theaters, Crunchyroll’s Anime “Demon Slayer: Kimetsu No Yaiba – To The Hashira Training” was actually a combination of episodes from the previous season of the series and a preview of the upcoming season. It gave fans a first...
Despite the release of three new movies, Paramount’s biopic, “Bob Marley: One Love,” starring Kingsley Ben-Adir and Lashana Lynch, remained atop the box office despite a fairly large 53% drop from Presidents Day weekend. It took first place with an estimated $13.5 million, bringing its domestic total to $71.2 million. Over the weekend, it hit $100 million globally in less than two weeks of release, adding another $15 million internationally for a global total of $120.6 million.
Opening in 1,949 theaters, Crunchyroll’s Anime “Demon Slayer: Kimetsu No Yaiba – To The Hashira Training” was actually a combination of episodes from the previous season of the series and a preview of the upcoming season. It gave fans a first...
- 2/25/2024
- by Edward Douglas
- Gold Derby
Sunday Am: Grosses haven’t changed seismically from yesterday in what is hopefully the last less-than-$70M weekend for a while. Paramount’s Bob Marley: One Love is coming in at $13.5M, -53%, for a $71.1M total by Eod. But here’s the short and sweet takeaway from today: Exhibition (and studios) scream that they need product coming out of Covid, and even more so after the strikes turned the first half of the 2024 theatrical release calendar inside out. But there’s the deal: There were three wide releases this weekend — three.
Sony/Crunchyroll’s Demon Slayer Kimetsu no Yaiba – To the Hashira Training did its job, bringing its fanbase out and opening to $11.6M. Great for TV episodes on the big screen, and higher than Demon Slayer‘s $10.1M start last August.
But two other movies –a very highly reviewed faith-based Kingdom Story movie, Ordinary Angels, and a prolific star-studded Focus Features, Ethan Coen-directed movie, Drive-Away Dolls, (which was getting pushed to theater owners as early as last CinemaCon) were respectively meh ($6.5M opening for a $12M-$13M movie) and ‘Christ, really?’ ($2.4M start off a $20M negative pick-up cost; shockingly lower than the $3.69M of Focus’ fresh face genre pic Lisa Frankenstein).
Ordinary Angels‘ not over-performing off its great diagnostics is perplexing, and Drive-Away Dolls failure apparently gets pinned on the fact that it’s a bad movie.
But here’s the long-winded point, and this relates to both Ordinary Angels and Drive-Away Dolls: In this post- pandemic environment, studios are cutting their marketing expenses, not really aiming for any type of robust theatrical number, so that they can get these movies into the downstream home entertainment windows where they break-even or perhaps make a little money. If no muscle is provided in sending a message to audiences that these titles should be seen in a theater, and a studio just automatically expects people to show up, then what hope is there for counterprogramming on the big screen?
It’s clear on these smaller films, theatrical is just merely being used as a form of advertising to tell people to watch these movies at home. Hey?! Why am I picking on these two little guys? Because a big deal was made back in the fall to protect these movies and move them away from a strike environment where actors couldn’t promote (Ordinary Angels says it moved because of Taylor Swift). Now, both titles open and they’re putting up box office that’s akin to opening in a strike-laden marketplace. Which begs the question of how much oomph was put behind them.
There’s something else going on with Ordinary Angels. Why did Jesus Revolution rally to a $15M opening, and not this? It had Jesus in the title. Quite often, what makes a faith-based film catapult to another stratosphere is its faithful-per-minute moment. Ordinary Angels doesn’t have that 100%, and that’s what is keeping the churchgoers at bay, despite the fact that this drama was screened a lot.
In the case of Drive-Away Dolls, Focus cut a fun trailer. And they chose a good date with a vacancy on the calendar. But apparently, both weren’t good enough to spur traffic to this Margaret Qualley, Beanie Feldstein, Geraldine Viswanathan, Pedro Pascal and Matt Damon romp. As far as the movie not doing more business, a major studio isn’t going to throw good money after bad and strain to rein in an audience on a title that has these types of audience scores (although critics were Ok with the movie at 65% fresh).
Any studio executive who is preaching about a diverse film slate and more non-tentpole films to bring moviegoers back — it’s not happening unless you financially support these movies and make them niche draws.
We’ll have the chart soon in what will be a crazy Indie Spirit Awards and PGA Awards fun-filled day in the City of Angels.
Speaking of supporting counterprogramming — raise a glass to Sony for getting the comeback romcom Anyone But You over the $200M global mark. The $25M production is going to make more profit than the Culver City’s lot beaten-down Madame Web.
1.) Bob Marley: One Love (Par) 3,597 (+58) theaters, Fri $3.7M Sat $6M Sun $3.78M 3-day $13.5M (-53%) Total $71.1M/Wk 2
2.) Demon Slayer…(Sony) 1,949 theaters Fri $5.5M Sat $3.5M Sun $2.5M 3-day $11.6M/Wk 1
3.) Ordinary Angels (LG) 3,020 theaters Fri $2.33M Sat $2.32M Sun $1.85M 3-day $6.5M/Wk 1
4.) Madame Web (Sony) 4,013 theaters, Fri $1.6M Sat $2.6M Sun $1.7M 3-day $6M (-61%) Total $35.4M/Wk 2
5.) Migration (Ill/Uni) 2,434 (-21) Fri $660K Sat $1.36M Sun $980K 3-day $3M (-22%) Total $120.4M/ Wk 10
6.) Argylle (App/Uni) 3,060 (-587) theaters, Fri $740K Sat $1.27M Sun $790K 3-day $2.8M (-43%) Total $41.6M/ Wk 4
7.) Wonka (WB) 2,203 (-144) theaters, Fri $605K Sat $1.17M Sun $760K 3-day $2.53M (-28%) Total $214.5M/Wk 11
8.) Drive-Away Dolls (Foc) 2,280 theaters Fri $1M Sat $840K Sun $550K 3-day $2.4M/Wk 1
9.) The Beekeeper (Amz MGM) 2,157 (-400) theaters, Fri $504K Sat $911K Sun $547K 3-day $1.96M (-39%) Total $63.1M/Wk 7
10.) Chosen Season 4, Eps 4-6 (Fath) 2,090 (-138) theaters Fri $518K Sat $747K Sun $530K 3-day $1.79M (-50%), Total $7.8M /Wk 2
Saturday Am Writethru after Friday night post: Paramount’s Bob Marley: One Love remains on uppers at the weekend box office with a $3.7M Friday, and a 3-day of $13.95M at 3,597 theaters, -51% which will get the Reinaldo Marcus Green directed title to $71.6M by Sunday. Through yesterday, global is already at $101.1M. That’s a great piece of counterprogramming business in a struggling marketplace. Say what you will, S&P Global about putting Paramount Global on “credit watch negative,” but the film studio has a vibrant theatrical release schedule this year with Gladiator 2, Quiet Place: Day, If and Smile 2 to name a few.
Sony/Crunchyroll’s Demon Slayer Kimetsu no Yaiba -To the Hashira Training which is not a movie, but “is the last episode (episode 11) of the Swordsmith Village Arc and the first episode of the Hashira Training Arc” is looking at $10.8M after a $5.5M Friday (including those $1.8M previews) at 1,949 locations. I’m told that some of the fanboys here were also customers of Sony’s Madame Web last weekend.
Demon Slayer devotees gave this edition a B+, which is the same grade they gave last year’s big screen version of the anime toon. ComScore/Screen Engine PostTrak audiences gave it an 84% positive and a 68% definite recommend. Male leaning at 66% with 75% of those who bought tickets between 18-34 and 25-34 the biggest demo at 45%. Diversity demos were 43% Latino and Hispanic, 23% Caucasian, 13% Black and 14% Asian. IMAX and Plf screens are responsible for a third of the weekend’s ticket sales as Demon Slayer slayed in South Central, West and Mountain regions. AMC Burbank is the highest grossing theater so far with a near $19K since Thursday.
Thank God for Crunchyroll during depressed times at the box office; they can fill the void. However, the overall box office stands at $64M, -32% from a year ago. March couldn’t get here any faster with Dune Part Two.
Third goes to Lionsgate/Kingdom Story’s Ordinary Angels, which despite an awesome A+ CinemaScore (typical for a faith-based movie), solid reviews at 80% fresh on Rotten Tomatoes and a 100% Rt audience score — isn’t wildly overperforming. Right now a $2.3M Friday is yielding a $6.5M result in third place. The reason why some believed this could beat its $5M-$7M projection is because faith-based audiences often fly under the radar of tracking services. Last February’s Kingdom Story movie, Jesus Revolution, hit a homerun with a $15.8M opening and $52.1M. Where’s the seat fillers?
It’s odd considering there was positive chatter for Ordinary Angels from RelishMix: “Audiences who are drawn to see Reacher star Alan Ritchson headlining the film, appreciate the different type of performance than his action-oriented roles and there’ enthusiasm to see Hilary Swank return to theaters.” However, the social media metric company does report, “Ordinary Angels social media universe stats run -31% under indie-drama norms at 38.1M across Facebook, X, YouTube, Instagram and TikTok combined.”
Right now, Spider-Man clairvoyant Madame Web is showing a -64% second frame drop (which is bad though not as atrocious as Marvels -78% second weekend freefall or Sony/Marvel’s Morbius‘ -74%) with an estimated $5.56M in 4th place at 4,013 theaters after a $1.5M Friday. She’ll stand at $35M by Sunday. Still, both Marvels and Morbius look like crowdpleasers next to Madame Web respectively at $84.5M and $73.8M domestic finals. Let’s not put lipstick on this. If you’re going to make a superhero movie going forward, really focus on it in development and hire solid directors. The theatrical business can’t afford cookie-cutter any more.
Universal’s tenth weekend of Illumination’s Migration continues to nest in the top five at 2,422 theaters with a $700K Friday, $3.3M weekend, -14%, $120.7M by Sunday. Given the lack of family animated movies, many are betting big on Uni/DreamWorks Animation’s Kung Fu Panda 4 when it hits in the post Dune 2 slot of March 8. A $50M opening wouldn’t be shocking.
And in the dust is Focus Features’ Ethan Coen directed title Drive-Away Dolls at 2,279 theaters with a $1M Friday (including previews) for a $2.5M opening. That start is lower than Focus Features’ Lisa Frankenstein ($3.69M), and that Zelda Williams-directed movie cost less ($13M) than what Drive-Away Dolls was acquired for. I hear that Lisa Frankenstein (with a gross of $8.8M through yesterday), will wind up making a little profit for Focus at the end of the day. Sure, there’s a big difference in demand when two Coen Brothers’ names show up in the trailer instead of one. It’s not often that a Coen Brothers movie goes wide in its first weekend, and in the case of when a studio doesn’t platform a title, it means they have to segue a movie quick from theatrical into home ancillary markets so that it makes money. With a 66% Rt critic score and current 37% audience score, you can see why Focus went wide and fast with this one.
RelishMix notes that as far as the social media wattage for Drive-Away Dolls, which counts 73M followers, that “Star power on the film sits in the wings as most of the star cast are non-social or not activated.”
RelishMix on the social media reaction to the movie, “Though the appearances of Pedro Pascal and Matt Damon are exciting fans, some are bemoaning that their roles are likely small and being overly used to promote the film. Many compared the film to ‘Dumb and Dumber but with females’, while some argued that the film is derivative, saying ‘Even though it’s new, I feel like I’ve already seen this movie.'”
Friday Am: Sony/Crunchyroll’s Demon Slayer Kimetsu no Yaiba -To the Hashira Training had the most action among three wide entries last night in previews with $1.8M from 1,870 locations that started showtimes at 4Pm. That was boosted, in standard Sony/Crunchyroll fashion, by PLFs and Imax. The movie is only suppose to do in the high single digits this weekend, much lower than other Demon Slayer movies as it’s a TV episode that’s been streamed on Crunchyroll, just shown on the big screen for the first time. In sum, it’s not a movie. 2021’s Demon Slayer movie posted $3.8M in previews.
Hilary Swank in ‘Ordinary Angels’
Lionsgate/Kingdom Story’s faith-based Hilary Swank drama Ordinary Angels saw $285K off previews that began at 6Pm. While that’s low, there’s hope that this movie could over exceed its $5M-$7M projection given its pretty good reviews of 78% fresh on Rotten Tomatoes. We’ll see.
Margaret Qualley and Geraldine Viswanathan in ‘Drive-Away Dolls’
Focus Features has the Ethan Coen directed comedy caper Drive-Away Dolls. They moved the movie out of the fall due to the actors strike so that it has a shot at some livelihood. Despite a NYC premiere and reviews at 68% fresh on Rotten Tomatoes — it has none. So much, that the distributor isn’t reporting preview grosses today. That means the movie made less than the $700K they did report for Lisa Frankenstein on its previews, however that included previews outside Thursday. Oy. Industry estimates are figuring around $450K. Lisa Frankenstein with its fresh face cast opened to $3.6M; and Drive-Away Dolls could be lower or about the same. How is that possible? Coen Brother=hip. Margaret Qualley, Beanie Feldstein, Geraldine Viswanathan and Matt Damon=hip. Tracker Quorum reports, “Sadly, Focus struggled to build awareness for the film. Dolls arrives in theaters with only 20% awareness. Of the 17 films over the past two years with awareness of 20% or lower, none opened above $4M. That’s a challenging trend to buck.”
‘Bob Marley: One Love,’ and ‘Madame Web’
As we told you, it’s Paramount’s Bob Marley: One Love which will keep everyone together at cinemas this weekend with around $15M, -45%. The pic had a great Thursday hold, -4% from Wednesday with $1.6M ending its running total through nine days at $57.6M at 3,539 theaters. That’s 25% ahead of Rocketman through nine days, and that movie ended its domestic run at $96.3M.
Sony/Marvel’s Madame Web eased 9% on Thursday with $786K at 4,013 ending its nine-day run with $29.4M. If the panned femme superhero movie is lucky, it will only ease -55% this weekend for a $6.8M. That would be mindboggling.
Sony/Crunchyroll’s Demon Slayer Kimetsu no Yaiba – To the Hashira Training did its job, bringing its fanbase out and opening to $11.6M. Great for TV episodes on the big screen, and higher than Demon Slayer‘s $10.1M start last August.
But two other movies –a very highly reviewed faith-based Kingdom Story movie, Ordinary Angels, and a prolific star-studded Focus Features, Ethan Coen-directed movie, Drive-Away Dolls, (which was getting pushed to theater owners as early as last CinemaCon) were respectively meh ($6.5M opening for a $12M-$13M movie) and ‘Christ, really?’ ($2.4M start off a $20M negative pick-up cost; shockingly lower than the $3.69M of Focus’ fresh face genre pic Lisa Frankenstein).
Ordinary Angels‘ not over-performing off its great diagnostics is perplexing, and Drive-Away Dolls failure apparently gets pinned on the fact that it’s a bad movie.
But here’s the long-winded point, and this relates to both Ordinary Angels and Drive-Away Dolls: In this post- pandemic environment, studios are cutting their marketing expenses, not really aiming for any type of robust theatrical number, so that they can get these movies into the downstream home entertainment windows where they break-even or perhaps make a little money. If no muscle is provided in sending a message to audiences that these titles should be seen in a theater, and a studio just automatically expects people to show up, then what hope is there for counterprogramming on the big screen?
It’s clear on these smaller films, theatrical is just merely being used as a form of advertising to tell people to watch these movies at home. Hey?! Why am I picking on these two little guys? Because a big deal was made back in the fall to protect these movies and move them away from a strike environment where actors couldn’t promote (Ordinary Angels says it moved because of Taylor Swift). Now, both titles open and they’re putting up box office that’s akin to opening in a strike-laden marketplace. Which begs the question of how much oomph was put behind them.
There’s something else going on with Ordinary Angels. Why did Jesus Revolution rally to a $15M opening, and not this? It had Jesus in the title. Quite often, what makes a faith-based film catapult to another stratosphere is its faithful-per-minute moment. Ordinary Angels doesn’t have that 100%, and that’s what is keeping the churchgoers at bay, despite the fact that this drama was screened a lot.
In the case of Drive-Away Dolls, Focus cut a fun trailer. And they chose a good date with a vacancy on the calendar. But apparently, both weren’t good enough to spur traffic to this Margaret Qualley, Beanie Feldstein, Geraldine Viswanathan, Pedro Pascal and Matt Damon romp. As far as the movie not doing more business, a major studio isn’t going to throw good money after bad and strain to rein in an audience on a title that has these types of audience scores (although critics were Ok with the movie at 65% fresh).
Any studio executive who is preaching about a diverse film slate and more non-tentpole films to bring moviegoers back — it’s not happening unless you financially support these movies and make them niche draws.
We’ll have the chart soon in what will be a crazy Indie Spirit Awards and PGA Awards fun-filled day in the City of Angels.
Speaking of supporting counterprogramming — raise a glass to Sony for getting the comeback romcom Anyone But You over the $200M global mark. The $25M production is going to make more profit than the Culver City’s lot beaten-down Madame Web.
1.) Bob Marley: One Love (Par) 3,597 (+58) theaters, Fri $3.7M Sat $6M Sun $3.78M 3-day $13.5M (-53%) Total $71.1M/Wk 2
2.) Demon Slayer…(Sony) 1,949 theaters Fri $5.5M Sat $3.5M Sun $2.5M 3-day $11.6M/Wk 1
3.) Ordinary Angels (LG) 3,020 theaters Fri $2.33M Sat $2.32M Sun $1.85M 3-day $6.5M/Wk 1
4.) Madame Web (Sony) 4,013 theaters, Fri $1.6M Sat $2.6M Sun $1.7M 3-day $6M (-61%) Total $35.4M/Wk 2
5.) Migration (Ill/Uni) 2,434 (-21) Fri $660K Sat $1.36M Sun $980K 3-day $3M (-22%) Total $120.4M/ Wk 10
6.) Argylle (App/Uni) 3,060 (-587) theaters, Fri $740K Sat $1.27M Sun $790K 3-day $2.8M (-43%) Total $41.6M/ Wk 4
7.) Wonka (WB) 2,203 (-144) theaters, Fri $605K Sat $1.17M Sun $760K 3-day $2.53M (-28%) Total $214.5M/Wk 11
8.) Drive-Away Dolls (Foc) 2,280 theaters Fri $1M Sat $840K Sun $550K 3-day $2.4M/Wk 1
9.) The Beekeeper (Amz MGM) 2,157 (-400) theaters, Fri $504K Sat $911K Sun $547K 3-day $1.96M (-39%) Total $63.1M/Wk 7
10.) Chosen Season 4, Eps 4-6 (Fath) 2,090 (-138) theaters Fri $518K Sat $747K Sun $530K 3-day $1.79M (-50%), Total $7.8M /Wk 2
Saturday Am Writethru after Friday night post: Paramount’s Bob Marley: One Love remains on uppers at the weekend box office with a $3.7M Friday, and a 3-day of $13.95M at 3,597 theaters, -51% which will get the Reinaldo Marcus Green directed title to $71.6M by Sunday. Through yesterday, global is already at $101.1M. That’s a great piece of counterprogramming business in a struggling marketplace. Say what you will, S&P Global about putting Paramount Global on “credit watch negative,” but the film studio has a vibrant theatrical release schedule this year with Gladiator 2, Quiet Place: Day, If and Smile 2 to name a few.
Sony/Crunchyroll’s Demon Slayer Kimetsu no Yaiba -To the Hashira Training which is not a movie, but “is the last episode (episode 11) of the Swordsmith Village Arc and the first episode of the Hashira Training Arc” is looking at $10.8M after a $5.5M Friday (including those $1.8M previews) at 1,949 locations. I’m told that some of the fanboys here were also customers of Sony’s Madame Web last weekend.
Demon Slayer devotees gave this edition a B+, which is the same grade they gave last year’s big screen version of the anime toon. ComScore/Screen Engine PostTrak audiences gave it an 84% positive and a 68% definite recommend. Male leaning at 66% with 75% of those who bought tickets between 18-34 and 25-34 the biggest demo at 45%. Diversity demos were 43% Latino and Hispanic, 23% Caucasian, 13% Black and 14% Asian. IMAX and Plf screens are responsible for a third of the weekend’s ticket sales as Demon Slayer slayed in South Central, West and Mountain regions. AMC Burbank is the highest grossing theater so far with a near $19K since Thursday.
Thank God for Crunchyroll during depressed times at the box office; they can fill the void. However, the overall box office stands at $64M, -32% from a year ago. March couldn’t get here any faster with Dune Part Two.
Third goes to Lionsgate/Kingdom Story’s Ordinary Angels, which despite an awesome A+ CinemaScore (typical for a faith-based movie), solid reviews at 80% fresh on Rotten Tomatoes and a 100% Rt audience score — isn’t wildly overperforming. Right now a $2.3M Friday is yielding a $6.5M result in third place. The reason why some believed this could beat its $5M-$7M projection is because faith-based audiences often fly under the radar of tracking services. Last February’s Kingdom Story movie, Jesus Revolution, hit a homerun with a $15.8M opening and $52.1M. Where’s the seat fillers?
It’s odd considering there was positive chatter for Ordinary Angels from RelishMix: “Audiences who are drawn to see Reacher star Alan Ritchson headlining the film, appreciate the different type of performance than his action-oriented roles and there’ enthusiasm to see Hilary Swank return to theaters.” However, the social media metric company does report, “Ordinary Angels social media universe stats run -31% under indie-drama norms at 38.1M across Facebook, X, YouTube, Instagram and TikTok combined.”
Right now, Spider-Man clairvoyant Madame Web is showing a -64% second frame drop (which is bad though not as atrocious as Marvels -78% second weekend freefall or Sony/Marvel’s Morbius‘ -74%) with an estimated $5.56M in 4th place at 4,013 theaters after a $1.5M Friday. She’ll stand at $35M by Sunday. Still, both Marvels and Morbius look like crowdpleasers next to Madame Web respectively at $84.5M and $73.8M domestic finals. Let’s not put lipstick on this. If you’re going to make a superhero movie going forward, really focus on it in development and hire solid directors. The theatrical business can’t afford cookie-cutter any more.
Universal’s tenth weekend of Illumination’s Migration continues to nest in the top five at 2,422 theaters with a $700K Friday, $3.3M weekend, -14%, $120.7M by Sunday. Given the lack of family animated movies, many are betting big on Uni/DreamWorks Animation’s Kung Fu Panda 4 when it hits in the post Dune 2 slot of March 8. A $50M opening wouldn’t be shocking.
And in the dust is Focus Features’ Ethan Coen directed title Drive-Away Dolls at 2,279 theaters with a $1M Friday (including previews) for a $2.5M opening. That start is lower than Focus Features’ Lisa Frankenstein ($3.69M), and that Zelda Williams-directed movie cost less ($13M) than what Drive-Away Dolls was acquired for. I hear that Lisa Frankenstein (with a gross of $8.8M through yesterday), will wind up making a little profit for Focus at the end of the day. Sure, there’s a big difference in demand when two Coen Brothers’ names show up in the trailer instead of one. It’s not often that a Coen Brothers movie goes wide in its first weekend, and in the case of when a studio doesn’t platform a title, it means they have to segue a movie quick from theatrical into home ancillary markets so that it makes money. With a 66% Rt critic score and current 37% audience score, you can see why Focus went wide and fast with this one.
RelishMix notes that as far as the social media wattage for Drive-Away Dolls, which counts 73M followers, that “Star power on the film sits in the wings as most of the star cast are non-social or not activated.”
RelishMix on the social media reaction to the movie, “Though the appearances of Pedro Pascal and Matt Damon are exciting fans, some are bemoaning that their roles are likely small and being overly used to promote the film. Many compared the film to ‘Dumb and Dumber but with females’, while some argued that the film is derivative, saying ‘Even though it’s new, I feel like I’ve already seen this movie.'”
Friday Am: Sony/Crunchyroll’s Demon Slayer Kimetsu no Yaiba -To the Hashira Training had the most action among three wide entries last night in previews with $1.8M from 1,870 locations that started showtimes at 4Pm. That was boosted, in standard Sony/Crunchyroll fashion, by PLFs and Imax. The movie is only suppose to do in the high single digits this weekend, much lower than other Demon Slayer movies as it’s a TV episode that’s been streamed on Crunchyroll, just shown on the big screen for the first time. In sum, it’s not a movie. 2021’s Demon Slayer movie posted $3.8M in previews.
Hilary Swank in ‘Ordinary Angels’
Lionsgate/Kingdom Story’s faith-based Hilary Swank drama Ordinary Angels saw $285K off previews that began at 6Pm. While that’s low, there’s hope that this movie could over exceed its $5M-$7M projection given its pretty good reviews of 78% fresh on Rotten Tomatoes. We’ll see.
Margaret Qualley and Geraldine Viswanathan in ‘Drive-Away Dolls’
Focus Features has the Ethan Coen directed comedy caper Drive-Away Dolls. They moved the movie out of the fall due to the actors strike so that it has a shot at some livelihood. Despite a NYC premiere and reviews at 68% fresh on Rotten Tomatoes — it has none. So much, that the distributor isn’t reporting preview grosses today. That means the movie made less than the $700K they did report for Lisa Frankenstein on its previews, however that included previews outside Thursday. Oy. Industry estimates are figuring around $450K. Lisa Frankenstein with its fresh face cast opened to $3.6M; and Drive-Away Dolls could be lower or about the same. How is that possible? Coen Brother=hip. Margaret Qualley, Beanie Feldstein, Geraldine Viswanathan and Matt Damon=hip. Tracker Quorum reports, “Sadly, Focus struggled to build awareness for the film. Dolls arrives in theaters with only 20% awareness. Of the 17 films over the past two years with awareness of 20% or lower, none opened above $4M. That’s a challenging trend to buck.”
‘Bob Marley: One Love,’ and ‘Madame Web’
As we told you, it’s Paramount’s Bob Marley: One Love which will keep everyone together at cinemas this weekend with around $15M, -45%. The pic had a great Thursday hold, -4% from Wednesday with $1.6M ending its running total through nine days at $57.6M at 3,539 theaters. That’s 25% ahead of Rocketman through nine days, and that movie ended its domestic run at $96.3M.
Sony/Marvel’s Madame Web eased 9% on Thursday with $786K at 4,013 ending its nine-day run with $29.4M. If the panned femme superhero movie is lucky, it will only ease -55% this weekend for a $6.8M. That would be mindboggling.
- 2/25/2024
- by Anthony D'Alessandro
- Deadline Film + TV
Hollywood’s latest music biopic, Bob Marley: One Love, continues to jam at the global box office, where it crossed the $100 million mark on Friday, including $61.4 million domestically and $39.7 million overseas after only 10 days in theaters.
The Paramount movie easily stayed atop this weekend’s domestic box office chart with an estimated $13.5 million from 3,597 locations, pushing its domestic tally to $72.2 million. Marley’s star also continues to shine brightly overseas, where it has amassed $49.4 million for global cume of $120.6 million.
One Love first starting making headlines last week, when it snagged a six-day launch of $51.1 million over the Valentine’s Day-Presidents Day corridor, one of the best openings ever for a music biopic (Straight Outta Compton remains top of the list), and remained well ahead of the dismal $26 million debut of Sony’s doomed Madame Web.
Madame Web continues to spin out of control. The female-led superhero pic grossed a...
The Paramount movie easily stayed atop this weekend’s domestic box office chart with an estimated $13.5 million from 3,597 locations, pushing its domestic tally to $72.2 million. Marley’s star also continues to shine brightly overseas, where it has amassed $49.4 million for global cume of $120.6 million.
One Love first starting making headlines last week, when it snagged a six-day launch of $51.1 million over the Valentine’s Day-Presidents Day corridor, one of the best openings ever for a music biopic (Straight Outta Compton remains top of the list), and remained well ahead of the dismal $26 million debut of Sony’s doomed Madame Web.
Madame Web continues to spin out of control. The female-led superhero pic grossed a...
- 2/25/2024
- by Pamela McClintock
- The Hollywood Reporter - Movie News
Paramount’s musical biopic “Bob Marley: One Love” ruled again over a barren box office landscape.
The film added $13.5 million from 3,925 North American theaters in its second weekend of release, a 53% decline from its debut. “One Love” has been a surprise box office success with $71.1 million domestically and $120 million globally. It cost $70 million, and the studio only gets to keep roughly half of ticket sales, so it’ll need to keep singing in theaters to justify its cost.
“Bob Marley” topped the charts for the second consecutive weekend despite three new releases. Sony and Crunchyroll’s anime sequel “Demon Slayer: Kimetsu no Yaiba — To the Hashira Training” fared the best among newcomers with $11.5 million from 1,949 theaters — enough for the No. 2 spot.
Hilary Swank’s inspirational drama “Ordinary Angels” opened in third place with an uninspired $6.2 million from 3,020 venues, while director Ethan Coen’s comedic thriller “Drive-Away Dolls” crash-landed in eighth...
The film added $13.5 million from 3,925 North American theaters in its second weekend of release, a 53% decline from its debut. “One Love” has been a surprise box office success with $71.1 million domestically and $120 million globally. It cost $70 million, and the studio only gets to keep roughly half of ticket sales, so it’ll need to keep singing in theaters to justify its cost.
“Bob Marley” topped the charts for the second consecutive weekend despite three new releases. Sony and Crunchyroll’s anime sequel “Demon Slayer: Kimetsu no Yaiba — To the Hashira Training” fared the best among newcomers with $11.5 million from 1,949 theaters — enough for the No. 2 spot.
Hilary Swank’s inspirational drama “Ordinary Angels” opened in third place with an uninspired $6.2 million from 3,020 venues, while director Ethan Coen’s comedic thriller “Drive-Away Dolls” crash-landed in eighth...
- 2/25/2024
- by Rebecca Rubin
- Variety Film + TV
Take a look at more footage from “Drive-Away Dolls”, the new road comedy feature, written and directed by Ethan Coen, starring Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, Colman Domingo, Pedro Pascal, Bill Camp and Matt Damon, now playing in theaters:
“…’Jamie’, an uninhibited free spirit bemoans yet another breakup with a girlfriend, while her demure friend ‘Marian’ desperately needs to loosen up.
“In search of a fresh start, the two embark on an impromptu road trip to Tallahassee, but things quickly go awry when they cross paths with a group of creeps along the way…”
Click the images to enlarge…...
“…’Jamie’, an uninhibited free spirit bemoans yet another breakup with a girlfriend, while her demure friend ‘Marian’ desperately needs to loosen up.
“In search of a fresh start, the two embark on an impromptu road trip to Tallahassee, but things quickly go awry when they cross paths with a group of creeps along the way…”
Click the images to enlarge…...
- 2/24/2024
- by Unknown
- SneakPeek
Paramount’s “Bob Marley: One Love” will retain its holding as the top film on domestic charts this weekend, besting a trio of new releases in the manga adaptation “Demon Slayer Kimetsu no Yaiba — To the Hashira Training,” the faith-based Hilary Swank drama “Ordinary Angels” and Ethan Coen’s lesbian crime caper “Drive-Away Dolls.”
“One Love” added $3.7 million to its domestic haul on Friday, marking a modest 51% drop from its gross seven days ago. After opening on Valentine’s Day, the Bob Marley biopic has now earned a solid $61 million across its first 10 days in North American theaters. To compare against genre contemporaries, it’s pacing a bit ahead of the $50 million that “Rocketman” earned in 2019 across the same period of time, and a chunk behind 2022’s “Elvis,” which nabbed $66 million in 10 days. Worldwide, “One Love” has now surpassed $100 million.
Crunchyroll and Sony’s release of the new “Demon Slayer” entry looks to take silver.
“One Love” added $3.7 million to its domestic haul on Friday, marking a modest 51% drop from its gross seven days ago. After opening on Valentine’s Day, the Bob Marley biopic has now earned a solid $61 million across its first 10 days in North American theaters. To compare against genre contemporaries, it’s pacing a bit ahead of the $50 million that “Rocketman” earned in 2019 across the same period of time, and a chunk behind 2022’s “Elvis,” which nabbed $66 million in 10 days. Worldwide, “One Love” has now surpassed $100 million.
Crunchyroll and Sony’s release of the new “Demon Slayer” entry looks to take silver.
- 2/24/2024
- by J. Kim Murphy
- Variety Film + TV
Here’s a look at this week’s biggest premieres, parties and openings in Los Angeles and New York, including events for Drive-Away Dolls and The Second Best Hospital in the Galaxy.
Drive-Away Dolls premiere
Ethan Coen joined stars Margaret Qualley, Geraldine Viswanathan and Beanie Feldstein at the NYC premiere of their new Focus Features film on Tuesday.
Beanie Feldstein, Margaret Qualley, Geraldine Viswanathan, Tricia Cooke and Ethan Coen
The Second Best Hospital in the Galaxy premiere
Prime Video hosted a red carpet screening event on Tuesday to celebrate the launch of its new adult animated series, with stars and executive producers Maya Rudolph and Natasha Lyonne, as well as showrunner Cirocco Dunlap.
Natasha Lyonne, Cirocco Dunlap and Maya Rudolph
Cécred launch event
Beyoncé celebrated the launch of her haircare line Cécred with an intimate gathering at Revery LA in downtown Los Angeles on Tuesday.
Beyoncé
SAG Awards Ambassadors dinner
Phil Dunster,...
Drive-Away Dolls premiere
Ethan Coen joined stars Margaret Qualley, Geraldine Viswanathan and Beanie Feldstein at the NYC premiere of their new Focus Features film on Tuesday.
Beanie Feldstein, Margaret Qualley, Geraldine Viswanathan, Tricia Cooke and Ethan Coen
The Second Best Hospital in the Galaxy premiere
Prime Video hosted a red carpet screening event on Tuesday to celebrate the launch of its new adult animated series, with stars and executive producers Maya Rudolph and Natasha Lyonne, as well as showrunner Cirocco Dunlap.
Natasha Lyonne, Cirocco Dunlap and Maya Rudolph
Cécred launch event
Beyoncé celebrated the launch of her haircare line Cécred with an intimate gathering at Revery LA in downtown Los Angeles on Tuesday.
Beyoncé
SAG Awards Ambassadors dinner
Phil Dunster,...
- 2/23/2024
- by Kirsten Chuba
- The Hollywood Reporter - Movie News
Plot: Two young women, fleeing heartbreak, embark on an impromptu road trip to Tallahassee. Unfortunately for them, the drive-away car they sign for happens to have some precious cargo being sought by deadly parties.
Review: As a lifelong fan of the Coen Bros, it’s a drag for me to say that Drive Away Dolls is a bit of a dud. Granted, it’s apparently “trying” to be bad, with it a gay-themed take on B-movies, but it’s so winking and self-aware that it feels more like an extended episode of Showtime’s cheesy Rebel Highway series from the nineties than a real movie. Running just a hair over eighty minutes, it feels like little more than a lark for one-half of one of the greatest directing duos ever. For some, that’s reason enough to make it worth seeing, but despite some inspired moments, it largely falls flat.
Review: As a lifelong fan of the Coen Bros, it’s a drag for me to say that Drive Away Dolls is a bit of a dud. Granted, it’s apparently “trying” to be bad, with it a gay-themed take on B-movies, but it’s so winking and self-aware that it feels more like an extended episode of Showtime’s cheesy Rebel Highway series from the nineties than a real movie. Running just a hair over eighty minutes, it feels like little more than a lark for one-half of one of the greatest directing duos ever. For some, that’s reason enough to make it worth seeing, but despite some inspired moments, it largely falls flat.
- 2/23/2024
- by Chris Bumbray
- JoBlo.com
In what is shaping up to be a muted weekend at the box office, Sony and Crunchyroll’s “Demon Slayer Kimetsu no Yaiba -To the Hashira Training” earned $1.8 million in Thursday previews, while Lionsgate and Kingdom Story Company’s inspirational drama “Ordinary Angels” picked up a paltry $285,000.
The weekend’s other new release, Focus Features’ comedic thriller “Drive-Away Dolls,” didn’t report preview grosses, which does not augur well for its commercial prospects. Despite the influx of movies, “Bob Marley: One Love” is expected to retain its spot at No. 1 after scoring an impressive $28.6 million over last weekend and $52 million through the Presidents holiday frame. “Bob Marley” should earn between $12 million to $14 million in its sophomore outing.
“To the Hashira Training” is projected to earn roughly $10 million, which would be on par with its predecessor, 2023’s anime adventure “Demon Slayer: To the Swordsmith Village,” which earned $10.1 million in first weekend.
The weekend’s other new release, Focus Features’ comedic thriller “Drive-Away Dolls,” didn’t report preview grosses, which does not augur well for its commercial prospects. Despite the influx of movies, “Bob Marley: One Love” is expected to retain its spot at No. 1 after scoring an impressive $28.6 million over last weekend and $52 million through the Presidents holiday frame. “Bob Marley” should earn between $12 million to $14 million in its sophomore outing.
“To the Hashira Training” is projected to earn roughly $10 million, which would be on par with its predecessor, 2023’s anime adventure “Demon Slayer: To the Swordsmith Village,” which earned $10.1 million in first weekend.
- 2/23/2024
- by Brent Lang
- Variety Film + TV
A road trip. A mix-up. A fast-talking hero, prone to tossing off bewilderingly verbose sentences. Some criminals who run the gamut from eccentric to psychotic to painfully inept. (Sometimes, they’re all three at once.) Dangerously sudden violence. Dangerously dark humor. Dangerously outrageous hairdos. The feeling that you’re watching a vintage film noir story run through a Looney Tunes filter. You are in the presence of a Coen brothers movie — whaddaya need, a road map?!
Actually, some sort of Gps system would be a blessing for both you, the viewer,...
Actually, some sort of Gps system would be a blessing for both you, the viewer,...
- 2/23/2024
- by David Fear
- Rollingstone.com
This article contains spoilers for "Drive-Away Dolls."
When the trailer for Tricia Cooke and Ethan Coen's "Drive-Away Dolls" (read our review here) was first released, folks quickly caught a blink-and-you'll-miss-her appearance of a young hippie woman covered in psychedelic filters played by actress and Grammy award-winning musician, Miley Cyrus. "Drive-Away Dolls" takes place in 1999, so what the hell is up with this lava lamp in the summer of love-looking character? Cyrus' character pops up a few times throughout the film, leading up to the reveal that republican senator Gary Channell (Matt Damon) knew this mysterious acid-tripper in his younger years, and if the public ever learned of their encounter, it would destroy his conservative political career — alluding to a possible presidential candidacy in the near future. What could Gary Channell have done that's so shocking? The answer is not only the key to Cyrus' character but also solves the...
When the trailer for Tricia Cooke and Ethan Coen's "Drive-Away Dolls" (read our review here) was first released, folks quickly caught a blink-and-you'll-miss-her appearance of a young hippie woman covered in psychedelic filters played by actress and Grammy award-winning musician, Miley Cyrus. "Drive-Away Dolls" takes place in 1999, so what the hell is up with this lava lamp in the summer of love-looking character? Cyrus' character pops up a few times throughout the film, leading up to the reveal that republican senator Gary Channell (Matt Damon) knew this mysterious acid-tripper in his younger years, and if the public ever learned of their encounter, it would destroy his conservative political career — alluding to a possible presidential candidacy in the near future. What could Gary Channell have done that's so shocking? The answer is not only the key to Cyrus' character but also solves the...
- 2/23/2024
- by BJ Colangelo
- Slash Film
Chicago – Patrick McDonald of HollywoodChicago.com appears on “The Morning Mess” with Ben Thompson on Wbgr-fm on February 22th, 2024, reviewing “Drive-Away Dolls,” a new film from absurdist master Ethan Coen. In theaters beginning February 23rd .
Rating: 4.0/5.0
It’s 1999 and Margaret Qualley is Jamie, a rebellious lesbian who has just broken up with her live-in girlfriend Sukie (Beanie Feldstein). She commiserates with another girlfriend Marian (Geraldine Viswanathan), who is about to take a trip to Tallahassee to see her aunt. They decide to apply for a “drive away” car from Curley (Bill Camp), and he hands the keys over for a car he just received, after he was given instructions to set up the “Tallahassee drivers.” Turns out the car wasn’t intended for the gals, but for two goons (Joey Slotnick and C.J. Wilson) and contained a special package inside that the goons were to deliver to Florida Senator Gary...
Rating: 4.0/5.0
It’s 1999 and Margaret Qualley is Jamie, a rebellious lesbian who has just broken up with her live-in girlfriend Sukie (Beanie Feldstein). She commiserates with another girlfriend Marian (Geraldine Viswanathan), who is about to take a trip to Tallahassee to see her aunt. They decide to apply for a “drive away” car from Curley (Bill Camp), and he hands the keys over for a car he just received, after he was given instructions to set up the “Tallahassee drivers.” Turns out the car wasn’t intended for the gals, but for two goons (Joey Slotnick and C.J. Wilson) and contained a special package inside that the goons were to deliver to Florida Senator Gary...
- 2/23/2024
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
This article contains major spoilers for "Drive-Away Dolls."
Genre movies have a well-earned reputation for being exploitative. Since the dawn of the "B" movie, genre films have been marketed with their exploitation elements up front, the better to entice people to stay in the theater or attend in the first place.
The more genre movies have been reappraised, studied, and eventually raised to the level of revered classics themselves, the more audiences and academics have realized that these films serve numerous important causes within the culture. They often provide the discussion of and investigation into thorny social and political issues that a straightforward drama would have trouble dealing with. They also can be utilized as a powerfully rich tool for normalization, where the marginalized can be the protagonists without having to justify or apologize for themselves, thereby bringing that group closer to the majority.
It's in that spirit that Tricia Cooke...
Genre movies have a well-earned reputation for being exploitative. Since the dawn of the "B" movie, genre films have been marketed with their exploitation elements up front, the better to entice people to stay in the theater or attend in the first place.
The more genre movies have been reappraised, studied, and eventually raised to the level of revered classics themselves, the more audiences and academics have realized that these films serve numerous important causes within the culture. They often provide the discussion of and investigation into thorny social and political issues that a straightforward drama would have trouble dealing with. They also can be utilized as a powerfully rich tool for normalization, where the marginalized can be the protagonists without having to justify or apologize for themselves, thereby bringing that group closer to the majority.
It's in that spirit that Tricia Cooke...
- 2/23/2024
- by Bill Bria
- Slash Film
Geraldine Viswanathan and Margaret Qualley in ‘Drive-Away Dolls’ (Photo Credit: Wilson Webb / Working Title / Focus Features)
Spouses Ethan Coen and Tricia Cooke’s Drive-Away Dolls is a crazy and twisted mix of blackmail, murder, and sexually adventurous lesbians, with a healthy sprinkling of “Wtf is going on” humor. There’s literally nothing out of bounds in Coen and Cooke’s screwball comedy/buddy road trip adventure that wears its R-rating like a lusty badge of honor.
The year’s 1999 and lesbian BFFs are ready for a change of scenery. Jamie, who prefers sampling multiple sexual partners even while in a committed relationship, is coming off a bad breakup with her police officer girlfriend (Beanie Feldstein). Which is as good an excuse as any to embark on a road trip. And the sexually repressed, introverted Marian wants to make the trip from Philadelphia to Tallahassee for a little birdwatching.
What could...
Spouses Ethan Coen and Tricia Cooke’s Drive-Away Dolls is a crazy and twisted mix of blackmail, murder, and sexually adventurous lesbians, with a healthy sprinkling of “Wtf is going on” humor. There’s literally nothing out of bounds in Coen and Cooke’s screwball comedy/buddy road trip adventure that wears its R-rating like a lusty badge of honor.
The year’s 1999 and lesbian BFFs are ready for a change of scenery. Jamie, who prefers sampling multiple sexual partners even while in a committed relationship, is coming off a bad breakup with her police officer girlfriend (Beanie Feldstein). Which is as good an excuse as any to embark on a road trip. And the sexually repressed, introverted Marian wants to make the trip from Philadelphia to Tallahassee for a little birdwatching.
What could...
- 2/22/2024
- by Rebecca Murray
- Showbiz Junkies
Geraldine Viswanathan and Margaret Qualley in Drive-Away DollsPhoto: Wilson Webb/Working Title/Focus Features
In his first foray into narrative film without his brother and collaborator Joel Coen, Ethan Coen keeps it in the family. His partner in Drive-Away Dolls is his wife Tricia Cooke. He produced, wrote, and directed and she produced,...
In his first foray into narrative film without his brother and collaborator Joel Coen, Ethan Coen keeps it in the family. His partner in Drive-Away Dolls is his wife Tricia Cooke. He produced, wrote, and directed and she produced,...
- 2/22/2024
- by Murtada Elfadl
- avclub.com
Although many parts of the country are still in the “deep freeze”, many folks are looking ahead to the big thaw and traveling during Spring Break. And it’s only natural that the multiplex will have a new roadtrip romp to get everyone “in the mood”. Oh, but this film differs from those we’ve seen in previous years. First, it’s set in that far-off land of 1999. And rather than a couple of teenage male buddies (or even a group as in Losin’ It), it’s focused on two twenty-something young women. Perhaps, it’s a riff on Where The Boys Are, and you would be very wrong as they don’t care about such a location (ahem). Plus it should be of interest to Cinephiles as this is the first solo directing effort for one half of a much-lauded filmmaking team. He’s actually behind the steering wheel along with these Drive-away Dolls.
- 2/22/2024
- by Jim Batts
- WeAreMovieGeeks.com
Despite three new releases, Paramount’s Bob Marley biographical drama “One Love” is projected to top the box office again.
This weekend’s newcomers, Hilary Swank’s inspirational drama “Ordinary Angels” and director Ethan Coen’s comedic thriller “Drive-Away Dolls,” are targeting single digits in their debuts. With those paltry ticket sales, “Bob Marley: One Love” looks to repeat No. 1 after scoring a better-than-expected $28.6 million over the weekend and $52 million through the extended holiday frame. The musical film could add $12 million to $14 million in its sophomore outing.
Sony and Crunchyroll’s “Demon Slayer” sequel “Kimetsu no Yaiba – To the Hashira Training” also opens this weekend and is aiming for about $10 million to start. That’s on par with its immediate predecessor, 2023’s anime adventure “Demon Slayer: To the Swordsmith Village” ($10.1 million in its initial weekend) but far behind 2021’s “Demon Slayer: Mugen Train” (an impressive $21 million amid pandemic-era theater closures...
This weekend’s newcomers, Hilary Swank’s inspirational drama “Ordinary Angels” and director Ethan Coen’s comedic thriller “Drive-Away Dolls,” are targeting single digits in their debuts. With those paltry ticket sales, “Bob Marley: One Love” looks to repeat No. 1 after scoring a better-than-expected $28.6 million over the weekend and $52 million through the extended holiday frame. The musical film could add $12 million to $14 million in its sophomore outing.
Sony and Crunchyroll’s “Demon Slayer” sequel “Kimetsu no Yaiba – To the Hashira Training” also opens this weekend and is aiming for about $10 million to start. That’s on par with its immediate predecessor, 2023’s anime adventure “Demon Slayer: To the Swordsmith Village” ($10.1 million in its initial weekend) but far behind 2021’s “Demon Slayer: Mugen Train” (an impressive $21 million amid pandemic-era theater closures...
- 2/21/2024
- by Rebecca Rubin
- Variety Film + TV
Beanie Feldstein, Margaret Qualley, Geraldine Viswanathan, Tricia Cooke and Ethan Coen celebrated the premiere of their upcoming queer comedy, Drive-Away Dolls, in New York City on Tuesday night.
The film follows two women, played by Viswanathan and Qualley, as they embark on a road trip to Tallahassee, Florida, but things quickly go awry when they come across a group of inept criminals. Husband-and-wife duo Coen and Cooke co-wrote the script in the early 2000s and tried to get it made then, but struggled with studios wanting to back a lesbian comedy at the time.
“It’s like, what was it that works now that didn’t work then? It’s a lesbian road comedy,” Coen told The Hollywood Reporter at the premiere. “It’s a gay-themed thing that was more difficult to do then. We couldn’t get it done then. People are more receptive to that, it’s less...
The film follows two women, played by Viswanathan and Qualley, as they embark on a road trip to Tallahassee, Florida, but things quickly go awry when they come across a group of inept criminals. Husband-and-wife duo Coen and Cooke co-wrote the script in the early 2000s and tried to get it made then, but struggled with studios wanting to back a lesbian comedy at the time.
“It’s like, what was it that works now that didn’t work then? It’s a lesbian road comedy,” Coen told The Hollywood Reporter at the premiere. “It’s a gay-themed thing that was more difficult to do then. We couldn’t get it done then. People are more receptive to that, it’s less...
- 2/21/2024
- by Christy Piña
- The Hollywood Reporter - Movie News
Ethan Coen's queer roadtrip film "Drive-Away Dolls" is set in 1997, and feels like an escapee from that era, for better and for worse. On the one hand, it possesses all the impish, make-the-straights-squirm energy of a legit '90s indie lesbian farce. It is not just upfront about its queerness, but confrontationally playful about it. "Drive-Away Dolls" unapologetically and cartoonishly plunges audiences into lesbian basement make-out parties and rowdy gay bars, flinging about cunnilingus jokes, masturbation scenes, and multiple on-screen dildos with gleeful impunity. It's a lightweight, weirdly teen-friendly (but very R-rated) slumber party movie with an upbeat and liberating "be gay, do crime" vibe. It's a queer, hand grenade-shaped squeak toy.
On the other hand, however, "Drive-Away Dolls" is being released in 2024, and the very fact that it depicts queer characters having queer sex and talking about queer issues isn't nearly as confrontational as it once was. There...
On the other hand, however, "Drive-Away Dolls" is being released in 2024, and the very fact that it depicts queer characters having queer sex and talking about queer issues isn't nearly as confrontational as it once was. There...
- 2/21/2024
- by Witney Seibold
- Slash Film
The Coen brothers broke up four years ago, and it has taken them a while to come out with solo albums that define their identities. In 2021, Joel Coen directed “The Tragedy of Macbeth,” which was a dazzling black-and-white pastiche of a Shakespeare drama. It was well-done but felt like a one-off, a decision by Coen to serve the material. One year later, Ethan Coen came out with “Jerry Lee Lewis: Trouble in Mind,” a small-scale rock ‘n’ roll documentary that he made during the pandemic; it was a YouTube clip job, and on those terms expertly crafted — but even after Jerry Lee died (five months after the film’s Cannes premiere), it took ages for the film to be released.
Now, though, we finally have a Coen movie in which one of the brothers puts his solo stamp on filmmaking. “Drive-Away Dolls,” directed by Ethan Coen, is a crime-speckled road-trip...
Now, though, we finally have a Coen movie in which one of the brothers puts his solo stamp on filmmaking. “Drive-Away Dolls,” directed by Ethan Coen, is a crime-speckled road-trip...
- 2/21/2024
- by Owen Gleiberman
- Variety Film + TV
Director Ethan Coen – collaborating with wife Tricia Cooke instead of brother Joel – delivers a disposable but not entirely unentertaining lesbian-centered crime caper comedy in Drive-Away Dolls. With its raunchy sex and vivid violence, the film is more an affectionate tribute to hard R drive-in B movies that more resembles something from the mind of Russ Meyer than anything resembling smart, Oscar-y movies like the Coen Brothers’ No Country For Old Men, Big Lebowski, Barton Fink, Fargo, Blood Simple etc.
Drive-Away Dolls definitely retains the quirkiness of the Coen brand, but key inspirations this time were Meyers’ Motorpsycho, Bad Girls Go To Hell and even something really good like ’50s noir Kiss Me Deadly, with which it shares some plot details.
But “plot” doesn’t really matter much here. Coen and Cooke throw everything against the wall to see what sticks. If it makes narrative sense, it likely is an accident.
Drive-Away Dolls definitely retains the quirkiness of the Coen brand, but key inspirations this time were Meyers’ Motorpsycho, Bad Girls Go To Hell and even something really good like ’50s noir Kiss Me Deadly, with which it shares some plot details.
But “plot” doesn’t really matter much here. Coen and Cooke throw everything against the wall to see what sticks. If it makes narrative sense, it likely is an accident.
- 2/21/2024
- by Pete Hammond
- Deadline Film + TV
The kind of movie made to stumble upon surfing cable at 2 am in a half-awake, half-intoxicated stupor, Ethan Coen’s Drive-Away Dolls aims for a lower artistic bar than anything the director (and certainly his brother) has previously approached, which accounts for much of its charm. Ethan Coen and Tricia Cooke first completed the script some two decades ago––titled Drive-Away Dykes both then and now, if one goes by the end credits––and the film’s B-movie, pleasure-first appeal lies in the feeling that they simply dusted off a copy and immediately embarked on production. A slapdash narrative populated with eminently likable characters best described as joke-delivering caricatures, this marvelously queer road-trip comedy caper is a fleet-footed ride designed to pack in as much sex, violence, and psychedelic mind trips as an 84-minute runtime will allow.
Set in 1999 to ensure cellphones, Google Maps, and other modern tracking devices don...
Set in 1999 to ensure cellphones, Google Maps, and other modern tracking devices don...
- 2/21/2024
- by Jordan Raup
- The Film Stage
Ethan Coen’s Drive-Away Dolls certainly pulls from the aesthetic and narrative party bags of noir and road movies. It even indulges the pleasures of high lesbian camp as two friends are drawn into a government-connected conspiracy. But to call it pastiche, a term that could be handily affixed to any number of films by the Coen brothers, is inadequate here given the rollicking, casual, intimate nature of Drive-Away Dolls’s relationship to its generic forebearers. In the classic queer punk tradition of Bruce Labruce, John Waters, and Gregg Araki, Coen’s film knows when to pay homage and when to move to its own rhythm.
In its curious way, the film’s formulation of sameness and difference—conveyed through the way that it invokes everything from Faster, Pussycat! Kill! Kill! to Kiss Me Deadly, as well as through the yin and yang of fuckgirl Jamie (Margaret Qualley) and the...
In its curious way, the film’s formulation of sameness and difference—conveyed through the way that it invokes everything from Faster, Pussycat! Kill! Kill! to Kiss Me Deadly, as well as through the yin and yang of fuckgirl Jamie (Margaret Qualley) and the...
- 2/21/2024
- by Kyle Turner
- Slant Magazine
Authorship is a major point of contention in queer cinema, so let’s get one thing straight: Ethan Coen’s solo directorial debut is co-written and edited by Tricia Cooke, a lesbian who is also his spouse. Yes, that’s a present tense use of “spouse.” If Cooke and Coen’s unique personal arrangement shocks you, then good luck enjoying a single frame of the married filmmakers’ wildly endearing, decidedly shaggy, and gay as fuck comedy caper. It’s steeped in mismatched genre styles and dark red blood; not to mention, it’s chockful of dildo jokes sure to put a lovable new spin on contemporary audiences’ evolving definitions of found family… member.
Cooked up more than two decades ago with the title “Drive-Away Dykes” in mind, “Drive-Away Dolls” puts an overdue spotlight on Cooke’s indelible impact on the Coen brothers’ filmography. This misadventure in girl-on-girl odd coupling was...
Cooked up more than two decades ago with the title “Drive-Away Dykes” in mind, “Drive-Away Dolls” puts an overdue spotlight on Cooke’s indelible impact on the Coen brothers’ filmography. This misadventure in girl-on-girl odd coupling was...
- 2/21/2024
- by Alison Foreman
- Indiewire
On the day of Geraldine Viswanathan’s THR interview, the actress is in the middle of an overstuffed week of promotion for her starring role in Ethan Coen’s latest film, Drive-Away Dolls, which, until that point, was the biggest thing to happen to her career. But Viswanathan, 28, also was just cast in Thunderbolts, Marvel Studios’ next tentpole. She replaces Ayo Edebiri, who had to depart for scheduling reasons but offered her an “epic” handoff. “Ayo and I go way back, and she’s actually looking after my car right now in L.A.,” says Viswanathan. “That Kia Nero is the love of my life, and Ayo is one of my closest friends. She was really instrumental in my decision to take the role, and it’s been nice to be able to talk about it with somebody who knows what it is.”
Thunderbolts comes swathed in the level of...
Thunderbolts comes swathed in the level of...
- 2/21/2024
- by Seija Rankin
- The Hollywood Reporter - Movie News
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