Podcast appearances and mentions of Jake Lacy

This week on Office Ladies 6.0, the ladies chat with Clark Duke! Clark played Clark Green on “The Office” and was introduced to the show in Season 9 with Pete Miller (played by Jake Lacy.) Clark chats with Jenna and Angela about how he got his job on “The Office” and what it was like to join the show as a series regular in the final season. He also talks about his new venture into directing which consists of the 2020 film “Arkansas” and an upcoming film that reunites him with Jake Lacy. So stop trying to sit next to your wife, Jim, and let Clark sell paper while we enjoy this episode!   Office Ladies Website - Submit a fan question: https://officeladies.com/submitaquestion  Follow Us on Instagram: OfficeLadiesPod To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Mark and Zanandi discuss the 2022 science fiction thriller Significant Other. Directed by Dan Berk and Robert Olsen, and starring Maika Monroe, Jake Lacy and comfy fleece jackets, the movie focuses on a hiking trip that goes horribly awry. In this episode, they also talk about surprise shark attacks, Patagonia sweaters, and aliens experiencing anxiety. Enjoy!

Julian, Madeline, and Emilio kick off their "Holiday Suggestion Box" episode cycle by discussing "Carol" (2015), the great Christmastime-set queer romance directed by Todd Haynes, holding up his title as the most-covered director on the podcast. A re-watch for Madeline and Julian and a first-time viewing for Emilio, the group discuss such topics as the film's status as an adaptation (of Patricia Highsmith's "The Price of Salt"), why it works as a holiday movie, and its balance of finely tuned 1950s period detail and the timeless appeal of its love story. Additionally, utilizing their refined attention to Todd Haynes' distinct touches as a director, Madeline praises the film's affecting portrayals of complex female characters, Emilio touches on Haynes' delicacy with varied male archetypes, and Julian points out some highlight moments of the film's subtly expressive visual language.If you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats      

Today on Too Opinionated, we visit with the director of Clawfoot, Michael Day! Michael Day is a writer, director, and producer born in Pittsburgh, PA. While in college, Michael got his start by directing a music video for a then, up-and-coming rapper, WIZ KHALIFA. After college, he immediately immersed himself in the film industry, working on such films as THE DARK KNIGHT RISES, DJANGO UNCHAINED, and TRANSFORMERS: AGE OF EXTINCTION, among others.  In the feature world, Michael wrote and produced an action trilogy, titled ROGUE WARFARE. The second film in the series ranked #1 it's first week on Netflix. More recently, Michael started producing for Yale Entertainment, including such films as AS THEY MADE US,  RARE OBJECTS, and THE KILL ROOM.  Producing those films opened the door for Michael to produce and direct his first feature film for Yale, a dark comedy/thriller, CLAWFOOT, starring Francesca Eastwood, Milo Gibson, and Olivia Culpo. CLAWFOOT will be available on major VOD platforms. Michael second feature film, FOG OF WAR, starring John Cusack, Brianna Hildebrand and Jake Abel, will be released in the winter of 2024.  Since then, Michael has produced several films that are currently post production: PRETTY THING, a sexual thriller starring Alicia Silverstone and Karl Glusman, directed by Justin Kelly; STRANGLEHOLD, an action comedy featuring Ashley Benson, Jake Lacy, Justin Long, and Ron Pearlman, directed by Clark Duke; and MIDNIGHT, starring Rosario Dawson, Milla Jovovich, and Alexandra Shipp, directed by Joshua Miller.     Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

This week the ladies chat with Jake Lacy! Jake played Pete on “The Office” or as Andy liked to call him, Plop. Jake talks about what it was like to audition and join the cast in Season 9. Jake shares memories from his first day on set, answers call sheet questions and they all bond over parenting. Enjoy!  Check out Office Ladies Merch at Podswag: https://www.podswag.com/collections/office-ladies Office Ladies Website - Submit a fan question: https://officeladies.com/submitaquestionFollow Us on Instagram: OfficeLadiesPod

Comedian Ramy Youssef discusses the timing of his latest HBO standup special, “More Feelings,” and how the war in Gaza impacted it. Also on this episode, “Apples Never Fall” star Jake Lacy on his Peacock series' tortured family dynamics. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do, a stand-up comedienne who is having an abortion, and a bunch of privileged kids breaking into famous people's houses, have in common? This week on THE MOVIE CONNECTION: Jacob Watched: "OBVIOUS CHILD" (5:45) (Directed by, Gillian Robespierre. Starring, Jenny Slate, Gaby Hoffman, Jake Lacy...) KC Watched: "THE BLING RING" (34:04) (Starring, Israel Broussard, Emma Watson, Katie Chang...) Talking points include: The Big A Celebrities you could just rob When privileged kids get a dose of justice and more!! Send us an email to let us know how we're doing: movieconnectionpodcast@gmail.com Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Rate and Review on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Check out more reviews from Jacob on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Cover art by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Austin Hillebrecht⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, Letters by KC Schwartz

The Caine Mutiny (1954) is based on Herman Wouk's bestselling Pulitzer Prize winning novel of the same name. The film, directed by Edward Dmytryk and produced by Stanley Kramer, portrays the fictitious events on board the U.S.S. Caine, a Navy destroyer-minesweeper in the Pacific during World War II. Executive officer, Lt. Stephen Maryk (Van Johnson), relieves the seemingly unstable Lt. Commander Philip Francis Queeg, Captain of the USS Caine, of his command after Queeg (Humphrey Bogart) endangers the ship and its crew during a cyclone. The ship returns to the U.S. and Maryk is court-martialed for mutiny. He is represented by Navy lawyer, Lt. Barney Greenwald (José Ferrer), who despite disapproving of Maryk's actions, believes Maryk was misled by the ship's communications officer, Lt. Tom Keefer (Fred MacMurray), into believing Queeg was mentally unfit for command. Maryk is acquitted after Greenwald effectively places Queeg on trial by his exposing Queeg's erratic and paranoid behavior. The Caine Mutiny Court-Martial (2023), directed by the late William Friedkin, is based on Wouk's adaption of his own 1951 novel for the stage. In contrast to the 1954 film, The Caine Mutiny Court-Martial covers only the court-martial. The cast includes Jake Lacy as Maryk, Jason Clarke as defense attorney Greenwald, Monica Raymund as prosecutor Lt. Commander Katherine Challee, the late Lance Reddick as the presiding judge Captain Luther Blakley, and Kiefer Sutherland in a phenomenal performance as Queeg. The films are not only gripping courtroom dramas, but also explore larger themes around military justice, ethics, and morality.  With me to discuss these films is Eugene (Gene) Fidell, a visiting Lecturer in Law at Yale Law School and co-founder of the National Institute of Military Justice.Timestamps:0:00     Introduction3:58     What's a court-martial?9:14     The crime of mutiny17:48   Relieving Queeg of his command27:36   Putting Queeg on trial29:33   Taking some poetic license with a court-martial34:44   The defense lawyer's post-trial critique of the mutiny41:21   The dramatic changes in the Navy and armed forces since the original movie 47:12   More context for the two Caine Mutiny movies50:21   Other great movies about military justice    Further reading:“The Humphrey Bogart Blogathon: ‘The Caine Mutiny' (1954),” Dec. 23, 2016, https://back-to-golden-days.blogspot.com/2016/12/the-humphrey-bogart-blogathon-caine.htmlKelly, Kevin M., “You Murdered Queeg: Lawyers, Ethics, Military Justice, and ‘The Caine Mutiny,'” 1991 Wis. L. Rev. 543 (1991)Melville, Herman, Billy Budd (1924)Rosenberg, Norman L., “‘The Caine Mutiny': Not Just One But Many Legal Dramas,” 31 J. Mar. L. & Com. 623 (2000)Wouk, Herman, The Caine Mutiny (1951)Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/faculty/full-time/jonathan-hafetz.cfmYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilmYou can follow the podcast on Instagram @lawonfilmpodcast

Discussing Apples Never Fall based on the book by Liane Moriarty The post Apples Never Fall (Season 1) appeared first on inHer Glam.

"Apples Never Fall" star Jake Lacy joins Drew to chat about his exciting new show, his questionable character in "White Lotus," and more! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Meghan Markle returns to Instagram amid the ongoing controversy over that Princess Kate photo-editing incident. Also, what to consider as the tax filing deadline approaches. Plus, a local Californian legend who will leave you feeling empowered. And, Jake Lacy stops by to talk “Apples Never Fall.”

In today's episode of Bingeworthy, our TV and streaming podcast, host Mike DeAngelo attempts to solve the mystery at the heart of Peacock's new mysterious family drama series, “Apples Never Fall.” The series follows a seemingly happy family on a tumultuous journey to uncover the truth about the disappearance of its matriarch. The show stars Annette Bening, Alison Brie, Jake Lacy, Sam Neill and more. READ MORE: ‘Apples Never Fall': Watch This “Inside Look” Featurette About Peacock's New Family Thriller Series Joining Bingeworthy to discuss the mysterious mini-series is one of the stars, actor Sam Neill (“Jurassic Park,” “Peaky Blinders”). Neill, who has mostly been known for his work in film, revealed what drew him to taking another chance on TV after some lackluster past experiences. The actor also talked about his time on the "Jurassic Park" and "Jurassic World" franchise and some of his fun appearances in the "Thor" franchise. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theplaylist/message Support this podcast: https://podcasters.spotify.com/pod/show/theplaylist/support

The Caine Mutiny Court Marshal is the last film from legendary director Willam Freadkin RIP Starring Jason Clarke, Jake Lacy, Kiefer Sutherland, Monica Raymund, and the late Lance Reddick, I talk about it on this podcast enjoy!

This week, we're comparing the most beloved movie ever made by William Friedkin and one of the last movies made by William Friedkin. That's right, The Exorcist: Believer came out recently as a reboot sequel of The Exorcist, which ignores all the subsequent sequels in true Halloween (2018). In addition to our review of that film, we discuss Friedkin's The Caine Mutiny Court-Martial, an adaptation of a 50s play (originally a novel and also a film) set in the modern day. Despite being a "TV movie," it's actually fantastic? Show Notes 00:00:00 – The Exorcist: Believer 00:30:15 – The Caine Mutiny Court-Martial The Exorcist: Believer was directed by David Gordon Green, who co-wrote the screenplay with Peter Sattler and story credits that include Green, Scott Teems, and Danny McBride. The cast includes Leslie Odom Jr., Lidya Jewett, Olivia O‘Neill, Jennifer Nettles, Norbert Leo Butz, Ann Dowd, and Ellen Burstyn. The film came out on October 6 through Universal Pictures and Blumhouse Productions, and it has a 111-minute runtime. The Caine Mutiny Court-Martial was directed and written by William Friedkin, based on Herman Wouk's eponymous 1953 play, itself based on Wouk's 1952 novel The Caine Mutiny. The cast includes Kiefer Sutherland, Jason Clarke, Jake Lacy, Monica Raymund, and Lance Reddick. Additionally, the film premiered at the Venice International Film Festival on September 3 and came out on Paramount+ with Showtime on October 6. It has a 109-minute runtime. Our intro music this week is “Which One?” by Glimlip & .multibeat. Links: Email your feedback for the show to cinemaholicspodcast [at] gmail.com Join our Discord! We have a Cinemaholics channel here. Follow us on Twitter: Jon Negroni, Will Ashton Check out our Cinemaholics Merch! Check out our Patreon to support Cinemaholics! Connect with Cinemaholics on Facebook and Instagram. Support our show on Patreon: https://www.patreon.com/cinemaholicsSee omnystudio.com/listener for privacy information.

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- From Los Angeles, California, the Entertainment Capital of the World, it’s The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- From Los Angeles, California, the Entertainment Capital of the World, it’s The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

On the final APE-ril offering, the gang is chatting about the better-than-they-expected Dwayne Johnson monster movie, Rampage! Why, for the love of all that is good, do all DJ characters have to be totally sexless, even in this movie where ladies are coming onto him left and right? Are these sexy corporate villains brother and sister, banging, or both? And how fantastic was that big wolf attack scene? More super-violent monster movies, please! PLUS: George W. Bush and Poppy play the OG Rampage game! Rampage stars Dwayne Johnson, Naomie Harris, Malin Ackerman, Jake Lacy, Joe Maganiello, Marley Shelton, P.J. Byrne, Jack Quaid, and Jeffrey Dean Morgan as Kentucky Fried Government Agent Harvey Russell; directed by Brad Peyton.You've got a precious couple days left to catch the replay of our KING KONG virtual live show, now through Thursday, 4/27! San Francisco, Los Angeles and New Brunswick, NJ—tickets on sale now for our upcoming spring and summer shows, we wanna see you IRL! Check out the WHM Merch Store featuring new DILF Den, Grab-Ass & Cancer, SW Crispy Critters, MINGO! & WHAT IF Donna? designs! This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/whm and get on your way to being your best self.   Advertise on We Hate Movies via Gumball.fmUnlock Exclusive Content!: http://www.patreon.com/wehatemoviesSee omnystudio.com/listener for privacy information.

One of the signatures which differentiates filmmaker Lauren Wolkstein's work is adaptability through medium. Lauren's approach toward narrative and storytelling harbors a rare versatility, which allows her to nearly seamlessly transition from film to television; short to feature; thriller to drama; and dystopian commentary to historical narrative. She harnessed her talent and developed her ability as a screenwriter at Columbia's MFA program, and made short films, like Cigarette Candy, which pushed the boundaries of trauma exploration. Her debut feature, The Strange Ones (Alex Pettyfer; James Freedson-Jackson), which she co-directed with Christopher Radcliff, was based on the short film of the same name premiered at South by Southwest in 2017. One of John Waters's Top 3 films of 2017, the film, which dealt with themes like obsessive love, sexual abuse and trauma, spoke to her multifaceted ability to combine complex mental health themes with dynamic performances. In television, Lauren has directed episodes of Cloak & Dagger (Marvel); Dare Me (USA Network); and Y: The Last Man, starring Diane Lane, for FX. She directed the finale of the renowned mini-series, A Friend of the Family, starring Anna Paquin, Jake Lacy, Colin Hanks and McKenna Grace, for Peacock in 2022. And she recently directed episodes of Dead Ringers, a television adaptation of the David Cronenberg classic film of the same name, which is set to premiere on Amazon Prime on April 21, 2023; the series stars Rachel Weisz as twin gynecologists, reprising the Jeremy Irons role in the original film. In our conversation, we discussed the touchpoint we both share in being Columbia and Duke alums; growing up in Baltimore; shooting on film; mental health themes; and the continuity of serving as Producing Director on Queen Sugar for Oprah Winfrey's network for multiple seasons.Opening Credits: Ketsa - 10 Can-t-touch-me; Ketsa - 01 Test-Case; Closing Credits: Ketsa - 05 Eternal-Funk-Palace

Significant Other has Maika Monroe and Jake Lacy performing complex and deep roles in what should be a mild version of Invasion of the Body Snatchers but adds enough of a spin to keep you engaged and locked in until the last perfect shot of the movie.

Significant Other has Maika Monroe and Jake Lacy performing complex and deep roles in what should be a mild version of Invasion of the Body Snatchers but adds enough of a spin to keep you engaged and locked in until the last perfect shot of the movie.

Holly finds out what love's got to do with it with Significant Other (2022), a movie that stars Maika Monroe and Jake Lacy as a couple who go backpacking in a scenic forest where a meteor crash landed to Earth the night before. Listen as we become unsure of who's who, go slapping our tentacles around with abandon, and get to the bottom of why a man is named Plop, all on this week's exciting episode! Hosted on Acast. See acast.com/privacy for more information.

Mark Radulich and Robert Winfree discuss the latest film starring Dwayne “The Rock” Johnson, entitled Rampage on this episode of Damn You Hollywood Rampage is a 2018 American science fiction monster film directed by Brad Peyton, loosely based on the video game series of the same name by Midway Games. The film stars Dwayne Johnson, Naomie Harris, Malin Åkerman, Jake Lacy, Joe Manganiello, and Jeffrey Dean Morgan. It follows a primatologist named Davis Okoye who must team up with George, an albino gorilla who turns into a raging creature of enormous size following a rogue experiment, in order to stop an invasion of monsters. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.   Mark Radulich and his wacky podcast on all the things: https://linktr.ee/markkind76 also snapchat: markkind76 FB Messenger: Mark Radulich LCSW Tiktok: @markradulich twitter: @MarkRadulich

@PhilTheFilipino is back with his monthly series titled, "Netflix & Phil"! For these episodes, Phil recommends different shows that you'll find on streaming sites like Netflix, Hulu, Amazon Prime, etc.This month, Phil recommends the 2014 romantic comedy, Obvious Child starring Jenny Slate!Synopsis: An immature, newly unemployed comic (Jenny Slate) must navigate the murky waters of adulthood after her fling with a graduate student (Jake Lacy) results in an unplanned pregnancy.Planned Parenthood Resources

Welcome to “Not Couple Goals” where co-hosts Allie Nelson and Tyler McCarthy do a deep dive into a different ridiculous romantic thriller from the vantage point of their long-term relationship. Allie, a TV writer/producer and actress, has an affinity for romantic thrillers, the more salacious the better. Tyler, an entertainment reporter and critic, often finds himself drawn in despite his better judgment. Join them as they explore all the ways it's possible to love too hard… like WAY too hard. This week, Allie and Tyler tackle some of their biggest fears with the 2022 Paramount+ released movie Significant Other, starring Maika Monroe and Jake Lacy. Come along as they discuss the many “nopes” of going camping, how many red flags are too many and whether anything good has ever been lurking inside a cave. As a bonus, tune in for a story of when Allie sinisterly prank-scared Tyler. Special thanks to Mallory Johns for the introduction music. Please don't forget to follow our hosts on Twitter @ANelRetentive & @TylerMcCarthy and check out Tyler's writing at USA Insider and Allie's at Parade! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Ryan and Dylan give reviews for the various television shows and movies they've seen from the fall of 2022, including House of the Dragon, Andor, Triangle of Sadness, All Quiet on the Western Front, and more.

Q&A on the Peacock series A Friend of the Family with actor Jake Lacy. Moderated by Mara Webster, In Creative Company. Tells the harrowing true story of the Broberg family, whose daughter Jan was kidnapped multiple times over a period of years by a charismatic, obsessed family "friend."

Ira and Louis discuss celebrities turning out for Rick Caruso, Drake's Megan the Stallion diss, Rihanna adding Johnny Depp to the Savage x Fenty Show, Selena Gomez's new documentary, TVLine's ranking of the best HBO characters, Karamo's talk show, and Aaron Carter's passing. Plus, Jake Lacy joins to discuss his career shift from nice guy to villains in The White Lotus and A Friend of the Family.

Robert Berchtold seemed the perfect neighbor and close friend to the Broberg family. But his fixation on their daughter Jan led him to abduct the girl and flee to Mexico. Parents Bob and Mary Ann were left confused as to why their trusted friend would take their child. But long after their return, Berchtold continued to hold Jan under his spell, keeping each parent at arm's length through blackmail. His diabolical scheme to possess Jan lasted years and threatened to tear the Broberg family apart.Jake Lacy, Anna Paquin, and Colin Hanks star in the Peacock mini-series “A Friend of the Family.” The show recounts the story first told in the shocking documentary “Abducted in Plain Sight.” The dramatization focuses on the interpersonal dynamics between its players while highlighting the bizarre crimes. It's a cautionary tale on what happens when a master manipulator befriends the easily fooled.OUR SPOILER-FREE REVIEWS OF "A FRIEND OF THE FAMILY" BEGIN IN THE FINAL 11 MINUTES OF THE EPISODE.In Crime of the Week: Love you to the moon and back.

On today's What to Watch, the Walker universe expands, Grey's Anatomy gets a new class of interns, and Jake Lacy goes dark in A Friend of the Family. Plus, Hollywood trivia, and entertainment headlines, including Angelina Jolie's shocking allegations against Brad Pitt, Hilary Swank's pregnancy news, and EW's early Oscars predictions. More at ew.com, ew.com/wtw, and @EW. Host: Patrick Gomez (@patrickgomezla); Producer: Ashley Boucher (@ashleybreports) and Gerrad Hall (@gerradhall); Editor: Lauren Klein (@ltklein); Writer: Calie Schepp; Executive Producer: Chanelle Johnson (@chanelleberlin). Learn more about your ad choices. Visit megaphone.fm/adchoices

For Colin Hanks, playing Bob Broberg, the father of a girl abducted twice by the same man, in A Friend of the Family (Peacock, October 6), was an “exercise in going completely 100 percent out of my comfort zone,” he told Newsweek's H. Alan Scott. Based on the true story of Jan Broberg, who also produced the limited series, the show lays out in heavy and disturbing detail how the Broberg family, starting in 1972, fell prey to the predatory actions of Robert “B” Berchtold (played by Jake Lacy). “There's a lot of stuff that Bob did that is unfortunate and questionable. So I just did everything I could to try and explain why Bob made all those decisions.” Hanks and Jan Broberg spoke with Newsweek about the limited series, the impact of Mormonism on the case, and how Jan finally got to a place where she could talk about the trauma that happened to her. Visit Newsweek.com to learn more about the podcasts we offer and to catch up on the latest news. While you're there, subscribe to Newsweek's ‘For the Culture' newsletter. Follow H. Alan Scott on everything at @HAlanScott. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Lio Tipton joins Brian to talk about their ice skating days in The Minneapple, their experience on America's Next Top Model, and what it was like to learn from Steve Carell on set of Crazy Stupid Love. Lio also dives into BJ Novak's Vengeance, and Jake Lacy's A Friend of the Family… you won't want to miss this one!See omnystudio.com/listener for privacy information.

Join Nana and Misan as we discuss our on-the-nose choice for this episode: The Obvious Child*. This week we rant about bad standup, gush over nice-guy Jake Lacy, and process our country's ongoing theocracy-chic makeover montage. Also, Gone with the Wind catches a stray. #sorrynotsorry. *Available on Showtime. 2014 Slate article referenced in episode: https://slate.com/human-interest/2014/06/obvious-child-finally-an-honest-abortion-movie.html --- Nana's HEA: Book Lovers by Emily Henry (https://www.goodreads.com/book/show/58690308-book-lovers) Misan's HEA: The Stand-In by Lily Chu (https://lilychuauthor.com/the-stand-in) --- Check out our website: https://www.heallyeah.com/ Find us on IG: @h.e.a.llyeah Email us at: heallyeah.podcast@gmail.com

If He's Just No That Into You, you might wanna learn How To Be Single just like Jon and Shady! You can always rely on the perfectly-applicable-to-real-life dating advice from a romcom, and given that these two share so many writers and producers, they must know what they're talking about! Too bad Jon and Shady seem to be more preoccupied with swooning over Jason Mantzoukas, Jake Lacy, and -- shock of all shocks -- Ben Affleck to actually learn anything...   Our socials: Instagram: @moviedejavupod Twitter: @moviedejavu Facebook: @moviedejavupod Email: moviedejavupod@gmail.com   Next week: Working Girl vs Maid in Manhattan

Aaron Sorkin wrote and directed this biographical drama depicting iconic TV legends Desi Arnaz and Lucille Ball as they navigate a tumultuous week producing their hit 1950s series "I Love Lucy". Also starring J. K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, and Clark Gregg ** Deep Dive Movie Reviews Contain Spoilers ** 0:00 - Intro 2:57 - The impact of “I Love Lucy” on America 5:50 - I would live in Aaron Sorkin's world 8:44 - The British vs. American perspective 14:50 - Does Sorkin assume everyone knows Desi & Lucy? 17:51 - Sorkin's fascination with mechanisms of power 27:00 - The cast 33:15 - When you put 2022 social values into the 1950s 38:30 - Final Score for Being the Ricardos

We've got another minisode from Mally this week! The 2022 Oscar nominations have been announced, so Mally does a quick dive into Being the Ricardos, namely focusing on Nicole Kidman and her best actress nomination. A lifelong fan, Mally discusses Kidman's complete transformation into the beloved queen of the original multi-cam sitcom, as well as touching on the TOTAL badass boss babe that Lucille Ball truly was. Written and directed by Aaron Sorkin. Starring Nicole Kidman, Javier Bardem, J.K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy. Thanks for listening — please remember to rate, review and subscribe!Hang out with us on:FacebookInstagramTwitterThis is a Mally Creative podcast.Intro music composed by Jonah Weingarten.Support the show (https://www.buymeacoffee.com/movieloverspod)

This week on the pod, Aaron Sorkin lives in Jeff's head rent free. Even still, Dave & Jeff found lots they agree on with this new Amazon Prime original, starring Nicole Kidman & Javier Bardem as Lucille Ball and Desi Arnaz, respectively. Aaron made some choices, for sure, but ultimately, this is a really watchable movie that is smart without being as smug as it could have been, funny without being a slapstick or knock-off, and the drummer from Birdman may or may not have scored parts of this movie, it's hard to know for sure. Shout-out to J.K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, Clark Gregg, and a whole lot of "They look familiar" actors. Also, Jeff Cronenweth, the DP. Way to crush, my man!  Find all of our Socials at: https://linktr.ee/theloveofcinema Music: soundcloud.com/dasein-artist Beer: @cbarrozo.beer Edited and produced by Dave Green. Hosts: Dave Green, Jeff Ostermueller Twitter: @theloveofcinema, Twitch/Facebook/Instagram: @theloveofcinemapod, YouTube: The Love of Cinema Podcast.

On this episode, we welcome art director Andres Cubillan to chat about his work on Being the Ricardos. The film stars Nicole Kidman and Javier Bardem, J. K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, and Clark Gregg.

Robert Winfree and Mark Radulich present their Don't Look Up/Being The Ricardos Review! Don't Look Up (2021) from Netflix is a satirical black comedy written, produced, and directed by Adam McKay and starring Leonardo DiCaprio and Jennifer Lawrence as two astronomers attempting to warn humanity about an approaching comet that will destroy human civilization. The comet is an allegory for climate change and the film is a satire of government and media indifference to the climate crisis. Supporting cast include Rob Morgan, Jonah Hill, Mark Rylance, Tyler Perry, Timothée Chalamet, Ron Perlman, Ariana Grande, Scott Mescudi, Himesh Patel, Melanie Lynskey, Cate Blanchett, and Meryl Streep. Grande and Mescudi also collaborated on the song "Just Look Up" as part of the film's soundtrack. The film is dedicated to Hal Willner, who died in 2020. Being the Ricardos (2021) from Amazon Prime is a biographical drama film written and directed by Aaron Sorkin, about the relationship between I Love Lucy stars Lucille Ball and Desi Arnaz. Nicole Kidman and Javier Bardem star as Ball and Arnaz, while J. K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, and Clark Gregg also star. Grammarly Ad: 1:04:30 Amazon Music Ad: 1:57:00 For a 30 Day Free Trial of Amazon Music Unlimited head to http://getamazonmusic.com/w2mnetwork. Amazon Music is free. Amazon Music Unlimited is not. And for the Grammarly special offer, go to http://getgrammarly.com/w2mnetwork. Check us out on the player of your choice https://linktr.ee/markkind76 Also check out the W2M Network Discord https://discord.gg/fCYpG5dcT9

Robert Winfree and Mark Radulich present their Don't Look Up/Being The Ricardos Review! Don't Look Up (2021) from Netflix is a satirical black comedy written, produced, and directed by Adam McKay and starring Leonardo DiCaprio and Jennifer Lawrence as two astronomers attempting to warn humanity about an approaching comet that will destroy human civilization. The comet is an allegory for climate change and the film is a satire of government and media indifference to the climate crisis. Supporting cast include Rob Morgan, Jonah Hill, Mark Rylance, Tyler Perry, Timothée Chalamet, Ron Perlman, Ariana Grande, Scott Mescudi, Himesh Patel, Melanie Lynskey, Cate Blanchett, and Meryl Streep. Grande and Mescudi also collaborated on the song "Just Look Up" as part of the film's soundtrack. The film is dedicated to Hal Willner, who died in 2020. Being the Ricardos (2021) from Amazon Prime is a biographical drama film written and directed by Aaron Sorkin, about the relationship between I Love Lucy stars Lucille Ball and Desi Arnaz. Nicole Kidman and Javier Bardem star as Ball and Arnaz, while J. K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, and Clark Gregg also star. Grammarly Ad: 1:04:30 Amazon Music Ad: 1:57:00 For a 30 Day Free Trial of Amazon Music Unlimited head to http://getamazonmusic.com/w2mnetwork. Amazon Music is free. Amazon Music Unlimited is not. And for the Grammarly special offer, go to http://getgrammarly.com/w2mnetwork. Check us out on the player of your choice https://linktr.ee/markkind76 Also check out the W2M Network Discord https://discord.gg/fCYpG5dcT9

On this episode, I am joined by the twin team of Cole and Justin, better known as The Oscar Expert and Brother Bro, who return to the AwardsWatch Oscar Podcast to talk about the Screen Actors Guild and offer our predictions. We hit all categories and dive into both likely nominations, weird SAG-only possibilities (like Viola Davis and Sandra Bullock in The Unforgivable) and break down how many nominations Belfast and The Power of the Dog can score. Each stand a chance to to get in 3 or even 4 individual actors plus the SAG Cast category. The all-time record still stands at 5 nominations for a single film and we could see it happen once, or even twice, this year. West Side Story is a big part of the conversation, which was recorded on December 26, because at the time no screeners, digital or physical, had been sent to the SAG nominating committee for voting. As of this writing, digital screeners have now reached the 2000-2500 voters but is it too late? Voting opened on December 6 ends on January 9 and many might have already submitted their picks, deciding not to wait on 20th Century/Disney to drop those screeners. Our predictions for WSS reflect that here. Support for this podcast comes from Amazon Studios, presenting Being the Ricardos. Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem) are threatened by shocking personal accusations, a political smear, and cultural taboos in Academy Award-winning writer and director Aaron Sorkin's behind-the-scenes drama Being the Ricardos.  A revealing glimpse of the couple's complex romantic and professional relationship, the film takes audiences into the writers' room, onto the soundstage, and behind closed doors with Ball and Arnaz during one critical production week of their groundbreaking sitcom I Love Lucy.  Featuring J.K. Simmons, Nina Arianda, Alia Shawkat, Tony Hale, Jake Lacy, Linda Lavin, Ronny Cox, and John Rubinstein. Now nominated for three Critics Choice Awards for Best Original Screenplay Aaron Sorkin, Best Actress Nicole Kidman, and Best Supporting Actor J.K. Simmons. Variety raves the film is “intoxicating; a beautiful illustration of Lucille Ball and Desi Arnaz." Being the Ricardos is streaming now on Prime Video. Support for this podcast also comes from Amazon Studios' The Tender Bar, which tells the story of J.R. (Tye Sheridan), a fatherless boy growing up in the glow of a bar where the bartender, his Uncle Charlie (Ben Affleck), is the sharpest and most colorful of an assortment of quirky and demonstrative father figures.  As the boy's determined mother (Lily Rabe) struggles to provide her son with opportunities denied to her — and leave the dilapidated home of her outrageous if begrudgingly supportive father (Christopher Lloyd) — J.R. begins to gamely, if not always gracefully, pursue his romantic and professional dreams — with one foot persistently placed in Uncle Charlie's bar.  The Tender Bar is based on the best-selling memoir of the same name by J.R. Moehringer. The Los Angeles Times calls the film “a nostalgic coming-of-age drama lovingly directed by George Clooney... Affleck has never been better." The Tender Bar is in theaters now and streaming January 7 on Prime Video. This podcast runs 1h 20m with music and sponsorship content.

Aaron Sorkin's newest drama, Being The Ricardos, is a snapshot of a couple in crisis, as iconic husband and wife comedy duo Lucille Ball and Desi Arnaz face challenges that could end their marriage as well their careers. Popcorn Podcast brings you the rundown on West Wing showrunner Sorkin's journey into biopic territory, starring Nicole Kidman and Javier Bardem. Plus, Popcorn Podcast chats to the creative team behind upcoming animation The Bad Guys, Nicolas Cage leans into the curve with his most Nicolas Cage movie yet, and the first trailer for The Secrets Of Dumbledore heralds a wizarding war. Join us for Popcorn Podcast's final regular episode of season six. Don't forget to hit that follow button while you're here, it means a lot.Visit popcornpodcast.com for more movie reviews, celebrity interviews and news.Popcorn Podcast interviews the biggest stars, including Hugh Jackman and more, on YouTube: Popcorn Podcast

Being the Ricardos – Movie Review 125 Minutes, Rated R Written and Directed by Aaron Sorkin   Synopsis: Follows Lucy and Desi as they face a crisis that could end their careers and another that could end their marriage.     We welcome back special guest Val Cameron of the Movies That Make Us podcast, […]

In this episode we check out Netflix's one hundred and sixty-sixth film the 2019 comedy ‘Otherhood' directed by Cindy Chupack starring Angela Bassett, Patricia Arquette, Felicity Huffman, Jake Hoffman, Jake Lacy and Sinqua Walls.   Please follow us at Flix Forum on Facebook or @flixforum on Twitter and Instagram and answer our question of the week, 'What do you usually do for Mother's Day?'   You can listen to us on Apple Podcasts, Spotify and Podbean so please subscribe and drop us a review or 5 star rating.    If you're interested in what else we are watching, head on over to our Letterboxd profiles; Jesse  MJ   We also have our own Flix Forum Letterboxd page! Links to all our past episodes and episode ratings can be found there by clicking here.    Next week we have 'Jaoon Kahan Bata Ae Dil', so check out the film before then. You can see the trailer here.   Flix Forum acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Wurundjeri and Bunurong people of the Kulin Nation. We pay our respects to their Elders past, present, emerging and extend that respect to all Aboriginal and Torres Strait Islander cultures. 

What better way to follow up last week's episode on an elegant period piece drama about the mid-20th century (see Jackie) than yet another exploration of the immutable soft screams of love gained and lost with Carol, Todd Haynes's 2015 masterpiece? But before we get there...this week's Blue Plate Special has us talking some football and sharing some belated joy over the Las Vegas Raiders' remarkable Thanksgiving Day overtime victory against the Dallas Cowboys, taking issue with the general existence of the new Disney Plus release of the legacyquel Home Sweet Home Alone, and finally settling once and for all what exactly qualifies something as a "Christmas movie." Upon finally arriving on the firmly closed doorstep (real Harge Heads know) of the week, we dive into what makes Haynes one of the singular artists of his generation while discussing how the contrasting presences of stars Cate Blanchett and Rooney Mara make for a most compelling duo. Feel free to skip to 2:23:52 for the beginning of our audio commentary. As always, please like, subscribe, rate, and review us on all of our channels, which include Apple Podcasts, Spotify, and YouTube! Contact us at huffmanbrothersproductions@gmail.com with your questions, comments, and requests.

Jake Lacy is an actor from New York currently living in Connecticut. He's most recently known for his role on White Lotus, as well as appearing on The Office, and HBO's Girls. We chat about our debut album hitting the shelves in December, sounding old on the written word, snot crying, philosophy on watch buying, raising kids in New York, talking about Netflix at dinner parties, the future of movie studio franchises, what becoming a Marvel character does to your career, dressing down for movie premieres, staying in LA for pilot season, Staples Center's recent rebrand, and some upcoming roles that Jake's got cooking. instagram.com/misterjakelacy twitter.com/donetodeath twitter.com/themjeans --- Support this podcast: https://anchor.fm/howlonggone/support

Chris and Taylor review the new satirical dramedy HBO series "The White Lotus," written and directed by Mike White. The show centers around the lives of a group of tourists who come to visit The White Lotus resort in Hawaii and the staff that run the resort. The series stars Murray Bartlett, Connie Britton, Jennifer Coolidge, Steve Zahn, Alexandra Daddario, Jake Lacy, Fred Hechinger, Sydney Sweeney, Brittany O'Grady and Natasha Rothwell.

Welcome To The Party Pal sets its sights on The Aloha State in an episode that celebrates the first season of The White Lotus, the American satirical comedy-drama series created, written, and directed by Mike White (Enlightened). The series was greenlit in October 2020 and filmed in Hawaii in late 2020. Featuring an ensemble cast including Murray Bartlett, Connie Britton, Jennifer Coolidge, Alexandra Daddario, Jake Lacy, Natasha Rothwell, and Steve Zahn, the first season, consisting of six episodes, concerns the lives of the staff and guests at a tropical resort in Hawaii. In August 2021, the series was renewed for a second season, which will tell the story of a different group of travelers during their stay at another White Lotus property. In this episode hosts Michael Shields and Justin Wells explore the intriguing way in which the series was conceived, converse upon what the season says about Hawaii's lasting colonial trauma and they way in which people of privileged vacation, while pontificating over the varying dynamic and comedic themes present in the season. See acast.com/privacy for privacy and opt-out information.

Where we wrap on the Melbourne International Film Festival with Sun Children and more + The White Lotus, Chapelwaite & Evangelion

Brian is back as the host and he chose an episode centered around "The People's Champion" - "The Brahma Bull" - "The Great One" - "The Most Electrifying Man in All of Entertainment" - "The Most Electrifying Man in Sports Entertainment" - that is right you jabronis, we are talking Dwayne "The Rock" Johnson. More specifically 2018's Rampage directed by Brad Peyton, is "based" on the video game series of the same name. Starring Dwayne Johnson, Naomie Harris, Malin Åkerman, Jake Lacy, Joe Manganiello, and Jeffrey Dean Morgan. We also talked about our favorite movie monsters, favorite Dwayne "The Rock" Johnson movies, we pitch "The Rock" vs Horror Icon movies, and we discuss Hollywood fake tough guys that have bought into their own hype. Drop the "People's Elbow" on the play button, if you know what's good for you. Topics and Timestamps: @2min mark: Favorite Movie Monsters @14min mark: Favorite The Rock movies @25min mark: Rock vs Horror Icon @38min mark: Fake Tough Hollywood Guys @54min mark: Rampage MATURE CONTENT... "Flyover State Of Film Theme"-Composed by Barry J. Neely @BarryJNeely-Twitter Barry J Neely, composer-Youtube. Where to find us. Joe- https://www.youtube.com/channel/UCGI-​... Twitter-@Chendango1 Jusef- Twitter- @yILoveMovies Brian-DVDBunker https://www.youtube.com/watch?v=EUaPY​... Twitter- @Hurstcules Tj- You're here...enjoy! Twitter- @TjDex

Carol is a 2015 romantic drama period film directed by Todd Haynes. The screenplay by Phyllis Nagy is based on the 1952 romance novel The Price of Salt by Patricia Highsmith (republished as Carol in 1990). The film stars Cate Blanchett, Rooney Mara, Sarah Paulson, Jake Lacy, and Kyle Chandler. Set in New York City during the early 1950s, Carol tells the story of a forbidden affair between an aspiring female photographer and an older woman going through a difficult divorce.https://www.youtube.com/watch?v=rBL9Kz26Dvs&ab_channel=GirlShipTVhttps://www.youtube.com/watch?v=rBL9Kz26Dvs&ab_channel=GirlShipTVhttps://www.youtube.com/watch?v=_QljnNIBtaI&ab_channel=FilmIndependentSupport the show (https://www.patreon.com/chapteronetaketwo)

After a short hiatus, we're back with a look at the classic story of music and heartbreak, High Fidelity! In this episode we discuss: Nick Hornby's original 1995 novel. The 2000 movie, directed by Stephen Frears, written by D.V. DeVincentis, Steve Pink, John Cusack, and Scott Rosenberg, and starring Cusack, Iben Hjejle, Jack Black, Lisa Bonet, and Joan Cusack. The 2006 musical, with music by Tom Kitt, lyrics by Amanda Green, and book by David Lindsay-Abaire. The 2020 TV show, developed by Veronica West and Sarah Kucserka, and starring Zoë Kravitz, Jake Lacy, Da'Vine Joy Randolph, David H. Holmes, and Kingsley Ben-Adir. Footnotes: "Shame" by Randy Newman Jack Black Goes "All of the F**king Way" on High Fidelity The original High Fidelity theatrical trailer "Weird Al" Yankovic's "My Baby's In Love With Eddie Vedder" vs. "I Slept With Someone (Who Slept With Lyle Lovett)" from the High Fidelity musical Jenn Colella did in fact play Laura You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us and all of our show notes online at adaptorperishcast.com. We're also on Patreon! You can find us at patreon.com/adaptcast. We have multiple reward levels, which include access to a patron-only community and a patron-only, biweekly bonus show! We hope to see you there. If you want to send us a question or comment, you can always email us at adaptorperishcast@gmail.com.

Terri Lee talks about Johnny English Strikes Again and Hunter Killer. Johnny English Strikes Again is a 2018 action comedy film directed by David Kerr. A sequel to Johnny English Reborn (2011), it is the third installment of the Johnny English series. The film stars Rowan Atkinson in the title role, alongside Ben Miller, Olga Kurylenko, Jake Lacy and Emma Thompson. The film follows the titular MI7 agent who is called into action when all undercover operatives are exposed in a cyber attack. Hunter Killer is a 2018 American action thriller film directed by Donovan Marsh, written by Arne Schmidt and Jamie Moss, and based on the 2012 novel Firing Point by Don Keith and George Wallace. The film stars Gerard Butler, Gary Oldman, Michael Nyqvist (in one of his final film roles), Common, Linda Cardellini and Toby Stephens, and follows a submarine crew and a group of Navy SEALS who rescue the captured Russian President from a coup. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/terri-lee8/support

TONIGHT WE ARE TALKING ABOUT AN AWESOME 80S HORROR SERIES THAT WE ARE ALL SURPRISED WE HAVE NOT COVERED FULLY --- NIGHT OF THE DEMONS Before we dive deep into this demonic terror let’ see...WHAT’VE WE HEARD ABOUT MOVIE AND TV HEADLINES Coming 2 America, the sequel to Coming To America is headed to Amazon Prime.Soul animated movie is moving to Disney Plus. Dexter is getting a Showtime revival and so, Johnny spoils Dexter’s original ending.Rob Riggle is getting divorced.Phil Collins is getting divorced.Home improvement TV son arrested in real life.Tabloid rumors about classic star, Cary Grant.Alan Moore says Adam West is his favorite Batman.Get 7 days of free movies and shows on Starz with a simple sign up. Redeem details here: https://www.bwpodast.com/starz-offerTONIGHT’S MOVIES ARE...Collectively Night of the Demons and its sequels.Night of the Demons (also known as: Halloween Party) is a 1988 American horror film written and produced by Joe Augustyn and directed by Kevin S. Tenney. The film tells the story of ten high school seniors having a Halloween party in an isolated mortuary. Their party turns into a nightmare when after conducting a séance as a party game, they unlock the demon that remains locked in the crematorium. Filming of Night of the Demons took place in South Central Los Angeles, California, USA, and lasted for two months.Briefly about Kevin Tenney, he did all the Witchboard movies, Demolition University with Corey Haim and Pinoccio’s Revenge.The film was followed by the sequels Night of the Demons 2 (1994) and Night of the Demons 3 (1997), along with a remake in 2009.In Night of the Demons 2, Angela returns from Hell to target her sister Melissa and her friends at a Catholic school that gets drawn back to Hull house 6 years later.Night of the Demons 3 (released as Demon House in the UK) is the third film in the Night of the Demons series. It was released direct to video in 1997 by Paramount Pictures and Republic Pictures in R-Rated and Unrated versions. In this one, teen vandals hide from the police in Hull House and run afoul of the evil waiting to entrap them including the returning franchise vixen and arch-demon Angela.Favorite Bits From Night Of The Demons:Naughty lipstick trick.“Sour Balls” dialogue joke.Escape through barb-wire from the demons.Razor blade Halloween gag that turns against the neighborhood crank who intends to do harm.Favorite Bits From Night Of The Demons 2:Mutant breasts that kill.Nun with Rambo skills.The resident demon expert.QUESTIONS FROM OUT THERE Fans Carolynn and Paul sent Johnny a book, a copy of I’m Dying Up Here.Which was adapted into one of his favorite Showtime shows called also I’m Dying Up Here, A drama about comedians that starred some of the best working comedians today and some of the best actors of our gen. Featuring Andrew Santino, Clark Duke, Erik Griffin, Michael Angarano, RJ Cyler, Al Madrigal, Jake Lacy, Jon Daly, Stephen Guarino, Jeffrey Nordling, Ginger Gonzaga. Also great are Ari Graynor, Melissa Leo, and Xosha Roquemore.WHAT ELSE ARE THE BINGE-WATCHERS WATCHING? Total Recall, Serpent And The Rainbow, The Silence Of The Lambs, The Wolf Of Snow Hollow, Love And Monsters.NEXT WEEK: we CONTINUE our October season line up, probably a collection of vampire road movies, which is a sparse but unique subgenre.Support the show (https://www.paypal.me/bingewatcherspodcast)

Join Brad and Tom as they yak about J Crew Factory, Roxy Music, Jake Lacy (again), the best Canadian musicians, three card poker, early morning texts, Reptiles, the Spanish Flu, Brad Lite, and, most importantly, if they're any closer to being friends. Relevant links below. Email: bradandtomarefriends@gmail.com Twitter: @bradandtompod   Dayton Daily News 1918 Brad Paisley "Crushin' It" - Official Video CRAZY BLACKJACK SESSION! $400 HANDS! AWESOME RUN!! Episode 3 Tallies - Midnight [Official Video] David Lynch’s Weather Report 7/29/20

Join Brad and Tom as they yak about Jake Lacy, Jackson Hole, privacy, homewrecking, Zoe Kravitz, Married at First Sight (redux redux), takedowns, four hour meetings and, most importantly, if they're any closer to being friends. Relevant links below. Email: bradandtomarefriends@gmail.com Twitter: @bradandtompod   LeBron James rookie card goes for record $1.8M at auction Dakota Johnson's Kitchen Brad Paisley "Crushin' It" - Official Video Boat-in movie theater docking in NYC this summer 1935 Newspaper Is Stevie Wonder really blind? When a Stranger Decides to Destroy Your Life Photographer secretly captures New Yorkers’ most ridiculous texts    

Nick Hornby is a novelist, screenwriter, lyricist, and producer. His novel High Fidelity was recently adapted into a show that premiered in February (2020) on Hulu, starring Zoe Kravitz and Jake Lacy. Nick is also a longstanding contributor to The Believer’s monthly column, “Stuff I’ve Been Reading.”Since 2005, the Maria Schneider Jazz Orchestra has performed at festivals and concert halls with over eighty groups in more than thirty countries. Schneider collaborated with David Bowie on his single “Sue (Or In A Season of Crime)” and received a 2016 GRAMMY. Schneider and her orchestra received an additional GRAMMY that year for their project The Thompson Fields. Schneider’s latest project, Data Lords, is set to be available for purchase this year.Featured music in this episode: "Hang Gliding" by Maria Schneider.  

Nick Hornby's High Fidelity was adapted to film in 2000, and now Ugly Betty's Sarah Kucserka and Veronica West have brought it to Hulu as a vehicle for Zoe Kravitz.  Stevie and Emmet talk about the television series, comparing it to the Stephen Frears/John Cusack flick from 2000 and the original novel. The gender-swap conceit is addressed, as well as the ensemble cast (Da'Vine Joy Randolph, Jake Lacy, David H. Holmes, Kingsley Ben-Adir and Rainbow Sun Francks) and how the show fails to properly update material to the times leaning on nostalgia.  Thinking to put their money where their mouths are, Stevie and Emmet then share top five lists for one another.  To listen, check out this playlist on Spotify.  Also, here is a list of album cover art by Elaine 'Sgraffito' Nic Cuana.  Oh and this was our 100th episode! Thanks for listening folks.   

"what really matters is what you like, not what you are like…" This week we review the 2000 film High Fidelity starring John Cusack vs. the 2020 Hulu TV remake starring Zoe Kravitz. We are joined by special spice guest Dominique AKA DJ Dom Top (IG: @celestialmillenial Twitter: @TheDominique) Film: directed by Stephen Frears, starring John Cusack, Jack Black, Lisa Bonet and Joelle Carter TV Show: directed by Jeffrey Reiner, Jesse Peretz, Andrew DeYoung, Natasha Lyonne and Chioke Nassor, starring Zoe Kravitz, Jake Lacy, Da'vine Joy Randolph and David H. Holmes Subscribe to our patreon to view the video version of this episode! https://www.patreon.com/girlsinterrupted

Fulfill your mindless mayhem side. Rampage is a 2018 science-fiction film directed by Brad Peyton and stars Dwayne Johnson, Naomie Harris, Jeffrey Dean Morgan, Malin Åkerman, Jake Lacy, and Joe Manganiello.

Our alternate title: Kendra and Ken ask Jake Lacy to warm their butters In this episode, we discuss High Fidelity, the new Hulu show, that Kendra watched despite being afraid of commitment while being so committed to staying in her apartment. It stars Zoë Kravitz and she is utterly cool in this and probably real life. Listen to the ep and get our thoughts on the whole thing. --- Support this podcast: https://anchor.fm/kendraken/support

Ever wonder what we have to cut out of the podcast? This week we're bringing you a behind the scenes look at what we don't usually allow you to hear: our lengthy analysis on specific actors! It's our first bonus ep and we're showing lots of love (and some sincere sympathy) for Jake Lacy and Ben Affleck. If you like what you hear please tell your friends!  If you LOVE what you hear give us a 5-star rating and review wherever you get your podcasts.  And don't forget to follow us on Twitter/Instagram (@rebootedpod) for more fun stuff!  You can also now find us on Ko-fi, a platform made for you to be able to support the creators you enjoy for the price of a cup of coffee. It's easy to use and will help us continue to bring you quality content every week: ko-fi.com/rebootedpod

On today's podcast, KFC and Feits fight for Laziness over Everything. Feits bathroom problems continue to wreak havoc on his clothing. What puts the exotic in exotic dancer? Voicemails include: Touchy Feely, Statue of Lethargy, and more. We have two awesome guests on the show today. First, Wells Adams joins the show. We discuss his background in radio before going on the Bachelorette. His experience on the Bachelorette and finding his role as the funny guy. We talk about how being the bartender on Bachelor in Paradise can get frustrating. He tells us the story of how his spot on the Bachelor shows got him in touch with his now fiancee, Sarah Hyland (of Modern Family). He tells us about their first date, which could legitimately be a movie, being THE Instagram couple, and what the likelihood of her joining him on Bachelor in Paradise would be. Finally, he tells us a story of how Tish Cyrus helped make Old Town Road what it is today. Second up, we have Jake Lacy! We talk with Jake about his role as Pete on the final season of The Office. He tells us what his thoughts were on the show after Michael Scott left. We talk about what type of role he likes to play and the difference in playing a nice guy and a good guy. He sells us on BoJack Horseman. He tells us about his new series High Fidelity and how great it is to work alongside Zoe Kravitz. And much more.

What an episode. We talk about moving in, moving out, and all of the emotional crises that go along with it. We finally watch the infamous American Horror Story, and we ponder the influence this show has had. Our conversation also includes a discussion of John Mulaney's worldview, monologues, Actresses, High Fidelity, Jake Lacy's career, LEGO Masters, and, of course, baby monsters. On top of everything, our recording was definitely haunted.  Episodes:  American Horror Story 1x01 "Pilot" [Netflix] vs  Documentary Now! 2x03 "Parker Gail's Location is Everything" [Netflix] Get social with us @tvwinnerpod on all the stuff. Email us at tvwinnerpod@gmail.com. Visit our website for more information from each episode. Find Beth @yourbeth_friend. Find Hannah @nobriggity. Our theme music is by @ariellajoymusic. Rate and review us on Apple Podcasts.  clips are the property of fx and ifc and are used for illustrative purposes only.

The festivities continue this week in this special bonus episode of His Film Her Movie.In the second episode, Lauren takes on another Netflix original, with 2017's Christmas Inheritance stars Eliza Taylor, Jake Lacy and Andie MacDowell.Subscribe, listen and enjoy!

Listen along as we discuss Netflix’s fifty-ninth film, the 2017 Christmas comedy-drama ‘Christmas Inheritance’ directed by Ernie Barbarash starring Eliza Taylor, Jake Lacy, Andie MacDowell and Michael Xavier.   This is our eleventh day of PODMAS! As a special gift to our listeners we are releasing an episode every day in the lead up to Christmas! Make sure you subscribe to ensure you don't miss a show.   Please follow us at Flix Forum on Facebook or @flixforum on Twitter and Instagram and answer our question of the day, 'Does this make you want to go out of town for some freshness?'   You can listen to us on Apple Podcasts, Spotify and Podbean so please subscribe and drop us a review or 5 star rating.    If you're interested in what else we are watching, head on over to our Letterboxd profiles; MJ Jesse    Tomorrow we look at 'Bright' so check out the film before then. You can see the trailer here. 

My guest this week is actor Jake Lacy.Jake and I discuss his career as an actor, from being on The Office to acting alongside Sam Rockwell and Michelle Willams. We also discuss his upcoming TV series with Zoe Kravitz on Hulu and finally, how his love of clothing helped him learn more about himself.Follow Jake on Instagram**Deep Dive and Brands DiscussedRRLThe Osaka 5Eat DustIron HeartResoluteJ. Mueser**This episode is sponsored by CDLP-- Save 10% off your order with promo code BLAMO

Logan Fahey (Drama ‘08) was such a great guy to get to know over this episode. His soothing baritone took us from his first spot in NY with Jake Lacy and Wesley Taylor to LA’s true calling and the indie filmmaker in his heart. All along snapping for FaheyFoto. This is a good one folks. Enjoy!   Music by Daniel Emond & Max Stampa-Brown. Logo by Dave Thomas Brown. Produced and edited br Rob Morris. 2019.

I first took note of Jake Lacy’s exquisite comedic delivery in “The Office” and “How to Be Single,” and was pleased to see him shine while going deep and dark, like in this year’s “Diane,” and last year’s “I’m Dying Up Here.” He even stands out playing opposite heavyweights like Rooney Mara in “Carol,” and Michelle Williams in “Fosse/Verdon.” I gathered from past interviews that he spoke with an authenticity that was going to work very well on Back To One, but I was not prepared for the level of comfort and delicacy with which he opened up to me about his acting process, experience, and evolution. He’s got two movies out now - “Ode To Joy” (in theaters and on-demand), and “Otherhood” (on Netflix).

For Diane (Mary Kay Place), everyone else comes first. Generous but with little patience for self-pity, she spends her days checking in on sick friends, volunteering at her local soup kitchen, and trying valiantly to save her troubled, drug-addicted adult son (Jake Lacy) from himself. But beneath her relentless routine of self-sacrifice, Diane is fighting a desperate internal battle, haunted by a past she can't forget and which threatens to tear her increasingly chaotic world apart. Built around an extraordinary, fearless performance from Mary Kay Place, "Diane," the narrative debut from Kent Jones, is a profound, beautifully human portrait of a woman rifling through the wreckage of her life in search of redemption.

We discuss Netflix Original Christmas movie A Christmas Prince! New York City heiress Ellen has to deliver a special Christmas card to her dad's business partner and ends up learning the true meaning of Christmas. The plot doesn't make a ton of sense, but Jake Lacy is weirdly in this movie!

País Estados Unidos Dirección Jessie Nelson Guion Steven Rogers Música Nick Urata Fotografía Elliot Davis Reparto Alan Arkin, John Goodman, Ed Helms, Diane Keaton, Jake Lacy, Anthony Mackie, Amanda Seyfried, June Squibb, Marisa Tomei, Olivia Wilde, Jon Tenney, Timothée Chalamet, Maxwell Simkins, Kanani Rose Rogers Sinopsis Cuando cuatro generaciones del clan de los Cooper se juntan en Nochebuena, una serie de inesperados visitantes y sucesos extraños darán un vuelco a la noche y les hará redescubrir sus lazos familiares y el espíritu de la Navidad.

Canadian-born composer, Andrew Lockington has composed original scores for feature films such as: ‘SAN ANDREAS', the Golden Globe nominated “FRANKIE AND ALICE” starring Halle Berry,“PERCY JACKSON SEA OF MONSTERS”, “JOURNEY TO THE CENTER OF THE EARTH”, and “CITY OF EMBER”, “THE SPACE BETWEEN US” and the Netflix series “FRONTIER”He recently scored the 2018, American, sci-fi monster film, RAMPAGE - directed by Brad Peyton. The film is loosely based on the video game series of the same name by Midway Games. The film stars Dwayne Johnson, Naomie Harris, Malin Åkerman, Jake Lacy, Joe Manganiello, and Jeffrey Dean Morgan. It follows a primatologist named Davis Okoye who must team up with George, an albino gorilla who turns into a raging creature of enormous size as a result of a rogue experiment, to stop two other mutated animals from destroying Chicago. It is the third collaboration between Peyton and Johnson, following Journey 2: The Mysterious Island (2012) and San Andreas (2015).In this episode, Andrew lockington opens up his score for RAMPAGE, sharing with us how he looked to nature to inform his approach, specifically studying gorillas and other apes and the sounds they make. He also studied African music and choir which eventually lead him to employing the African Childrens Choir and, finally, he discusses how he employed electronic elements into his score to connect the film to its video game roots.ANNOTATED TRACKS02:12 - Space03:30 - Gorillas05:18 - Pavo06:27 - Wyoming07:41 - Cornfield11:00 - Chicago13:56 - Requiem17:03 - RampageSOUNDTRACKThe original score was released by Water Tower Music on April 13, 2018 and is available digitally on Amazon.com, iTunes, and streaming on Spotify and Apple music. MORE ABOUT THE COMPOSERYou can also hear more music and find out more about Andrew Lockington on his official site: http://andrewlockington.comABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioGoogle Play PodcastsRSS Feed

This week, Joe and Todd review A Quiet Place (4k/Blu-ray), Rampage (4k/Blu-ray), hit the archives for Broadchurch (Netflix), and Secret City (Netflix). A Quiet Place stars Emily Blunt, John Krasinski, Millicent Simmonds, and Noah Jupe. Rampage stars Dwayne Johnson, Naomie Harris, Malin Åkerman, Jake Lacy, Jeffrey Dean Morgan, and Joe Manganiello. Broadchurch stars David Tennant, Olivia Colman, Jodie Whittaker, and Arthur Darvill. Secret City stars Anna Torv, Damon Herriman, Daniel Wyllie, Alex Dimitriades, Jacki Weaver, Alan Dale, and Mekhi Phifer. --- Support this podcast: https://anchor.fm/zadzooks-happy-hour/support

Dwayne is back into being the charming, super-ripped, former Special Forces, who has more ability to punch a monster in the face than follow social norms. This time he's playing the role of 15th guy from the 4th level of the original video game. Plus 3 monsters destroy Chicago and Don Jr. makes his acting debut. Thanks to the incredibly bad decisions of corporate scientist CEOs (whatever that is), we are treated to three genetically mutated former critters that eventually get to big and start smashing crap. You can imagine what that's like. So let's talk about everything else. Dwayne is fantastic in his putting on a show. Ok, he's not exactly going to win any awards (probably ever) but he has pretty solid chemistry with something that doesn't exist. He's charming us while acting next to a not existent giant monster. Pretty solid stuff there. Monster design works. This walks that fine line between too much and too little creature design and showcasing them. They look great. Jake Lacy - wow. Absolutely steals the show away from Dwayne. His frat-boy, daddy paid my professors, CEO (see recent President's sons) performance is legit theater LOL worthy. He kills it. Too much exposition. Sadly the first half isn't a page turner. There's a sprinkle of good stuff here and there but to try to make some semblance of believability they thought they could cram in far too much backstory here and way to much science talk over here. None of it matters! We came to see monsters fighting The Rock. Just do that! However, for the most part, this film gets 90% of its popcorn-eating film genre work done well. Unfortunately, the draggy-ness of the exposition keeps it from being a fully enjoyable experience. With that all said, it's still clearly the best-made video game movie in history - which isn't really saying much.

País Estados Unidos Dirección John Madden Guion Jonathan Perera Música Max Richter Fotografía Sebastian Blenkov Reparto Jessica Chastain, Mark Strong, Gugu Mbatha-Raw, Alison Pill, Michael Stuhlbarg, Jake Lacy, Sam Waterston, John Lithgow, David Wilson Barnes, Raoul Bhaneja, Chuck Shamata, Douglas Smith, Meghann Fahy, Grace Lynn Kung, Al Mukadam, Noah Robbins, Lucy Owen, Sergio Di Zio, Joe Pingue, Michael Cram, Dylan Baker, Zach Smadu, Austin Strugnell, Alexandra Castillo, Jack Murray, Christine Baranski, Aaron Hale, Greta Onieogou Sinopsis Elizabeth Sloane (Jessica Chastain) es una implacable y ambiciosa ejecutiva que intenta que fructifique una legislación a favor del control de armas en Washington DC. Para ello intentará usar todos los recursos a su alcance. En las altas esferas del mundo político y empresarial Sloane tiene una reputación formidable. Conocida por su astucia y sus éxitos sin parangón, siempre ha hecho lo que fuera necesario para ganar. Pero cuando se enfrenta al oponente más poderoso de su carrera, se da cuenta de que la victoria puede tener un precio demasiado alto.

País Reino Unido Dirección Lone Scherfig Guion Gaby Chiappe (Novela: Lissa Evans) Música Rachel Portman Fotografía Sebastian Blenkov Reparto Gemma Arterton, Sam Claflin, Jack Huston, Bill Nighy, Jake Lacy, Paul Ritter, Rachael Stirling, Richard E. Grant, Henry Goodman, Jake Lacy, Jeremy Irons, Eddie Marsan, Helen McCrory, Hubert Burton, Claudia Jessie, Stephanie Hyam Sinopsis Un equipo cinematográfico británico recibe el encargo de hacer una película patriótica para levantar la moral de las tropas inglesas tras los bombardeos de la aviación nazi sobre Londres durante la Segunda Guerra Mundial. El problema surgirá cuando se desencadene una auténtica batalla de sexos.

Directed by Brad Peyton Directed by Brad Peyton Produced by Brad Peyton, Beau Flynn, John Rickard, Hiram Garcia Screenplay by Ryan Engle, Carlton Cuse, Ryan J. Condal, Adam Sztykiel Story by Ryan Engle Based on Rampage by Midway Games Starring Dwayne Johnson, Naomie Harris, Malin Akerman, Jake Lacy, Jeffrey Dean Morgan Music by Andrew Lockington Cinematography Jaron Presant Edited by Jim May, Bob Ducsay Release date April 4, 2018 (Microsoft Theater), April 13, 2018 (United States) Running time 107 minutes Budget $120 million Box office $417.9 million

Rampage is a 2018 American science fiction monster film directed by Brad Peyton, loosely based on the video game series of the same name by Midway Games. The film stars Dwayne Johnson, Naomie Harris, Malin Åkerman, Jake Lacy, Joe Manganiello, and Jeffrey Dean Morgan. It follows a primatologist named Davis Okoye who must team up with George, an albino gorilla who turns into a raging creature of enormous size following a rogue experiment, in order to stop an invasion of monsters.

INTRO - 0:00 RATING SYSTEM - 0:29 BOX OFFICE NEWS - 0:57 REVIEWS BLOCKERS - 1:53 BRAD'S QUIET PLACE RANT - 5:18 A QUIET PLACE - 8:09 NEW RELEASES - 10:31 BORG VS MCENROE - 12:22 Starring - Shia LaBeouf, Sverrir Gudnason, Stellan Skarsgard, Tuva Novotny Tomatometer - 81% Certified Fresh RAMPAGE - 14:46 Starring - Dwayne Johnson, Naomie Harris, Malin Akerman, Jeffrey Dean Morgan, Jake Lacy, Joe Manganiello Tomatometer - 52% What are you going to see this weekend? Hit us up (GSplashBC@gmail.com) and let us know what you thought about these movies.

About This Week’s Show On this CEO Exclusive, Kevin Scott and Jake Lacy with ADDO Worldwide join us to discuss Millennials in the workforce, and how to instill core values and culture into your company’s population and employee base. About ADDO Worldwide ADDO is a brand + experience consultancy that helps businesses and brands ideate […] The post Kevin Scott and Jake Lacy with ADDO Worldwide appeared first on Business RadioX ®.

Maddy and Mary Ellen return, after a slightly longer wait than usual, to compare Obvious Child to The Big Sick! These two delightful romcoms both star comedians and share themes of communication and real-feeling experiences. But how realistic ARE these movies? Get ready for us to take straight men to task for not living up to the standards set by Kumail Nanjiani and Jake Lacy. But before all that, we kick off the pod by advocating abstinence and introducing our new show, the Pause Podcast. This sure is another episode of Let's Watch 2 Movies! Email us at letswatchtwomovies@gmail.com and follow us on Twitter at letswatchtwo, maryellenmurr and MIDImyers! Lastly, please consider tipping us via Patreon: patreon.com/atomicblueproductions

País Reino Unido Director Todd Haynes Guión Phyllis Nagy (Novela: Patricia Highsmith) Música Carter Burwell Fotografía Edward Lachman Reparto Cate Blanchett, Rooney Mara, Sarah Paulson, Kyle Chandler, Jake Lacy, Cory Michael Smith, Carrie Brownstein, John Magard, Kevin Crowley, Gielreath, Ryan Wesley Gilreath, Trent Rowland, Jim Dougherty, Douglas Scott Sorenson, Nik Pajic Sinopsis Nueva York, años 50. Therese Belivet (Rooney Mara), una joven dependienta de una tienda de Manhattan que sueña con una vida mejor, conoce un día a Carol Aird (Cate Blanchett), una mujer elegante y sofisticada que se encuentra atrapada en un matrimonio infeliz. Entre ellas surge una atracción inmediata, cada vez más intensa y profunda, que cambiará sus vidas para siempre.