Amy Schumer is making the jump from stand up comic and star of her own sketch comedy show to movie star – and in Judd Apatow’s fifth movie as a director, no less.
Trainwreck is about a woman whose take on relationships is based on her father’s words, ‘Monogamy isn’t realistic.’ (To be fair, he’d just gone through a painful divorce at the time.) Twenty-three years, Amy has a great job at a men’s magazine and a bunch of great friends. Then she’s assigned to interview a certain sports doctor…
Check out the first trailer after the jump. Trainwreck will be in theaters on July 17th.
The Gambler is a remake of the 1974 classic about a man with an addiction to gambling – to the point of endangering his life. In this version, a university professor gets in deep with three very deadly members of the gambling underworld. This version has a unique take on character that, just barely, allows for the possibility of a hopeful (if not necessarily happy) finale.
Every year, it seems like there’s at least one movie that has awful trailers but turns out to be amazing. In 2009, it was The Hangover. Last year, it was Bridesmaids. This year, it’s 21 Jump Street – a fast-paced crude comedy that pulls off its Judd Apatow-like mix of cringeworthy humor and heart with panache!
Tara Gregson [Toni Collette] is a struggling artist/designer with a charming husband, Max [John Corbett] and two kids – studious Marshall [Kier Gilchrist] and uber-brat Kate [Brie Larson]. She also has three more personalities [slutty teen, T; macho redneck Buck, and super Betty Crocker, Alice – and a sister, Charmaine [Rosemarie DeWitt] who thinks she’s faking [“that’s not even a real disease,” she tells Max after an early incident]. Fortunately, Max is a little more open minded than she is – though the exchange does basically set up two schools of thought on DID. The United States of Tara [Showtime, Sundays, 10/9C] is yet another reason that Showtime is sometimes referred to as “the new HBO.”
UST was created by Steven Spielberg and developed by Diablo Cody – which as likely a combination as Juno and Paulie from Cody’s first film, and turns out to be as an unexpectedly good one. It takes a lot of nerve to tackle DID in the manner of UST – the premise is that Tara has gone of her meds with the approval of her family and therapist in the hope that the appearance and behaviour of her alter-egos might lead to the discovery of the events that led her to develop them in the first place. Not the simplest premise, and one that probably be watched closely by mental health professionals and families of DID victims.
From the moment we meet each of Tara’s “alters,” it becomes apparent that Cody is playing for keeps. There moments with each alter that reach almost profound levels of accuracy – and the humor that arises from these situations ranges from dark to light to dark again. In most instances, the humor is used to relieve the impact of the drama, as when Alice takes umbrage with Kate’s attitude and language in the third ep, Aftermath [in which the family attempts to clean up after the damage T and Buck caused in the first two eps.
The United States of Tara is not an easy show to watch, but despite it flaws [the children are woefully underdeveloped and it’s a tribute to Gilchrist and Larson that they have any presence at all], it is smart and refuses to take it easy on its audience. There are moments that are genuinely raw – that will definitely have an impact on you – and moments that leave you rolling with laughter [and you might feel guilty only about half the time].
The United States of Tara will make you think and feel – and isn’t that what the best television should do?