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The gang is back!
Megan Mullally took to Twitter on Saturday to share a sweet new photo of the Will & Grace crew back together -- save for one important missing piece.
Exclusive: Molly Shannon Is So Excited About 'Will & Grace' Revival: 'It's the Best News Ever!'
NBC announced last month that the Will & Grace revival was official a go, crediting the video the cast filmed in September as the catalyst for the 10-episode reboot.
Creators Max Mutchnick and David Kohan will be returning as co-showrunners and executive producers, with legendary TV director James Burrows on board to direct and executive produce, giving us the Will & Grace we all know »
Wayne’s World, the blockbuster comedy starring Mike Myers and Dana Carvey based on the now-classic Saturday Night Live recurring sketch, turns 25 on Tuesday, Feb. 14 -- Happy Valentine’s Day! -- and we’re still in love.
It’s one of the best of the feature films to spin out of the long-running NBC sketch comedy series, but each has its own charm that could be worth revisiting or seeing for the first time. Do note our suggested binge-viewing order -- from best to worst -- if you want your party time to be excellent.
The Blues Brothers (1980)
Why you should see it now: The first Saturday Night Live feature film is second only to Wayne’s World in worldwide box office revenue and is considered a comedy classic. John Belushi and Dan Aykroyd remain the quintessential SNL duo who »
If you’ve seen the cast of Will & Grace today, you wouldn’t believe it’s been 11 years since the last episode! Debra Messing, Eric McCormack, Sean Hayes, and Megan Mullally are all returning for a reboot of the beloved comedy.
Hayes visited Jimmy Kimmel Live! on Wednesday to talk about what sparked the revival.
Watch: Megan Mullally Says Madonna Didn't Know the 'Will & Grace' Casts' Names: 'Why Should She, Who Cares?'
“We did this little campaign thing for the election. This was the first time we ever got together and NBC just thought, ‘Wow this actually working, why don't we do it again?’ and we were like 'Yeah!'” he explained. “We all had a great time together.”
And though Kimmel complimented Hayes on looking just as youthful as he always has, the 46-year-old actor, who plays the lovably narcissistic Jack McFarland, joked, “I always say we left looking like the cast of Saved By the Bell and we »
Among those at the table with the 43-year-old Underworld star according to shots shared on Instagram, SNL album Molly Shannon, ‘Nsync alum Lance Bass and his husband Michael Turchin, actress JoAnna Garcia and her baseball player husband Nick Swisher, and actress Stephanie Simbari.
But it was one guest that had at a commenter on Beckinsale’s Instagram page very confused: Sarah Silverman.
The comedian is currently dating Beckinsale’s ex Michael Sheen, but »
- Dave Quinn
Hot on the heels of the studio comedy hit Bad Moms comes Fun Mom Dinner, an indie-fied, but no less broad version of mom’s night out from director Alethea Jones and screenwriter Julie Yaeger Rudd (wife of Paul). Despite a stacked cast and some impressive physical comedy, this film slips into ridiculousness without the laughs to back it up.
We meet four moms — Emily (Katie Aselton), Kate (Toni Collette), Melanie (Bridget Everett) and Jamie (Molly Shannon) — whose kids all attend to same pre-school. Kate’s got a solid, rebellious thing going on with her husband Andrew (Rob Huebel), her only mom friend being Emily, with whom she went to college. Emily is new to town and wants to please everybody, while her distracted husband Tom (Adam Scott) could care less. Melanie takes parenting a bit to seriously at the school and Jamie’s getting a divorce. The four get together for a… »
- Dan Mecca
Time for something fun. As we wait for ballots to go out to Academy members and final Oscar voting to get underway, why not play around with a hypothetical situation? Now is the time to do it, after all. This is something I’ve done from time to time in the past, which is to look at what the Oscar nominations could have looked like if you remove all of the actual nominees. Weird, I know, but hey, it’s fun. Plus, it’s certainly more apt than ever to do this in our new era of “alternative facts”, right? This isn’t a political post, but I couldn’t resist the dig at Donald Trump and company. Below you will see what these alternate Academy Award nominations could have been. In some categories, it’s easy to speculate, like with Best Picture and how films like 20th Century Women, »
- Joey Magidson
Deep-pocketed streaming giants Amazon and Netflix made bold strategic moves and spent handsomely for Sundance Film Festival titles again this year. Netflix paid $12.5 million for Dee Rees’ “Mudbound” set in the post-wwii South, $8 million for the Lily Collins anorexia drama “To the Bone,” $5 million for the Toni Collette-Molly Shannon comedy “Fun Mom Dinner,” and picked up both Jim Strouse’s festival closer “The Incredible Jessica James” and the Teresa Palmer psychological thriller “Berlin Syndrome.” The company also spent big on documentaries, including $5 million for the Russian sports-doping doc “Icarus” — the priciest nonfiction acquisition in Sundance history — and »
- Umberto Gonzalez
For most of their two-decade-long relationship, Paul Rudd and his wife Julie Yaeger Rudd have remained largely private. But on Friday night, the actor and his publicist-turned-screenwriter wife were side-by-side on the red carpet for the premiere of their film Fun Mom Dinner.
Rudd, 47, and Yaeger Rudd share credits on the movie, as Yaeger Rudd wrote the screenplay and Rudd lent his acting chops to the film. (He is also an executive producer.) At the premiere of the movie at the 2017 Sundance Film Festival at Eccles Center Theatre in Park City, Utah, the couple both had a laid-back red carpet style. »
- Blake Bakkila
The company that recently acquired FilmBuff has picked up North America and select territories on Jeff Baena’s latest drama.
Baena’s follow-up to Sundance 2016 selection Joshy and Sundance 2014 entry Life After Beth stars Alison Brie, Aubrey Plaza and Kate Micucci as Italian nuns having a hard time keeping their vow of celibacy.
- firstname.lastname@example.org (Jeremy Kay)
Gunpowder & Sky has acquired the comedy “The Little Hours,” which premiered on January 19 in the Sundance Film Festival’s Midnight section. The deal for the film was in the low seven-figures, Deadline reports.
Written and directed by Jeff Baena, “The Little Hours” follows three nuns played by Alison Brie, Aubrey Plaza, and Kate Micucci whose world is disrupted when a young servant (Dave Franco) takes refuge at their convent after escaping from his master. Molly Shannon and John C. Reilly co-star.
Elizabeth Destro and Plaza served as producers on the film. CAA and Wme Global negotiated the sale.
Related stories'Band Aid' Review: Zoe Lister-Jones And Adam Pally Rock Their Marriage Back To Life In a Sincere Music Comedy -- Sundance 2017Sudden Impact: How Sundance Documentaries Have Gained (or Lost) Relevance in the Trump Age'Brigsby Bear' Review: The Lonely Island's Sundance Debut Is a Sweet Movie, »
- Graham Winfrey
Exclusive: The Sundance Film Festival deals keep coming. Gunpowder & Sky has made one for low-seven figures for The Little Hours. Written and directed by Life After Beth helmer Jeff Baena, the film revolves around a young servant fleeing from his master who takes refuge at a dysfunctional convent in medieval Tuscany. Alison Brie, Dave Franco, Kate Micucci, Aubrey Plaza, John C. Reilly and Molly Shannon star. Elizabeth Destro and Plaza produced the film that is part of the… »
An innocuous night out among four women turns silly, dark and ultimately touching in Fun Mom Dinner. With a cast that includes Molly Shannon, Toni Collette and Adam Scott, the film marks the feature debut of director Alethea Jones. Jones hired Sean McElwee – who shot last year’s Morris From America, another Sundance premiere – to Dp the film. McElwee spoke with Filmmaker ahead of the film’s premiere about the earnest-yet-edgy approach he and Jones took to this story. Fun Mom Dinner makes it world premiere at the 2017 Sundance Film Festival. Filmmaker: How and why did you wind up being the cinematographer of your […] »
- Filmmaker Staff
After actor Anton Yelchin passed away in June of last year, he left behind a substantial body of work as well as a handful of posthumous releases. He stars in two films that will premiere at the Sundance Film Festival — Cory Finley’s “Thoroughbred” and Mark Palansky’s “Rememory” — but he appears in another film to be released this April: “We Don’t Belong Here,” a family thriller about the dark secrets buried deep underneath dysfunction.
Written and directed by Peer Pederson, the film follows family matriarch Nancy Green (Catherine Keener) who’s pushed to the tipping point because of the disappearance of her bipolar son (Yelchin) which eventually leads to the exposure of numerous ugly memories from the past. The film co-stars Kaitlyn Dever (“Justified”), Maya Rudolph (“Bridesmaids”), Riley Keough (“Mad Max: Fury Road »
- Vikram Murthi
23 January 2017 9:20 PM, PST | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
Jeff Baena wrote and directed the irreverent adaptation of Giovanni Boccaccio's 14th-century work The Decameron, following a young servant who hides from his master at a convent full of emotionally unstable nuns in the Middle Ages.
Gunpowder & Sky will release the film theatrically in North America »
- Natalie Jarvey,Ashley Lee
A version of this article originally appeared on Time.com.
In just a few weeks, Alec Baldwin will return to Saturday Night Live to host for the 17th time, though he’s made waves this season with his ripe parody of Donald Trump, another broad-shouldered New Yorker who also doesn’t mince words.
Every time SNL’s host with the most drops in, the guy’s a total pro. The thing that makes the Baldwin, 58, effect reliably funny isn’t just his self-assured stature: he’s an experimental team player, and everyone around him is funnier for it.
Whenever he »
- Lanford Beard
Some kind of magic happens when Toni Collette and Bridget Everett share the screen in Alethea Jones’ “Fun Mom Dinner.” The duo initially face off as philosophically oppositional moms tossed together in service to the eponymous gathering, eventually finding common ground (and fertile comedic opportunities). Unfortunately, the rest of the film is a scattershot affair.
Penned by Julie Rudd in her feature debut, “Fun Mom Dinner” is as advertised, following four moms over the course of one very wild night out. Katie Aselton is the straight woman as supermom Emily who is secretly struggling with her romance-free marriage to Tom (Adam Scott) and her latent disappointment in leaving her legal career to become a full-time parent.
Read More: The 2017 IndieWire Sundance Bible: Every Review, Interview and News Item Posted During the Festival
While Emily and her family are new to the local fancy-pants private school, Emily has a connection in »
- Kate Erbland
Sometimes a film is precisely no more and no less than the sum of its parts, and that’s just fine. So it is with “Fun Mom Dinner,” a cheerfully scatty, diverting adult comedy that gives four lovably funny actresses some broadly silly, dirty material to play with, tosses in some on-brand mugging from their supporting males, copious time-capsule gags involving Instagram and vajazzling, plus the dreamboat distraction of Adam Levine in tight denim, and pretty much lets the math do itself. The result is a film that, for all its tinniness of craft and carelessness of storytelling, gets by on sheer force of personality; both feature film first-timers, director Alethea Jones and writer Julie Rudd have some formal finessing to do, but could prove a valuable team in a mainstream comedy landscape still short on loud, proud female voices. Momentum Pictures and Netflix have already snapped up distribution rights, »
- Guy Lodge
You know you’re in for a good time when a trio of nuns turn to the genial farmer who greets them one morning with the retort, “Don’t fucking talk to us!” That’s the underlying charm of “The Little Hours,” in which every joke stems from people talking the last way you’d expect of them. Matching a crackling wit with the absurd dissonance of time and place found in the best of Monty Python and Mel Brooks, “Little Hours” is so eager to please that its one-note humor lands with ease.
Writer-director Jeff Baena’s improv-laden twist on “The Decameron,” in which wily 13th-century nuns speak in raunchy contemporary dialogue and engage in sexual deviance, milks its premise for as many jokes as possible and then keeps going, with uneven but mostly hilarious results. Overall, it’s a perfectly satisfying snapshot of subversive comedy that delivers where it counts. »
- Eric Kohn
The stars of Sundance are joining IndieWire for a series of intimate discussions during the next few days in Park City. IndieWire partnered with Chase Sapphire to host conversations at Chase Sapphire on Main, located at 573 Main Street, and with Canon to host panel discussions at the Canon Creative Studio at 592 Main Street.
IndieWire in Conversation at Chase Sapphire on Main will feature “The Little Hours” filmmaker Jeff Baena, “Ingrid Goes West” filmmaker Matt Spicer, “Mudbound” filmmaker Dee Rees, “Golden Exits” filmmaker Alex Ross Perry and “Marjorie Prime” filmmaker Michael Almereyda. Members of the casts of each film will also be in attendance.
Filmmakers participating in the panels at Canon’s Creative Studio include Academy Award-nominees Matt Heineman and Rory Kennedy. Heineman’s “City of Ghosts” is playing in Sundance’s U.S. Documentary Competition section, while Kennedy’s “Take Every Wave: The Life of Laird Hamilton” is playing in the Documentary Premieres section. »
- Graham Winfrey
What for American satirist Jeff Baena (“Life After Beth,” “Joshy”) must have felt like a radically innovative idea — take a medieval piece of literature, such as Giovanni Boccaccio’s “The Decameron,” and recreate it with an irreverent modern sensibility — is in fact a strategy that Euro auteurs have been doing for decades. Not that a somewhat overinflated sense of novelty makes Baena’s twisted nuns-gone-wild comedy “The Little Hours” any less entertaining.
Only the most ascetic of filmmakers sets out to create a starchy period piece about naïve maidens pining away in airless old castles. The trouble is that even when such racy directors as Benoit Jacquot and Catherine Breillat attempt to modernize such material, between the subtitles and cultural differences, too much is lost in translation. “The Little Hours” is, then, a medieval convent comedy for the megaplex crowd, one that dispenses with the notion of nuns as prim-and-proper »
- Peter Debruge
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