Warner Bros. Obtains Max Joseph's "We Are Your Friends"

Warner Bros. Pictures to Release “We Are Your Friends”

Max Joseph directed the Working Title and Studiocanal production starring Zac Efron, Emily Ratajkowski and Wes Bentley

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures announced today that it has obtained the domestic distribution rights for Max Joseph’s (MTV’s “Catfish: The TV Show”) feature film directorial debut, “We Are Your Friends.” The film, from Working Title Films and Studiocanal, stars Zac Efron (“Neighbors”), Emily Ratajkowski (“Gone Girl”) and Wes Bentley (“Interstellar,” “The Hunger Games”). The announcement was made today by Greg Silverman, President, Creative Development and Worldwide Production, and Sue Kroll, President, Worldwide Marketing and International Distribution, Warner Bros. Pictures.

    “The breadth and depth of our slate allows us to proudly bring features from every genre, scope and scale to our audiences, and we are delighted to have the opportunity to usher in Max Joseph’s fresh, raw image of a love story set in today’s modern-day music scene.”

“We Are Your Friends” is about what it takes to find your voice. Set in the world of electronic music and Hollywood nightlife, an aspiring 23-year-old DJ named Cole (Efron) spends his days scheming with his childhood friends and his nights working on the one track that will set the world on fire. All of this changes when he meets a charismatic but damaged older DJ named James (Bentley), who takes him under his wing. Things get complicated, however, when Cole starts falling for James’ much younger girlfriend, Sophie (Ratajkowski). With Cole’s forbidden relationship intensifying and his friendships unraveling, he must choose between love, loyalty, and the future he is destined for.

In making the announcement, Silverman stated, “We are so thrilled to finally be in business with Working Title, and know this is the beginning of a great relationship. The same can be said for Max, a wonderful new voice who will, hopefully, make many movies here. It is also thrilling to have our dear friend Zac back, as well as Emily, who will appear in ‘Entourage,’ and Wes, who is so wonderful in ‘Interstellar.’”

Kroll added, “The breadth and depth of our slate allows us to proudly bring features from every genre, scope and scale to our audiences, and we are delighted to have the opportunity to usher in Max Joseph’s fresh, raw image of a love story set in today’s modern-day music scene.”

“I couldn't be happier to have Warner Bros releasing my first feature film,” director Joseph said. “Having their passion and expertise behind ‘We Are Your Friends’ is a dream come true.”

Joseph directs from a screenplay he wrote with Meaghan Oppenheimer, from a story by Richard Silverman. The producers are Tim Bevan, Eric Fellner and Liza Chasin, with Silverman executive producing and Johanna Byer serving as co-producer. Randall Poster (“The Wolf of Wall Street,” “Divergent,” “Spring Breakers”) is the film’s music supervisor.

“We Are Your Friends” will be distributed in North America by Warner Bros. Pictures, a Warner Bros. Entertainment Company. Studiocanal, who financed the film, is handling international sales and will be distributing in France, UK, Germany, Australia and New Zealand.

About Working Title Films
Founded in 1983, Working Title Films has been co-chaired by Tim Bevan and Eric Fellner since 1992. The pair has produced more than 100 feature films which have amassed over $5 billion worldwide. Their films have won 9 Academy Awards®, and earned over 50 Academy Award® nominations, and won 24 BAFTAs, garnering over 100 BAFTA nominations.

About Studiocanal
Studiocanal is a subsidiary of the Canal+ Group. It is one of Europe’s leading companies in the market for co-production, acquisition, distribution and sales of international feature films and TV series. Studiocanal is the only studio operating simultaneously in the three main European territories—France, the United Kingdom and Germany—as well as in Australia and New Zealand. Additionally, Studiocanal owns one of the most important libraries in the world, with more than 5,000 international titles.

Review: "Thunderbirds" is a Good Family Film (Happy B'day, Jonathan Frakes)

TRASH IN MY EYE No. 13 (of 2005) by Leroy Douresseaux

Thunderbirds (2004)
Running time:  95 minutes (1 hour, 35 minutes)
MPAA – PG for intense action sequences and language
DIRECTOR:  Jonathan Frakes
WRITERS:  William Osborne and Michael McCullers; from a story by Peter Hewitt and William Osborne (based upon the television series by Gerry Anderson and Sylvia Anderson)
PRODUCERS:  Tim Bevan, Eric Fellner, and Mark Huffman
CINEMATOGRAPHER:  Brendan Galvin
EDITOR:  Martin Walsh
COMPOSERS: Ramin Djawadi and Hans Zimmer

ACTION/ADVENTURE/FAMILY and FANTASY/SCI-FI with elements of comedy

Starring:  Brady Corbet, Soren Fulton, Bill Paxton, Ben Kingsley, Vanessa Anne Hudgens, Anthony Edwards, Sophia Myles, Ron Cook, Deobia (Dhobi) Oparei, Rose Keegan, Phillip Winchester, Dominic Colenso, Ben Torgersen, Lex Shrapnel, Harvey Virdi, Bhasker Patel, Demetri Goritsas, Genie Francis, and Andy Smart

The subject of this movie review is Thunderbirds, a 2004 science fiction and action-adventure film from director Jonathan Frakes (best known as “Commander William T. Riker” of “Star Trek: The Next Generation”).  This film is loosely based on the 1960s British science fiction television series, “Thunderbirds” (1965-66), created by Gerry and Sylvia Anderson.  This Thunderbirds movie features live-action, human actors portraying the characters, while the television series used “Supermarionation” marionettes (a kind of puppet) as the characters.

Thunderbirds 2004 finds the Thunderbirds’ trapped and their secret base invaded by their arch-nemesis, and only the youngest Thunderbird is free to save the day.  I like this film’s story, but I would have preferred marionettes playing the characters.  However, I was shocked to find that I really enjoyed this movie, which owes as much to the Spy Kids franchise as it does to the Thunderbirds TV series.

After narrowly averting an oil rig disaster and rescuing a small group of rig workers, the Thunderbirds, led by papa Jeff Tracy (Bill Paxton), return home to their secret headquarters, Tracy Island, a lush patch of land that hides a giant secret base, the home of the Thunderbirds’ organization, International Rescue.  What the Thunderbirds don’t know is that a tracking device was placed on their rescue vehicle by a henchman of long-time Thunderbird adversary, The Hood (Ben Kingsley).

The Hood launches an attack on Thunderbird 5, IR’s secret space station.  Jeff Tracy and three of the older boys rush off to TB5 to rescue eldest son John (Lex Shrapnel), who operates the station.  The Hood invades Tracy Island and takes over Thunderbird headquarters from where he launches another attack that traps Jeff and his fours sons on TB5.  Now, it’s up to youngest son and headstrong troublemaker, Alan Tracy (Brady Corbet), to gain maturity beyond his years if he’s going to rescue his father and brothers and stop The Hood’s diabolical plan to rob the biggest banks in the world.  Luckily he has his friends Fermat (Soren Fulton) and Tin Tin (Vanessa Anne Hudgens) to help him, and here comes Lady Penelope (Sophia Myles) and her driver/butler Parker (Ron Cook) on the way.

Of course, Thunderbirds is the live-action update of the hit 1960’s British TV series and cult favorite, “Thunderbirds,” created by Gerry Anderson and his wife, Sylvia.  Obviously some people are going to have a difficult time accepting human actors in place of the series original “actors,” marionettes.  However, this is a fun family movie in the vein of the Spy Kids and Agent Cody Banks franchises.  The focus is not on the Thunderbirds as a team, but more on Alan Tracy and his friends Fermat and Tin Tin as a sort of makeshift young Thunderbirds.

That aside, Thunderbirds is a great kids action movie, superbly directed by Jonathan Frakes, best known as Commander William T. Riker of “Star Trek: The Next Generation,” but Frakes has also directed several episodes of various TV series and a few feature films.  Frakes and the screenwriters deftly keep the action exciting without being intense, and they flirt with bawdy humor via verbal gags, taking advantage of Fermat and his father, Brains’ (Anthony Edwards) stuttering.

Bill Paxton seems to need half the film to warm up to playing Jeff Tracy, and Ben Kingsley is simply having fun, although he’s always a regal presence.  Nevertheless, the stars are the young trio of Alan Tracy, Fermat, and Tin Tin, and the young actors, who give striking performances, gamely carry this nice family thrill ride.

7 of 10
B+

Updated:  Monday, August 19, 2013

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Green Zone Juggles Politics and Action

TRASH IN MY EYE No. 56 (of 2010) by Leroy Douresseaux

Green Zone (2010)
Running time: 115 minutes (1 hour, 55 minutes)
MPAA – R for violence and language
DIRECTOR: Paul Greengrass
WRITER: Brian Helgeland (based on the book Imperial Life in the Emerald City: Inside Iraq's Green Zone by Rajiv Chandrasekaran)
PRODUCERS: Tim Bevan, Eric Fellner, Paul Greengrass, and Lloyd Levin
CINEMATOGRAPHER: Barry Ackroyd
EDITOR: Christopher Rouse

WAR/ACTION/THRILLER

Starring: Matt Damon, Greg Kinnear, Brendan Gleeson, Amy Ryan, Khalid Abdalla, Jason Isaacs, and Yigal Naor

Director Paul Greengrass and actor/movie star Matt Damon came together to produce two of the three Jason Bourne movies (The Bourne Supremacy and The Bourne Ultimatum). They reunited for the film Green Zone, which is not a Jason Bourne movie or anything like that. Green Zone is a movie set at the beginning of the Iraq War. Green Zone is part military action movie, but it also has something to say about the reasons for the Iraq War.

The story focuses on Chief Warrant Officer Roy Miller (Matt Damon) and begins early in the U.S.-led occupation of Baghdad in the spring of 2003. Miller leads a team of U.S. Army inspectors searching for weapons of mass destruction (WMDs) believed to be stockpiled in and around Baghdad. After investigating a series of sites and finding nothing, Miller begins to suspect that the intelligence about Iraq’s weapons of mass destruction is faulty, at best.

Miller’s military superiors and other high-ranking officials dismiss his theories about flawed intelligence, and he comes into conflict with U.S. Defense Intelligence Agent Clark Poundstone (Greg Kinnear) who seems to be guiding much of the American occupation of Iraq. After meeting, Martin Brown (Brendan Gleeson), a Middle East-based CIA officer, Miller stumbles upon an elaborate cover-up of the reasons behind the Iraq War. Now, Miller must navigate the intersecting agendas spun by competing operatives, as he hunts for answers that may clear Iraq’s fallen regime of war crimes or even stop an insurgency from being born.

Green Zone is a politically engaged film. Using Matt Damon’s Roy Miller as a vehicle, Paul Greengrass and screen writer Brian Helgeland addresses Greengrass’ contentions about the decision to invade Iraq (the country’s alleged possession of WMDs) and subsequent decisions made during the U.S.-led Coalition occupation (in particularly the decision to disband the Iraqi army).

Greengrass’ problems with the Iraq War have also been the subject of many television and theatrical films (both fiction and non-fiction). Making these arguments about Iraq within the framework of a military action thriller actually can result in a movie with an identity crisis, which is the case with Green Zone. Greengrass attempts to make his points about the war, unveiling them during the course of Roy Miller’s investigation, which involves talking to and shooting at people.

The first 55 minutes of the movie mostly sets up the story, and it follows Miller as he gradually makes a series of startling discoveries about the run-up to the Iraq War. This is more dry and dull than interesting. The first half of the film is so slow and awkward that it is almost a disaster. Honestly, Greengrass’ contentions about the Iraq War are only interesting in the context of the movie’s second half. That’s the action/thriller half which has Roy Miller trying to find Iraqi General Mohammed Al-Rawi (Yigal Naor) before a Special Forces unit does. This second half will remind audiences of those breathless action scenes Greengrass and Damon pulled off in their two Jason Bourne movies.

It is cool that a Hollywood movie would confront the controversies of the Iraq War, but the best thing about Green Zone is the tense pacing and smartly constructed action sequences. Unfortunately, the politics are, at best, distracting and, at worst, debilitating to the movie.

5 of 10
B-

Sunday, July 25, 2010

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"United 93" Excellent Docudrama and Thriller

TRASH IN MY EYE No. 257 (of 2006) by Leroy Douresseaux

United 93 (2006)
Running time: 111 minutes (1 hour, 51 minutes)
MPAA – R for language, and some intense sequences of terror and violence
WRITER/DIRECTOR: Paul Greengrass
PRODUCERS: Tim Bevan & Eric Fellner, Lloyd Levin, and Paul Greengrass
CINEMATOGRAPHER: Barry Akroyd, BSC
EDITOR: Clare Douglas, Christopher Rouse, and Richard Pearson
Academy Award nominee

DRAMA/THRILLER/HISTORICAL

Starring: Opal Alladin, David Alan Basche, Christian Clemenson, Gary Commock, Cheyenne Jackson, Corey Johnson, JJ Johnson, and Khalid Abdalla, Lewis Alsamari, Omar Berdouni, and Jamie Harding

Directed by Paul Greengrass (Bloody Sunday, The Bourne Supremacy), United 93 is a fictional account of the incidents aboard United Airlines Flight 93, the fourth hijacked plane on September 11, 2001, the day of the worst terrorist attacks on American soil. This docu-drama follows the boarding of a Boeing 757 – United Flight 93 – for an ordinary flight to San Francisco. Then, it moves back and forth from flight control centers in Boston, Cleveland, and New York and the Herndon Command Centers back to 93 as the 9/11 attacks begin. The second half of the film finds the crew and passengers of United 93 realizing with dawning horror that America is under attack and that their flight, which has been hijacked by four men, is part of that attack. Some of the passengers and crew resolve to fight in a desperate attempt to take back control of the plane.

Quality action thrillers reward their viewers with exhilarating highs and even the occasional wallop to the old midsection. United 93 (2006 New York Film Critics Circle Award for “Best Picture”) does just that. This film, however, is really more than just an action movie; it is a memorial to the real events of 9/11. That it also manages to be a harrowing, heartbreaking, and ultimately masterful bit of filmmaking is a triple bonus.

Still, as director Paul Greengrass (2006 Los Angeles Film Critics Association Awards winner for “Best Director”) has admitted, no one really knows what happened aboard United 93 from the time it left Boston until it crashed in Shanksville, Pennsylvania. Phone calls from the passengers and crew are all that the public and storytellers have to piece together a probable timeline of the events. For the best storytellers, that is just enough material to tell a story that captures the popular imagination the way real history does.

This lean, mean fighting machine of movie can be harsh at times, but Greengrass makes us care no matter how desperate the situation is for the passengers and crew. Too bad, the first 50 minutes of this story is so antiseptic. Greengrass switches back and forth from United flight 93 to several command centers as various officials, bureaucrats, and authority types try to figure out what’s going on the day passengers planes were used to terrorize America. He’s clinical and occasionally bland in his attempt to nail down the technical details and reproduce history via digital photography. Why then is the first half so dull? It’s like watching an ordinary TV documentary on the Discovery or History Channels. It’s downright anal the way Greengrass creates verisimilitude in the first half, and his fidelity to what alleged facts he has about the real United 93 is admirable, although that all makes for a great dullness.

It’s in the second half of the film when Greengrass has to deal with speculation, myth, and a lack of facts that United 93 flirts with being a truly great film. As harsh as it is at times, United 93 makes us care about the characters, the place, and the situation no matter how painful it might be to watch. It’s as if we’re there with the characters and rooting for them – maybe, even begging that they survive. No one knows what happened when hijackers took over United Airlines Flight 93, but Paul Greengrass makes a darn good yarn out of speculation. United 93 is the art of making film myth out of history just as Oliver Stone did 15 years earlier with JFK.

8 of 10
A

Wednesday, December 27, 2006

NOTES:
2007 Academy Awards: 2 nominations: “Best Achievement in Directing” (Paul Greengrass) and “Best Achievement in Editing” (Clare Douglas, Richard Pearson, and Christopher Rouse)

2007 BAFTA Awards: 2 wins: “Best Editing” (Clare Douglas, Christopher Rouse, and Richard Pearson) and “David Lean Award for Direction” (Paul Greengrass); 4 nominations: “Alexander Korda Award for Best British Film” (Tim Bevan, Lloyd Levin, and Paul Greengrass), “Best Cinematography” (Barry Ackroyd), “Best Screenplay – Original” (Paul Greengrass), and “Best Sound” (Chris Munro, Mike Prestwood Smith, Doug Cooper, Oliver Tarney, and Eddy Joseph)

Review: "Shaun of the Dead" is a Great Zombie Movie

TRASH IN MY EYE No. 248 (of 2004) by Leroy Douresseaux on Patreon

Shaun of the Dead (2004)

COUNTRY OF ORIGIN: UK

Running time: 99 minutes (1 hour, 39 minutes)

MPAA – R for zombie violence/gore and language

DIRECTOR: Edgar Wright

WRITERS: Simon Pegg & Edgar Wright

PRODUCER: Nira Park

CINEMATOGRAPHER: David M. Dunlap

EDITOR: Chris Dickens

COMEDY/HORROR/THRILLER

Starring: Simon Pegg, Kate Ashfield, Nick Frost, Lucy Davis, Dylan Moran, Nicola Cunningham, Penelope Wilton, Peter Serafinowicz, Jessica Stevenson, and Bill Nighy

Shaun’s (Simon Pegg) life is moribund, and he’d rather spend time with his best friend, Ed (Nick Frost), much to his girlfriend Liz’s (Kate Ashfield) chagrin. Tired of his lack of motivation and lameness in the romance department, Liz dumps Shaun. Shaun’s desperate to win back Liz and to reconcile his relationship with his mother Barbara (Penelope Wilton), so he’s initially ignorant of the fact that the recently dead have suddenly returned to life. However, when his community seems to fall apart, Shaun not only tries to win back his girlfriend, he also tries to save his pals from the dead who have come back to eat the living.

Shaun of the Dead is one of the best zombie movies I’ve ever seen, and it’s also a damn fine comedy. That might be difficult for some people to reconcile, but Shaun of the Dead is exceptionally hilarious, and it’s certainly a goose-flesh raising horror thriller. Anyone who likes zombie movies will surely like this, and it’s hard not to be stunned by how funny this movie is considering its subject matter. Imagine something akin to a Monty Python zombie movie.

Co-writer Edgar Wright’s directorial effort is a superb melding of dark comedy and convincing horror thrills, and his script, co-written by star Simon Pegg, breathlessly and shamelessly borrows from a host of genre films, mostly horror, in particular the gold standards of zombie films, Night of the Living Dead (1968) and Dawn of the Dead (1978). The script and resultant film are brilliant renditions of those two horror classics, but with move overt comedy. Shaun of the Dead is film heaven for the smart horror movie fan.

9 of 10

A+

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Review: "About a Boy" is Warm and Fuzzy

TRASH IN MY EYE No. 90 (of 2003) by Leroy Douresseaux


About a Boy (2002)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – PG-13 for brief strong language and some thematic elements
DIRECTORS: Chris Weitz and Paul Weitz
WRITERS: Peter Hedges and Chris Weitz & Paul Weitz (from a novel by Nick Hornsby)
PRODUCERS: Robert De Niro, Brad Epstein, Eric Fellner, and Jane Rosenthal
CINEMATOGRAPHER: Remi Adefarasin (D.o.P.)
EDITOR: Nick Moore
Academy Award nominee

COMEDY/DRAMA

Starring: Hugh Grant, Toni Collette, Nicholas Hoult, Rachel Weisz, and Sharon Small

Every now and then, Hugh Grant plays a role that is different from his usual role: the loveable, affable, and charming British man child thrown slightly off-balance by the aggressive woman. In About a Boy, Grant takes his boy child and turns him on his ear, not necessarily for the better.

Grant plays Will, a self-absorbed bachelor – a rich, single, child-free Londoner in his 30’s who suddenly discovers that all his friends have taken on the adult responsibilities of family life. First, he invents a toddler son in order to pass himself off as a single father so that he can date jilted mothers he meets in single parents club. He’s confident that he can leave the mums behind when he’s tired of them, but his machinations bring him into contact with Marcus (Nicholas Hoult), a 12-year old boy with massive problems at school and a suicidal mother (Toni Collette) at home. Though the boy is his opposite in many ways, Marcus becomes Will’s friend, of a sort. He teaches the boy how to be cool, and Marcus helps will grow up.

It’s hard to believe that Chris and Paul Weitz could go from being the masterminds behind American Pie to making a movie that is so at once painful, yet so heartwarming and life affirming as About a Boy. What the Weitz brothers show again is the ability to let the actors take the story, whatever it is, and perform. That was the key to American Pie – how well the actors worked through the hoops and gimmicks given them by the filmmakers. In this case, the Weitzs and co-writer Peter Hedges (who adapted their script from a novel by Nick Hornsby) give the characters plenty to chew, but the characters here aren’t nearly as endearing as they were in Pie.

Many movie critics and fans felt that the Academy had robbed Hugh Grant of an Oscar nomination for his performance in Boy. The truth of the matter is that the character is so shallow and empty that any actor with at least film acting experience, if not talent, could have played the role. Playing Will as he was written is not an artistic or professional achievement (save for the paycheck); it would not be too farfetched to say that Will is pretty much just a character name in a script. I know that the central conceit is that Will is supposed to be a shallow and empty character, but Will isn’t a character. He’s just an empty cipher or caricature. We get the idea that Will is shallow when we see how easily he casts off his lady friends. I guess we’re supposed to assume that Will sitting around his apartment all day is another sign of his shallowness and emptiness. I just took it as a sign that the script writers didn’t know how to make any of those scenes visually interesting. Will fills the film with tiresome narrations about his selfishness and self-centeredness, when, after his first two “character enriching” speeches, we got the point. For a brief moment in the film, Will thinks he sees his long dead father. Sadly the movie doesn’t focus on Will’s relationship with his own father, although the movie story spends so much time telling us that Will could be “a father/father figure.” Certainly, it’s no stretch of the imagination to suspect that Will’s personality comes from something to do with his father. Heck, Will lives off his father’s song royalties. That’s why he doesn’t work, so obviously that’s something to explore.

Nicholas Hoult’s Marcus is much more interesting, perhaps because the story is really about him and how he makes two grown ups grow up. I won’t call his a great child performance, but it’s quite good. Marcus is world weary and cynical. Even at his young age (12 years), he’s already accepted that pretty much everything is beyond his control. He takes his lumps as if his torment was not only preordained, but also divinely ordained. Young Mr. Hoult makes us invest ourselves in Marcus’s destiny, and that’s more than I can say about the rest of the cast. We want him to win, to succeed, because he’s done nothing to be in the position he’s been in, and he has so much wisdom that he sees the practical solutions that other characters need to make their lives a little better.

Despite my reservations, I liked About a Boy. If you can tolerate Will’s narration and instead focus on Marcus’s, you’ll find a hero in the character. I understand that the filmmakers had to give the spotlight to Grant’s (the movie star) Will, when the film’s most interesting notions come from Marcus: people need other people and sometimes they need lots of other people to catch them when they fall. Take the film’s plague of self-examining voiceovers with a grain of salt and instead focus on people connecting. You’ll like this movie enough to feel a little warm and fuzzy at the end.

6 of 10
B

NOTES:
2003 Academy Awards: 1 nomination: “Best Writing, Adapted Screenplay” (Peter Hedges, Chris Weitz and Paul Weitz)


2003 BAFTA Awards: 2 nominations: “Best Performance by an Actress in a Supporting Role” (Toni Collette) and “Best Screenplay – Adapted”


2003 Golden Globe Awards: 2 nominations: “Best Motion Picture - Musical or Comedy” and “Best Performance by an Actor in a Motion Picture - Musical or Comedy” (Hugh Grant)