The biggest deal in Sundance history is for a charming Andy Samberg spin on a comedy classic
Film Features Dispatch
Park City is a bit like the Punxsutawney of Groundhog Day, and not just because of the snow that reliably blankets its winding streets. Every January, the same thing happens: Studios try to outbid each other for the movies generating the most buzz —and usually, the “winner” ends up grossly overspending on their acquisition, which almost never is as rapturously received off the mountain as it was on. Last year, for example, Amazon paid a respective $13 million and $14 million for Late Night and Brittany Runs A Marathon, two mediocre comedies met with a collective shrug of disinterest from audiences when they finally hit theaters several months later. Everyone is still chasing that Little Miss Sunshine windfall, hoping for a big return on their big investment.
This year is no exception, at least in how deep buyers are reaching into their pockets. In fact, we now have a new record for biggest sale in the festival’s history, though the previous one wasn’t exactly shattered: Earlier this week, Hulu and Neon together spent just 69 cents more than the $17.5 million Fox Searchlight did in 2016 for the distribution rights to Birth Of A Nation. Why just 69 cents? Probably because it cracked up Andy Samberg, who stars in the charming, madcap romantic comedy the two studios jointly acquired. Call me crazy, but I think this one might be worth the price—it’s that rare pure crowd-pleaser that requires little in the way of apologies, and could really connect with audiences. But then, I thought the same thing about another hit Sundance rom-com, Sleeping With Other People, and that flopped hard at the box office.
The big thing Palm Springs (Grade: B+) has going for is its borrowed but enduringly irresistible high concept. The film, directed by Max Barbakow and written by Andy Siara, pretty quickly reveals its premise, but there’s still a pleasure in experiencing how they let the cat out of the bag; if you want to go into it fresh, stop reading here and skip down past the next photo. Samberg stars as Nyles, a slacker doofus stuck at a destination wedding in Southern California, which he’s attending as the date of a bridesmaid. Blithely wandering the reception in a loud and very informal short-sleeve shirt, Nyles clearly doesn’t have any fucks to give. But he also seems to have a suspiciously premonitory sense of how the night will play out. And before long, Palm Springs reveals the reason for both: He’s stuck in a time warp, waking up every morning to find himself still in Palm Springs on the morning of the wedding.
That’s right: This is yet another riff on Groundhog Day. It’s a very clever one, though—partially because it actually adopts a couple of ideas straight out of Danny Rubin’s original draft of the 1993 Bill Murray classic. For one, Nyles is already stuck in the loop when the film begins; he has, in fact, been reliving this same day for so long that he’s forgotten what he ever did for a living or what his life outside of Palm Springs looked like. The other idea it swipes from Rubin and then tweaks is that Nyles isn’t alone in his ordeal—in the first act, he ends up accidentally getting another guest of the wedding, the bride’s black-sheep older sister Sarah (Cristin Milioti), trapped in the repeating day with him. What this allows is for the filmmakers to pit Nyles’ sardonic resignation against Sarah’s panic and denial—“Can we just skip this stage?” he sighs when she first reaches for, say, a head-on collision with a semi as a futile escape route.
The film employs its magical conceit as a multi-purpose metaphor for a long-term relationship: Once they’ve become coconspirators in time-killing mischief, Nyles and Sarah basically carve out their own little reality—it’s an outlandish expression of that feeling of being the only two people in the universe, the only ones that really get it. The flip side, of course, is that monogamy can leave you feeling as stuck as the characters, living the same day over and over again, with only your significant other for company. But Palm Springs wears all that baggage lightly. It’s a sadly rare thing: a sweet, madly inventive, totally mainstream romantic comedy, buoyed by inspired jolts of comic violence (some of them provided by J.K. Simmons as another wedding guest with a very big bone to pick with Nyles). And in at least one respect, it does actually improve upon Groundhog Day: This is a true duet, putting its metaphysically imprisoned leads on more or less equal footing, with Milioti expressing a screwball agony—a hilarious existential desperation—Andie MacDowell certainly wasn’t afforded. If filmmakers are going to keep asking us to relive this same premise, they’d be wise to recycle it as wonderfully as Palm Springs does.
Which it to say, I get why someone might drop $18 million on this movie. Less clear is why Searchlight, the now Disney-owned mini-major that splurged and then lost big bucks on Birth Of A Nation, would shell out $12 million for a film as flawed and not necessarily fool-proof as The Night House (Grade: C+), whose sale was the first big one of the fest. Part of the characteristically uneven Sundance midnight slate, this simultaneously goofy and dull supernatural mystery from David Bruckner, who made The Ritual and also the best segment from the first V/H/S, casts Rebecca Hall as a teacher whose husband commits suicide and then maybe begins haunting their spacious lakehouse, flipping on lights and blasting the stereo at all hours of the night.
Hall throws herself into the role, committing fully to the way her character’s fear edges into aching hope—as Bruckner put it in his introduction at the premiere, this is a film that asks whether the existence of ghosts might be more comforting than frightening. Unfortunately, the script by Ben Collins and Luke Piotrowski is clunky—in the convoluted nature of its reveals and also in the sometimes-baffling behavior on display. (People grieve in different ways, but what excuse do the supporting characters have for blurting out rude questions at a widow or showing up at the home of a stranger who’s confronted them in public?) Bruckner, perhaps aware of the material’s shortcomings, overcompensates with sound and fury, emphasis on the sound: This may not be the scariest film of the festival, but it’s almost certainly the loudest; one jump scare cranks the volume up to eardrum-splitting levels and then just keeps it there for a good 30 seconds. At least these deafening stings might jolt viewers out of the premature slumber The Night House otherwise provokes.
There aren’t too many jump scares, painfully loud or otherwise, in Relic (Grade: B), a much more effective midnight selection from first-time Japanese-Aussie director Natalie Erika James. The film concerns the mysterious disappearance of an elderly widow (Robyn Nevin); after a few days gone, she just as mysteriously returns to find her daughter (Emily Mortimer) and granddaughter (Bella Heathcote) in her home, suddenly newly concerned about what to do about her deteriorating mental state. The kind of dread-infused slow burn that’s very much in vogue at the moment, Relic is so entirely, transparently, even explicitly about the horror of dementia and losing a loved one to it that the more traditional genre elements—like a potential supernatural presence in the house—feel rather redundant, maybe even unnecessary. (Who needs a metaphor when you have blood-chilling scenes of an old woman lashing out violently at family members she doesn’t recognize anymore?) But after a lot of ominous build, the film rallies hard in its go-for-broke, haunted-house final act. And it closes on a strangely, profoundly moving note—an ending so great, it should add a zero to any offer a studio might think of making for the movie.
144 Comments
Cristin Milioti has been one of my favorites since “I’m a very sexy baby!” and I really enjoy her other TV appearances as well. I also like Jake Peralta and Popstar and other Andy Samberg stuff.Call the news outlets. I’ll be seeing that one in the theater!
Love Samberg and love time travel/loop movies. I will be eagerly awaiting this one.
They sealed it with JK Simmons for me
Simmons is on my list of “Actors who I would watch, even if they are just reading a phone book”
It depends for me. They have the problem of too much repetition. 11:59 is a good example of this. It was just boring. Happy Death Day did something different so I enjoyed it (not so much the 2nd one). GD is a classic, but even that can be boring at times.
I’m pretty burnt out on time loop stories, but there’s always a chance someone will bring something new to the game and Andy Samberg’s involvement means it should at least be enjoyable.
I am particularly a fan of ArrowVerse show time loop episodes, whether it is Zari or Oliver & Laurel who are stuck in them, those turn out well
Sounds like Groundhog Day meets Black Mirror. I’m in.
It is hard to imagine that this movie will be a huge breakout hit but it sounds fun. I’d like to see Samberg break out as a movie star, unless it threatens his Brooklyn Nine-Nine schedule.
Popstar: Never Stop Never Stopping is hilarious. He’s so good at playing a complete idiot.
Style Boyz 4 Life
LET ME SEE YOU DONKEY ROLL!!
I don’t give a shit about Usher, but the way he’s beaming after getting offstage with the Style Boyz always makes me laugh.
His HBO Specials are masterpieces in my book. Tour De Pharmacy and 7 days in Hell are just hilarious.
I’m always amazed at how many celebrities he and Lonely Island manage to get into their projects. There are people in Popstar that you’d never even imagine picking up their phone for someone like Samberg (I know some of it is footage from other shows, but still), let alone doing a speaking role in a ridiculous mockumentary like that one. The fact that it did next to nothing at the box office is a goddamn crime.
Timberlake wisely made fun of his own boy band history with Dick in a Box, which made a lot of people reevaluate him while also being a massive viral hit. I expect that success laid the groundwork.
Can’t forget about my boy Tyrus Quash!‘It was me! Tyrus Quash!’
Bash Brothers and Seven Days in Hell were hilarious.
im so confused. Andy Samberg has two HBO specials? why is this the first im hearing of this?!
Not sure, but yes, 7 days in Hell and Tour De Pharmacy are great. There’s also the Bash Brothers Netflix special as well, as someone pointed out to me.
Unauthorized Bash Brothers Experience!
he does the “Sandler” without being as awful and shitty as Sandler.he reminds me a lot of Fry from Futurama in those roles, funnily enough. Little slacker-y, little endearing
I honestly believe if they ever did a live action movie of Futurama, Samberg would obviously have to be Fry.
That’s a stupendous comparison!
As someone who adores Futurama and despises Sandburg, this comment made me so irrationally angry at my desk at work.
That is an amazing movie. I’m full-on Team Samberg
I’m So Humble was a hit, then again, I’m a huge fan of The Mona Lisa is a Piece of Shit.
So many great songs. I get the Bin Laden song stuck in my head for days every time I watch it.
The music video was great too, the music videos are always great when they decide to do them.
Earlier this week I was doing the dishes, and “I want you to fuck me like we fucked Bin Laden” popped into my head, unannounced. I think I saw the movie three years ago.
Lonely Island makes some catchy shit, their songs are comedic and pretty quality as far as pop music goes.
I sent the video with Micheal Bolton to my 60 year old mom bc she loves Bolton. Now most of the text I get from here are memes related to lonely island content.
It’s multi-generational music :).
Man, Bolton went balls deep on that one. I’m shocked it’s even real.
If you haven’t watched the british series Cuckoo yet, he’s perfect in it as a hippie-dippie idiot in England. It’s just a shame he was only in the first season.
Sweet, thanks. What’s that on?
I watched it on Netflix.
Popstar was no where near the hit that it should have been.
I want to see this but I am too cheap to rent. Hot Rod is also good. And on Netflix last time I checked.
The things that make me laugh hardest in Popstar:1) Nas explaining that he didn’t like Akiva’s solo track because “I had different things in my Jeep.”2) The whole explanation of how members of the WuTang Clan do solo work, but are still in the WuTang Clan.
Hot Rod remains one of my favorite movies, as flawed as it is, because of Samberg’s absolute commitment to the part. And, of course, Brooklyn Nine-Nine.
Hot Rod is dumb as hell (yet still hilarious), but at least you get to watch Isla Fisher run around for 90 minutes.
I used to be legit. I was too legit. I was too legit to quit. but now I’m not legit. I’m unlegit. And for that reason, I must quit.
I would absolutely watch it on Netflix if nothing better was on.
B99 is one of the most grossly underrated tv shows I’ve ever watched and I hope it never goes away.
Brooklyn 9-9 is probably nearing the end of its run, not that I want it to end, but probably the cast can balance some movies with it, especially since I think it is doing shorter seasons now
Samberg is not my favorite part of Brooklyn 99, honestly, but I don’t think the show would work without him. There are just so many ringers in that cast. When it finally goes off the air, I’ll really feel the loss of Rosa Diaz. Samberg, Joe Lo Truglio, Terry Crews, even Andre Braugher are basically doing variations on their usual character types. But Stephanie Beatriz is giving a full-on performance – it’s almost uncanny.
I really like Melissa Fumero too. But Stephanie Beatriz is really, really good as Rosa. At this point maybe has overtaken Melissa Leo as Kay Howard as my choice for all-time best female cop performance
Melissa Fumero is really funny and hopefully she doesn’t get relegated to “supportive girlfriend” roles. But Stephanie Beatriz’s level of commitment to the performance is rare for a sitcom (unless the character is supposed to be disabled).
Remember when Brooklyn Nine-Nine first got trailers and all the cool buzz was “I’d be interested in this if not for Andy Samberg”?Pepperridge Farm remembers.
It’s been awhile but I remember loving seeing him in a lead rom-com role in Celeste and Jesse Forever
It is such a tragedy that Popstar flopped. We could be on like the third or fourth Lonely Island movie by now.
Call me impatient if you must, but surely I can’t be the only one who *loathes* time loop stories?
No, you’re not, but you’re definitely the only one who took the time to post on an article about something you dislike. Congratulations.
In the poster’s slight defense, this is far better than the people who click on articles about things they know they don’t like and then comment.Like the poster likely didn’t know this was an article about time loop stories.
And then they read it. And commented.
Sure, but, y’know, you don’t find out it’s about a time loop until you’re already a solid chunk of the way through the article. And it’s not the only thing the article talks about.I just don’t see what is so awful about people expressing that they don’t like something. If this was an article that was titled “Groundhog Day Style Film Wins Big Money At Sundance” then…yeah, I’d agree. Why would you click on the article if you didn’t give a shit about that style of movie?But it doesn’t say that, so…they just read an article about a thing that, from their perspective, might have appealed to them, ultimately didn’t, and commented on that.
Hey, you’re right! I read that whole comment, and now I’m here to say I didn’t like it.
Well spotted. Now come on up and receive your vastly deserved award.
No thanks, I had my fill of your mother’s last night.
So you’re a necrophiliac, too?
Quite the zing there. Let me know if you need to go lie down after that.
I’m sure you’re having a nap after pulling out your “Your mama” comeback.I’ve left you a wake up call, you rest.
It sure got you riled up and coming back for more. Twice, even. Keep it up and maybe I’ll keep giving you attention, whoever the fuck you are.It’s cute how hard you’re trying. Really. You’re like a dumb little puppy who doesn’t know how to do anything but shit tiny little turds all over the floor in exchange for an ‘Awwww’.Awwww.
Pro Tip: Someone making fun of you is not because they’re riled up, it’s because they’re making fun of you.And I see your comebacks are still just as weak. Awwwwwww.
When does the pro get here?Juuuust about done with you and your adorable little yaps. Make it count.
I imagine as soon as they let you out of daycare.
By the way, the space in your head I’m taking up right now is very comfortable, thanks for the use of the hall.I await your next superquick comeback comment.
Are you making it count yet? I gave very specific instructions.
Nice and comfy.Considering your hospitality, I could be living in your head for weeks, lol.Keep it coming.
The only one? People do it all the time. I’d even wager that people are more eager to complain than express their satisfaction.
And congratulations to you for being a smug dick for no reason.
Thanks! And I appreciate the laughs I just got by seeing you of all people calling absolutely anyone a smug dick.What, no needless comments about the MCU this time? Are you sick?
You’ve certainly got your brand.
Cool. Anyway, back to ignoring you.
I don’t think that word means what you think it means.
Bitch, you’re whining about a comment on that article
Even ones where Tom Cruise dies like 200 times?
You posted this same thing yesteday, led!
I don’t loathe them, but I find it very very odd that they’ve become prevalent enough to be a genre in and of themselves. Groundhog Day had to really lay the groundwork and get the premise across, and now we can pretty much have the protagonist say “I’m caught in a loop, like Groundhog Day!” and we know exactly what kind of story we’re in. It’s like how Rashomon or It’s a Wonderful Life bred an entire type of sitcom episode.
As 90s/early-2000s TV tropes go, I’d rank them this way:
1. Musical episode2. Time-loop episode3-99. Literally any other gimmick episode100. Body-swap episode. God, I hate those.
Please let this be the big break Cristin Milioti deserves. My god, she’s good.
I agree- will definitely watch this just because I’m so glad to finally see her again.
Oh, it’s The Mother!Argh – and once again I’m now irritated remembering the shitty ending to that show!
Would it help if you remember her instead as DiCaprio’s first wife in The Wolf of Wall Street?
To be honest until just now I’d forgotten she was in it, and if asked to list the WoWS cast before reading your comment I’d have come up with a dozen names and probably still not remembered her …I saw her in that, and that Black Mirror episode (which I loved), after I’d been soured on HIMYM…
The one time in my life I actively, passionately rooted against Cobie Smulders.
The one time in my life I actively, passionately rooted against Cobie Smulders.I take it you didn’t watch that abysmal Friends from College
That show was so fucking weird.
I tried to like it! I love everyone involved, including the Stollers.But it was so, so bad.
Yeah, and in a really baffling way.
The AV Club reviews for that show clearly had more thought behind them than the writing for the show itself! One of many things that irked me: I rolled my eyes so hard when I quickly realised Friends from College was about a group of 6 friends (how original) and there’s the one lanky funny Black guy (like in Happy Endings), and there’s also the one gay dude (like in Happy Endings) who’s Jewish (like in Happy Endings) and – for crying out loud – is also called Max, just like in Happy Endings!
I like Cobie Smulders and Keegan Michael Key enough that I considered watching that one. Considered.
My wife and I finished that series years on Netflix after it went off-air, and after the finale episode I was so annoyed that I tracked down the alternate ending from the DVD bonus features. It doesn’t include the Mother dying or Robin’s divorce, and Ted’s closing monologue is shorter and less maudlin. It works sooo much better that I now consider it the official ending.What really gets me is that after the bullshit “happy ending” where the writers ruin the characters’ lives so that the couple with the absolute least chemistry can get together – after all that, they cut to a montage of the characters (and actors) aging over the course of the show, which captures all the bittersweet emotion that a long-running TV show can hope for. Watching twentysomething Jason Segel turn into thirtysomething Jason Segel was like getting punched right in the stomach (my wife was pregnant with our first kid at the time, which was also part of it).
I tracked down the alternate ending from the DVD bonus features. It doesn’t include the Mother dying or Robin’s divorce, and Ted’s closing monologue is shorter and less maudlin. It works sooo much better that I now consider it the official ending.I think i Need to track that down too and watch it a dozen times to override the memory of the ending they actually used …
To be fair, “tracked down” in this context just mean “found on YouTube.” It was late, and I just wanted to closure.
The finale ruined the show for me. I used to love it so much, but I can’t get very far into a re-watch now because of that fucking ending.
Counterpoint: In season 2, Ted and Robin were a great couple, but it made absolute sense why they broke up.
They then spent multiple seasons showing them coming to understand who they really were and being at peace with the fact that they just wouldn’t work.
And then the finale blew all that work up for the shittiest possible ending.
How I Met Your Mother is a great example of how not to plan out a long-running series. Either you can have something like Cheers, where the endgame isn’t important and you can just let the series meander around as you like, or you can have The Good Place, where the series arc is meticulously plotted down to the individual episodes. What you can’t do is come up with an ending before the series even begins but then have zero contingency plans in place in case your series gets picked up beyond the first season. And so we got a long, meandering series with an ending that feels completely incongruous and tacked-on.
I’ll take your word on it. I remember Ted and Sarah Chalke better than Ted and Robin.
EVERY FUCKING TIMEShe was so perect in the role and it was so well done. AND THEN THEY MURDER HER AND EVERY OTHER PLOT THEY’D SPENT SEASONS BUILDING
Canon Ball Run was a hit. Thank God It’s Friday was a hit. Appreciate how lucky you are to get paid to critique this art form without jumping the shark. I’ve been visiting this site for a decade now but the reviews, collectively, have reached shark jumping status. Just saying.
Can’t argue with someone whose pop culture references are so fresh.
And kinda misused as well
The reference itself has aged well even if folks don’t know from where it stems. So while it used to be a pop culture reference it’s since become part of the lexicon. That doesn’t mean I didn’t appreciate your burn, however.
BILLY JACK WAS A HIT
Get off my lawn!!!
“*Canon* Ball Run”? Oh man, that’s great! What a clever little joke to make in a complaint about film criticism. Seriously, I like that. It’s nice, kind of understated. You don’t draw attention to it. I’m going to be thinking of that one for a while.
What, no mention of ‘Oh God! Book II’?
“Think God”
Oh God, that movie is so fucking terrible.
Gleam that Cube or GTFO.
I saw that in the theater, and I remember that right before we went in, someone was walking out and yelling ‘It’s terrible! Don’t waste your money!’ We didn’t listen. They were right.And that someone… was Chuck Norris.
Cannonball run is technically a hit, Thank God It’s Friday was not a hit, critically mixed and didn’t make enough at the box office. WTF are you even talking about here? Why are you referencing pop culture films that are decades old??
Because life is too short to not laugh at it.
Sounds good, Samberg rarely disappoints.
I’d call Brittney Runs a Marathon more than a mediocre comedy. It had a lot of heart and some really strong performances too. Its bad marketing to blame for audiences not seeing it.
Agreed. I watched it begrudgingly, and had (previous to seeing this film) really disliked Jillian Bell in everything else I’d seen her.
…and then I was so surprised at how good this film actually was. And that it was NOT the watery re-make of “Run Fatboy Run” that I’d assumed it was.
Bell was really good and the plot actually had conflicts that made sense and held up, which was Run Fatboy Run’s biggest issue
Totally agree. I really liked Bell, and – of course I like anything that Simon Pegg does – but Brittany Runs a Marathon had real depth to it.
I really enjoyed watching it. Her mean, sloppy hipster roommate was a character you don’t see all that often. And I liked how low-key all the conflicts were.
It was really great that all the conflicts made sense, they weren’t just misunderstandings like a lot of movies make them. Also that each character was likeable, even that hipster roommate. She was shitty, but she gets some redemption in that she hasn’t been challenged to think about others and she does actually grow a little. Too few movies would give that character type any further thought.
Me too, in fact it was one of my favorite movies from last year. It’s one of the best fictional depictions I’ve seen of not only what it feels like to be an overweight young woman in the US, but also the struggles with losing weight, internal & external (including the sabotage from so-called friends). I’m astonished the writer/director is a man because it feels so true to mine and my female family/friends’ experiences.
Agreed. It really felt like they really understood that character, and in fact all of the characters, really well. That conflict of the biggest issues with self esteem and getting healthy just felt real, but not so much so that it was hard to watch
Relic is so entirely, transparently, even explicitly about the horror of dementia and losing a loved one to it that the more traditional genre elements—like a potential supernatural presence in the house—feel rather redundant, maybe even unnecessary.This sounds very close to why I left Hereditary unsatisfied. I was completely freaked out and into it while all the supernatural stuff was ambiguous and overshadowed by the horror of terrible families, but then about two thirds of the way through the movie… nope! just silly now. But what do I know? People loved that movie (or at least it has a following), so this will probably do OK.
“And in at least one respect, it does actually improve upon Groundhog Day: This is a true duet,..”As opposed to what? A fake duet? I don’t think Groundhog Day was ever dishonest about being a Bill Murray vehicle. And since the love story wasn’t the point, I don’t believe the “one main character” format worked against it, quite the contrary.
I still found it a bit distracting thinking about how much groundwork he would have to lay every single morning just to get to a spot where he could influence events. Having someone sharing the experience broadens your options.
I really don’t understand how you could interpret that small statement so incredibly uncharitably.
Not “as opposed to”, just “this is a duet, truly”. The original script gave incredibly short shrift to the inner life of its other characters, including the one Bill Murray ostensibly spends part of eternity trying to deserve or be worthy of (and is second billed). Sure, the movie is about enlightenment, but part of his “reward” for enlightenment is her respect, and the movie doesn’t spend a lot of time showing us why he’d want to earn hers in particular, other than that’s she’s Andie McDowell.
Which leads to the other interpretation, which is “Cristin Milioti is better here than Andie McDowell was in Groundhog Day”, which is far more debatable, but you’d have to see the movie to be able to debate it. And the critic here did, and we didn’t, so…
Your interpretation doesn’t change a whole lot. He’s saying that a film has an advantage over another because it’s a duet but having a film be a solo act is a legitimate artistic decision, one that I would argue worked quite well for GD. I know a lot of people don’t feel that way but I don’t care about why he wants to be with Andie MacDowell; just knowing that he wants to be with her but can’t because he’s a selfish jerk is enough for me to get the point the movie is making. I don’t feel the romance is important for the story to work.I can’t say how well Palm Spring’s approach works. It does seem to open up a lot of opportunities that weren’t available for a film with a single main character and I hope the film is good, but just because it succeeds does not mean GD’s approach was wrong.
As opposed to Groundhog Day, where Andie MacDowell’s character essentially functions a trophy for the main character to win once he’s worthy of her—and, when she briefly becomes a co-conspirator with him, is quickly reset to “trophy” status the next day.
MacDowell is framed from the drop as a sweet, smart, kind, attractive woman, so there’s not much need for character-building; she’s someone a rational guy would express interest in. Her warm relationship with Chris Elliott, a cameraman who a lot of people in her position might write off as unskilled hired help, is shorthand for how she treats people. Murray already knows these things about her, but probably wrote it off as weakness or silly sentimentality. Spending all that time with her finally opens his eyes to the benefits of decency.I have now thought way more than I ever expected to about Groundhog Day.
I thought a while back I had heard talk about a Groundhog’s Day sequel…and if you were to do one, this seems like a great approach. It lets you play with the idea without having to repeat everything Murray already did to get there.I’m sure that’s why it drew so much interest. Count me in.(Bonus: Milioti needs more work. She was so lovable in HIMYM and they screwed her character over so bad.)
l will definitely watch this on Hulu, but I thought Sundance was about small, independent movies, not rom-coms with sitcom stars.
So what is the purpose of this festival? Is it a chance to bid on for the right to distribute movies already made? Or bid on the rights to make the movie?
The former.
Earlier this week, Hulu and Neon together spent just 69 cents more than the $17.5 million Fox Searchlight did in 2016 for the distribution rights to Birth Of A Nation. Why just 69 cents?Because Nice, that’s why.
IMHO the less things afforded to Andie MacDowell the better.
Kind of amazed that there are no allusions to Russian Doll in the article or the comments. Gosh I liked that show a lot.
Based on the picture alone it MUST be a remake of OC & Stiggs!!!Someone get King Sunny Ade and his African Beats on the phone – it’s finally happening.Schwab
Liked the article. Loathed the headline all it needed was a ? At the end.
‘Why’ you ask? The answer is simple. Donald Trump and the GOP dug a 1 TRILLION dollar hole of national debt in order to finance an obscene tax giveaway to the super-rich. Now the super-rich have more money than they know what do do with. If they’re not spending $13 million on a 2 million dollar movie they’re spending $450 MILION on an old painting. Or they’re buying Fox, Marvel and Hulu.
I always thought Groundhog Day could use a little more disappearing up its own ass with commentary about Groundhog Day