Exclusive: On the heels of its August world premiere at the Locarno Film Festival, the comedy Lousy Carter led by Oppenheimer‘s David Krumholtz has been picked up for North American theatrical distribution in early 2024 by Magnolia Pictures.
Written and directed by Bob Byington (Frances Ferguson), the film follows a ne’er-do-well literature professor adrift on a soulless college campus who learns he only has six months to live. With the clock ticking, will he change his ways? Probably not.
Next set to screen at the Orcas Island Film Festival in Washington, pic also stars Martin Starr (Party Down), Olivia Thirlby (Dumb Money), Jocelyn DeBoer (Greener Grass), Macon Blair (The Toxic Avenger), and Stephen Root (Barry). Byington and Chris McKenna produced, alongside executive producers Stuart Bohart and Tim League.
Said Magnolia Pictures co-CEOs Eamonn Bowles and Dori Begley, “Bob Byington and his marvelous cast have delivered a twisted comedy of the highest order.
Written and directed by Bob Byington (Frances Ferguson), the film follows a ne’er-do-well literature professor adrift on a soulless college campus who learns he only has six months to live. With the clock ticking, will he change his ways? Probably not.
Next set to screen at the Orcas Island Film Festival in Washington, pic also stars Martin Starr (Party Down), Olivia Thirlby (Dumb Money), Jocelyn DeBoer (Greener Grass), Macon Blair (The Toxic Avenger), and Stephen Root (Barry). Byington and Chris McKenna produced, alongside executive producers Stuart Bohart and Tim League.
Said Magnolia Pictures co-CEOs Eamonn Bowles and Dori Begley, “Bob Byington and his marvelous cast have delivered a twisted comedy of the highest order.
- 10/12/2023
- by Matt Grobar
- Deadline Film + TV
We never meet the narrator (Nick Offerman) of Bob Byington’s film Frances Ferguson. This isn’t necessarily a bad thing or uncommon, but I couldn’t shake the idea that we should. It’s because he isn’t some omnisciently objective voice telling us a story. He interjects opinions, giggles, and often meanders to the point where his subject (Kaley Wheless’ Frances) must speak up to help him along. In one instance he mentions a “We” as though his (and another’s) entrance on-screen was imminent. It’s not. He means us, now … maybe. The film never acknowledges the weird duality of his presence as someone and no one simultaneously. It’s probably just a quirky choice for comedy within a dryly-quirky film I’m reading too much into, but it frustrated me without end.
This probably stems from my being frustrated right from the start as that glibly,...
This probably stems from my being frustrated right from the start as that glibly,...
- 10/12/2019
- by Jared Mobarak
- The Film Stage
Stars: Kevin Costner, Woody Harrelson, Kathy Bates, John Carroll Lynch, Thomas Mann, Dean Denton, Kim Dickens, William Sadler, W. Earl Brown, David Furr, Jason Davis, Josh Caras, David Born, Brian F. Durkin, Kaley Wheless | Written by John Fusco | Directed by John Lee Hancock
The Highwaymen – not to be confused with the Johnny Cash, Willie Nelson and Kris Krisoffsten country supergroup – stars Kevin Costner and Woody Harrelson as Frank Hamer and Maney Gault, respectively and is directed by John Lee Hancock in what is the latest release from streaming giant Netflix. However, much like the bulk of originals that drop out of nowhere from said streaming platform, The Highwaymen is a flat and drastically reduced emotionally resonating character debacle that has no life or energy in its bloated 132 minutes running time.
Sam Mendes’ Road to Perdition or Michael Mann’s Public Enemies this is most certainly not. Sadly, Hancock’s film...
The Highwaymen – not to be confused with the Johnny Cash, Willie Nelson and Kris Krisoffsten country supergroup – stars Kevin Costner and Woody Harrelson as Frank Hamer and Maney Gault, respectively and is directed by John Lee Hancock in what is the latest release from streaming giant Netflix. However, much like the bulk of originals that drop out of nowhere from said streaming platform, The Highwaymen is a flat and drastically reduced emotionally resonating character debacle that has no life or energy in its bloated 132 minutes running time.
Sam Mendes’ Road to Perdition or Michael Mann’s Public Enemies this is most certainly not. Sadly, Hancock’s film...
- 4/3/2019
- by Jak-Luke Sharp
- Nerdly
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