Single White Female (1992)
In the corner of an almost empty British-themed pub in Hollywood, a woman sits with a fringe concealing half her face. At the age of 56, Jennifer Jason Leigh remains an enigma. A chameleon who can do ethereal and gritty, ravishing and repellent, fragile and fierce, she was Tralala, the doomed prostitute in Last Exit to Brooklyn; Hedy, the stalker flatmate in Single White Female; and Daisy, the homicidal fugitive in The Hateful Eight. A child actor turned 90s film-noir queen, she veered from mainstream stardom into indie projects, then the Hollywood wilderness, before roaring back in recent years. All the while, she has kept a veil over her private life.
“There was a time, when I was dating in my early 30s or late 20s,
Directed by Evan Katz (Cheap Thrills), Channel Zero: The Dream Door is based on Charlotte Bywater's "Hidden Door" creepypasta short story. Showrunner Nick Antosca will once again executive produce and lead the writers' room in the fourth season, with Brandon Scott (who played Luke Vanczyk in Butcher's Block) starring alongside fellow cast members Maria Sten, Steven Robertson, and Steven Weber.
Channel Zero will return to Syfy later this year, and we'll be sure to keep Daily Dead readers updated as more details are announced. In the meantime, here's the full press release with more information:
Press Release: Universal City, CA – May 4, 2018 – Syfy and Universal Cable Productions (Ucp) today announced Channel Zero’s fourth installment will be titled Channel Zero: The Dream Door.
The post Bad Samaritan review: The single white hand that sleeps with the enemy appeared first on Monsters and Critics.
Matt Spicer’s bitter comedy of the absurd follows Ingrid Thorburn (Aubrey Plaza, deadpan but with a manic edge), a depressed twentysomething who inherits $60,000 from her mother and uses the money to move to California, inspired by Taylor Sloane (Elizabeth Olsen), an Instagram influencer she read about in Elle. Taylor’s bio is a sincere string of platitudes: “Treasure hunter. Castle builder. Proud Angeleno.” Ingrid pilfers tips on how to curate the right kind of cool from Taylor’s social media feeds and it’s not long before the young women become “Best friends”, shopping for artisanal lamps and alternating margaritas with lines of cocaine in Joshua Tree, and things start to turn a little Single White Female. O’Shea Jackson Jr (Straight Outta Compton) also shows up as Ingrid’s landlord, Dan, a Batman-obsessed stoner screenwriter,
Stars: Aubrey Plaza, Elizabeth Olsen, O’Shea Jackson Jr., Wyatt Russell, Billy Magnussen, Pom Klementieff | Written by Matt Spicer, David Branson Smith | Directed by Matt Spicer
A Single White Female for the Instagram generation, this sharp-edged stalker comedy from co-writer / director Matt Spicer succeeds as both scathing social media satire and jet-black comedy, while maintaining a surprising amount of sympathy for its central character.
Aubrey Plaza plays lonely weirdo Ingrid Thorburn, who spends time in an asylum for pepper-spraying a bride at her wedding, in retaliation for not being invited. It turns out that they were never really friends – the bride was someone Ingrid had followed on Instagram and she’d formed an unhealthy fixation on her after a reply to her comments.
After her release, Ingrid quickly forms a new attachment to Insta-celebrity Taylor Sloane (Elizabeth Olsen), after reading about her in a magazine profile.
From October 12th–November 8th, you can watch Amityville: The Awakening for free on Google Play, and the latest entry in the long-running franchise will also be released in select theaters on October 28th, just in time for Halloween.
We have additional details on the movie below, as well as the new clip (which debuted on EW), previously released trailer, and a set of photos. Will you be paying 112 Ocean Avenue a visit this October?
Press Release: Los Angeles, CA (September 21, 2017) – Forty years later, something is stirring again as a new family moves into 112 Ocean Avenue in Amityville: The Awakening,
The antiheroine of the title is played by the one-and-only Aubrey Plaza, who's allowed to go completely off the chain here. Her Ingrid Thorburn never stops tapping "Like" on Instagram, but no one likes her.
Ingrid eventually moves on (sort of), heading out west to make her way in sunny Los Angeles, where she’s convinced that a highly curated life is the cure for all her ills. What she really wants is someone else to emulate and follow, and she finds that in Insta-famous lifestyle blogger Taylor (Elizabeth Olsen), who makes the woeful mistake of liking one of Ingrid’s targeted posts.
Movies about stalking typically hinge on a familiar set of escalating gestures that tend to include long waits in a lurking car, flicking through stolen mail and a lot of on-the-ground shadowing. Stalkers had it tough: they got rained on, barked at and risked criminal charges at every turn. But in 2017, following someone means something far different. We follow strangers on a daily basis on various digital platforms, an insight into their likes, dislikes and physical whereabouts readily available for anyone to see.
Related: The Incredible Jessica James review – Netflix swipes right at romcom, with tepid results
On Thursday night, the actresses hit the red carpet at the Hollywood premiere of their movie, Ingrid Goes West, in the same style. Plaza and Olsen, 28, both stepped out in a black and gold Marc Jacobs mini-dress that they paired with matching Sophia Webster black pumps and Anita Ko jewelry.
More: Aubrey Plaza and Michael Cera Almost Got Married in Las Vegas
The co-stars posed together in their identical outfits on the red carpet, and even pretended to have a little row over their matching styles.
Getty ImagesGetty ImagesGetty Images
While the women seem quite friendly in real life, Plaza's character in Ingrid Goes West gives off some serious Single White Female vibes. In the comedy thriller, the 33-year-old actress portrays an unhinged social media stalker who moves to L.A. and edges herself into the life of Instagram star Taylor Sloane (Olsen).
Barbet Schroeder's Amnesia, starring Marthe Keller and Max Riemelt with Bruno Ganz, Corinna Kirchhoff, Fermí Reixach, Marie Leuenberger, and Joel Basman is a supremely personal chamber piece by the filmmaker who brought us Hollywood films such as Reversal Of Fortune (which won Jeremy Irons an Oscar), Barfly (Faye Dunaway, Mickey Rourke) or Single White Female (Bridget Fonda, Jennifer Jason Leigh), who worked with Jacques Rivette and Jean-Luc Godard and directed an episode of Mad Men.
Barbet Schroeder with Anne-Katrin Titze on Nelly Quettier: "She's a great editor." Photo: Steven Beeman
In New York before the opening, Barbet spoke with me about his editing on a "huge white wall" with Nelly Quettier (Terror's Advocate, Claire Denis' Beau Travail, Ursula Meier's Home, Léos Carax's Holy Motors), a Nanni Moretti-like Mia Madre idea, Walter Benjamin and Raoul Hausmann, the mood of Georgia O'Keeffe's house,
The summer movie season of 1992 opened under a cloud; a dark cloud from the still-smouldering buildings that had burned to the ground during the La riots in April. Racial tension after the disastrous acquittal of Rodney King’s uniformed attackers had reached an all-time high and Hollywood appealed for calm.
Thus, in a touchingly bold demonstration of selfless generosity, Walter Hill’s unremarkable urban thriller, The Looters, was hastily withdrawn and held back until Christmas, re-christened Trespass (memorably starring two Bills – Paxton and Sadler – and a pair of Ices – T and Cube). Elsewhere, it was business as usual.
The Rodney King affair was briefly alluded to in Lethal Weapon 3, the second-biggest hit of the summer and one of only a handful of ‘sure things’ on the menu. Though there were mutterings about the dominance of sequels in the summer movie season, there were weird things afoot in most of the other returnees. Aside from Lethal Weapon 3 – which was essentially a watered down Lethal Weapon 2 with too much added Joe Pesci – the rest of the sequels veered off into strange tangents, with varying results.
Alien 3, for example strayed dangerously far from the template set down by the first two classics. Bravely, it has to be said, David Fincher tried to create a quasi-religious epic, following Scott’s horror movie and Cameron’s war film. Latterly, Fincher’s frustrations and behind-the-scenes interferences became legendary, but audiences didn’t click with his compromised vision and it became the first in a long line of Alien movies to fall a bit flat.
Another major sequel, Honey, I Blew Up The Baby was in fact the complete opposite of 1989’s Honey, I Shrunk The Kids, culminating in the spectacle of a 99 foot toddler stomping through Las Vegas. It was directed without enthusiasm by Grease director Randal Kleiser, reminding audiences once again why no one remembers who directed Grease.
It wasn’t just sequels that dared to be different. One of the strangest mainstream offerings of the year was Robert Zemeckis’s black comedy, Death Becomes Her, which might have been a delicious satire on America’s vain obsession with cosmetic surgery if only Bruce Willis had stopped shouting at everyone like he was trying to prevent a plane crash.
Back in the ‘90s, much more so than today, comedies were a vital part of the summer success story – an inexpensive sop for the grown-ups while their teenage kids watched things explode in Screen 7. There were high hopes for Steve Martin and Goldie Hawn’s Housesitter, which was only a medium-sized hit, despite the bit where Steve Martin sings ‘Tura Lura Lura’ to his dad, and the other bit when his falls over his couch.
Boomerang was a bigger hit and restored some credibility to Eddie Murphy’s career after the crippling one-two punches of Harlem Nights and Another 48 Hours. It was also responsible for one of the great ironic ‘First Dance At a Wedding’ songs, Boys II Men’s The End of The Road.
Nicolas Cage embarked on a three year long career as a romantic comedy star with the rather wonderful Honeymoon in Vegas, famed for its skydiving Elvis finale. Tom Hanks and his Big director Penny Marshall reteamed to great success with wartime baseball comedy A League of Their Own, which also saw Geena Davis giving a star performance and Madonna giving a bearable one. “There’s no crying in baseball!!!” was probably the most quoted line of the summer.
As with City Slickers in 1991, comedy provided the biggest sleeper hit of the summer: Sister Act, with Whoopi Goldberg excelling as a murder witness hiding out in a convent. As with City Slickers, an unwise sequel was hastily made and hastily forgotten. The original though, was the sixth biggest film of the year and is still going strong as a west-end show to this day.
It wasn’t just the many and varied comic tastes of adults that were appeased; semi-literate young people were also provided for by Encino Man (or California Man as we knew it, since we don’t know where Encino is. It’s in California). Noted for Brendan Fraser’s first stab at the big time, this grungy caveman caper will be of interest to young contemporary archeologists keen to investigate who or what Pauly Shore was.
Teenagers were also palmed off with a silly-sounding comedy called Buffy The Vampire Slayer, written by first-time screenwriter Joss Whedon. Starring Kristy Swanson as the eponymous heroine, but marketed as a vehicle for Beverly Hills 90210 heart-throb Luke Perry, the producers had hoped for a chunk of the Bill & Ted audience that Encino Man hadn’t swallowed up. Sadly, they had to make do with a long-running spin-off television show regularly cited as one of the greatest ever made. Gnarly.
The stalking killer thriller phenomenon that started with The Silence of The Lambs and Cape Fear echoed into 1992 with solid hits like Unlawful Entry and Single White Female. Even Patriot Games – a sort-of sequel to The Hunt For Red October with Harrison Ford rebooting Alec Baldwin’s Jack Ryan – for all its CIA espionage and partial understanding of “The Troubles” in Northern Ireland, was basically a slasher movie, with Sean Bean doing to Harrison Ford what Robert De Niro had done to Nick Nolte the year before. (Sean Bean dies, obviously).
Crimes against the Emerald Isle weren’t restricted to the gratuitous amounts of Clannad in Patriot Games. Tom Cruise’s Irish accent in Ron Howard’s Far and Away was the benchmark for all bad Irish accents until Brad Pitt graciously took the relay baton in The Devil’s Own. The film, shot in glorious 70mm was the biggest risk of the summer and proved to be the dampest squib, considering the star power of Cruise and (then-wife) Nicole Kidman. Despite looking ravishing, the script had all the depth of a bottle-cap. It desperately wanted to be a timeless classic in the David Lean tradition but held up against Unforgiven, which was released in August, Far & Away was shown up as the glorified Cbbc TV special it was.
Unforgiven came out of nowhere. Clint Eastwood’s previous movie, The Rookie, was somehow even worse than 1989’s Pink Cadillac. However, he’d been sitting on David Webb Peoples’ script for years until he was finally old enough to play William Munny. An extraordinary, mature and masterful critique of Western mythology, Unforgiven was hailed as Eastwood’s best work from the get-go, took the summer’s number five spot and would later win a handful of Oscars, including Pest Picture.
So who was the box office champion of Summer ’92? Well, that question was never in any doubt. Tim Burton’s Batman was the cultural phenomenon of 1989, redefining the parameters of box office limitations and merchandise licensing in a way not seen since Star Wars. Speculation as to who Batman would fight next and who would play him/her began immediately. Dustin Hoffman was touted to play The Penguin and Annette Bening was actually cast as Catwoman, before pregnancy forced her to drop out.
On the 19th of June, all was revealed when Batman Returns opened to a spectacular $45m weekend, $5m more than the original. Michael Keaton returned as The Caped Crusader (having split up with the creditably tight-lipped Vicki Vale), while not one but three villains put up their dukes. Danny DeVito played the Penguin as a deformed, subterranean leader of a gang of circus act drop-outs. Michelle Pfeiffer as Catwoman (perhaps her signature role) was transformed from a clumsy secretary into a vengeful whip-wielding dominatrix. Christopher Walken borrowed ‘Doc’ Emmett Brown’s hair to play new villain, Max Shreck.
Despite the enormous opening weekend, things took a downward turn almost immediately. Audiences expecting more of the same were treated to a dark, nose-bitingly violent combination of German Expressionism, kinky S&M and oversized rubber ducks. The box office the following week dropped by 40%, and there was further controversy when McDonalds had to deal with the ire of horrified parents across America, ‘tricked’ by their Batman Returns Happy Meals into taking their kids to watch Burton’s deranged fairy tale, pussy jokes et al.
The backlash (against what is now considered a unique high-water mark in the superhero genre), meant that Batman Returns wound up making $100m less than its predecessor and it placed third for the year, behind Home Alone 2: Lost in New York, a film so determined to give its audience a familiar experience that it simply changed the first film’s screen directions from Int. Kevin’S House – Night to Ext. New York – Night and reshot the entire script. (The box office crown for the year was taken eventually by Disney’s Aladdin.)
Warner Bros. took evasive action, hiring Joel Schumacher to sweeten the mix, which would help to restore Batman’s fortunes in 1995, before everything, literally absolutely everything went wrong in 1997 and the world had to wait for Christopher Nolan to finish attending Ucl, become a director and save the Dark Knight from the resultant ignominy.
Hollywood was given a crash course in the perils of straying too far from a winning formula in the summer of ’92. Sadly, for a while at least, it learned its lesson.
The post Tamed Aliens, Harmonic Nuns and a Leather Catsuit: Strange Tales from 1992’s Summer of Cinema appeared first on HeyUGuys.
Offering little in the way of fresh material and mixing together influences such as “Misery,” “Single White Female,” and Polanski’s own “The Ghost Writer,” this sophisticated French/Polish two-hander is at least a good showcase for the two lead actresses — while the pairing of Polanski and “Personal Shopper” director Olivier Assayas, here solely on scriptwriting duty, does not quite deliver on its promise.
The story of a successful Parisian writer Delphine (Polanski’s wife Emmanuelle Seigner) on the verge of starting her new book, the film opens on a point-of-view shot of the author facing a sea of admirers at a signing event. Beneath a well-constructed facade of control,
Maybe she'll be want to transfer to the Ed for the residency position after all.
So Robin finally consented to come in for an evaluation, but her dad may have just blown everything to hell. Honestly, Daniel probably should have spent the day with his own shrink. And why the hell did he have access to that file?
I feel bad that not only did he go through having Robin committed, but then he got (rightly) yelled at by his work daughter. Of course, I also felt really proud of Sarah for standing up for herself and her skills, even it was completely unrealistic
John and Laura Taylor (Morris Chestnut and Regina Hall) are a young, professional couple who desperately want a baby. After exhausting all other options, they finally hire Anna (Jaz Sinclair), the perfect woman to be their surrogate – but as her pregnancy progresses, so too does her psychotic and dangerous fixation on John. The couple becomes caught up in Anna’s deadly game and must fight to regain control of their future before it’s too late.
Helming dozens of TV shows over a two decade period, director John Cassar has a very interesting resume. From the Hulk Hogan feature The Ultimate Weapon in 1998, through his most recent effort, the brand new series of 24, 24: Legacy, it also turns out Cassar has been
The trailer depicts Plaza’s character Ingrid Thornberg reacting to her mother’s death and a series of self-inflicted setbacks by moving out West to befriend her Instagram obsession Taylor Sloane (played by Elizabeth Olsen). After a quick bond is forged between these unlikeliest of friends, the facade begins to crack in both women’s lives.
How Elizabeth Olsen Used a Fake Instagram Account to Create Her ‘Ingrid Goes West’ Character
“Ingrid Goes West” is directed by Matt Spicer and written by Spicer and David Branson Smith. The film, which also stars O’Shea Jackson Jr., Wyatt Russell, and Billy Magnussen, premiered in competition at the 2017 Sundance Film Festival, where it won the Waldo Salt Screenwriting Award.
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.