You'll probably think twice about posting on Facebook after watching this just-released trailer for Disconnect.
Jason Bateman and Alexander Skarsgard star in the thriller about the dangers of life in the digital age. From cyberbullying to identity theft, catfishing to illegal online romances, technology has given birth to a whole new slew of problems that each character faces in Disconnect with dire (and sometimes deadly) consequences.
This is director Henry Alex Rubin’s first narrative feature with a script by Andrew Stern. Mickey Liddell, Jennifer Monroe, and William Horberg produced the film, which debuted at the Toronto Film Festival. Hope Davis, Frank Grillo, Paula Patton, Michael Nyqvist, and Andrea Riseborough also star.
Watch the dark trailer below and hit the comments with your thoughts:
Disconnect opens in limited release on April 12.
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[Photo Credit: LD Entertainment]
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It is my estimation that there are very few people on the fence about seeing a movie about the universe of college a capella. The people who want to see this movie would all but kill to do so — on the other hand there are those who’d rather endure a three-hour documentary on the referendum to criminalize the distribution of lead-based paints. I was hardly in the latter category upon approaching Pitch Perfect. I wholeheartedly enjoyed the seasonal performances of my college’s championship-winning a capella group the Binghamton Crosbys (namedrop). I would happily welcome an influx of musical films to mainstream Hollywood. I really really liked the first season of Glee. I say all this to illustrate how open to the idea of Pitch Perfect I was and how much I really wanted to like the movie. Unfortunately as I would reluctantly acknowledge not long into the picture Pitch Perfect was missing many of its marks. Not all but many.
The movie touts itself not as Glee: The Movie as many on the opposing side are likely to deem it but as something far more self-aware. There are a handful of jokes about the rigid containment of the a capella world’s celebrity with remarks that all the authentically cool kids at the central Barden University exist beyond the confines of the a capella community. Unfortunately while it strives to adopt a self-deprecating attitude toward the tropes of the genre it draws the line at the rejection of the more hackneyed elements of its romantic and interpersonal storylines.
While the story is based in the always-worth-revisiting “be yourself” underdog theme it doesn’t quite execute this idea with full force. The highly talented Anna Kendrick plays Beca a “rebellious” aspiring deejay enticed into the nearly defunct Barden Bellas by well-meaning vet Chloe (Brittany Snow) due to her natural skill for singing but disliked by queen bee Aubrey (Anna Camp) for being just a little too different. But in all honesty she’s hardly different enough to evoke our sympathies. In fact the only outstanding characteristics Beca seems to have is that she’s pretty self-entitled and always a little bit miffed. Still she’s the apple of everyone's eye including the guileless flimsy male lead Jesse (Skylar Astin) who himself is a cherished new member of Barden's rival a capella group the all-male Treblemakers — led by the wickedly obnoxious top dog Bumper (Adam DeVine). Beca and Jesse are meant to found the real emotional crust of the movie; he teaches her about the greats of cinematic soundtracks and about not pushing people away and she... well she doesn't really teach him about anything. Their relationship lacks the real substance that would effectively carry the film based primarily on the fact that they're both cute and microscopically off-center.
And then there are the supporting characters — the Bellas' team of misfits whom we're meant to love. Rebel Wilson leads this pack as the kooky brazen self-decreed Fat Amy. Beside her the sexually-charged Stacie (Alexis Knapp) the quiet psychopath Lilly (Hana Mae Lee) and Cynthia Rose (Ester Dean) whose alluded homosexuality is quite unfortunately the punchline of her character among a few faceless sub-supporting characters. And while the theme does don a sheath of the classic “be yourself” mindset it seems to be more interested in poking fun of these girls and their quirks than it is in celebrating them.
But they do band together they do develop a camaraderie and they do come to compromise their differences in order to better one another and the team. And then comes the final musical number.
See for all of the film's faults there is something it knows how to do: it puts on one hell of a show. As much of a cynical nitpicker as you might be once the Bellas' final performance on the competition mainstage takes way you're bound to enjoy it. Showcasing the individual vocal talents of each of the (primary) singers sewn together in an expertly crafted compilation piece viewers are likely to get a chill or two. This is where Pitch Perfect hits: in its sheer unembarrassed celebration of a capella of music in general and of the girls onscreen. The movie makes the mistake of trying to have it both ways. When it goes for self-deprecation it makes it look all the more unaware of its inherent flaws in plot and character. But in being what plenty of people would be just fine with — an a capella movie that isn't ashamed of loving a capella any more than its over-the-top characters are — it succeeds. Unfortunately this sentiment feels limited to the final performance of the film. But to its credit it's a performance good enough to make up for a whole lot of the stuff that leads up to it.
Michael Alan Rubin turned the events of his hellish honeymoon in Asia into a script entitled Mickey and Kirin, and he took action against the project's officials in October (11) for reportedly infringing on his copyright by basing The Hangover sequel on his work.
But now Rubin has voluntarily dismissed the suit, according to The Hollywood Reporter.
As WENN went to press, it was not yet known if the two parties had reached a private settlement.
This marks the latest legal triumph for The Hangover Part II bosses - Ed Helms' acting double, Scott McLean, also recently dropped his lawsuit against studio executives after claiming he suffered significant brain trauma on set during a stunt gone wrong.
Bradley Cooper and Zach Galifianakis also star in the hit franchise.
Michael Alan Rubin turned the events of his hellish honeymoon in Thailand and India into a script entitled Mickey and Kirin, and claims The Hangover sequel was based on his experiences.
Rubin took legal action last week (ends14Oct11) and is now suing the film bosses for copyright infringement, according to The Hollywood Reporter.
Crime has always come naturally to John Lyshitski (Dax Shepard). As a young boy he stole the Publishers Clearing House truck and tried to cash the check inside--and the list goes on. For each crime the same judge hands down the verdict and becomes No. 1 on Lyshitski’s s**t list. Following release from his latest stint in the slammer Lyshitski seeks to finally act on his hatred for the judge only to learn that he died just days ago--but his son Nelson Biederman IV (Will Arnett) is free. Wealthy and bratty Biederman is the kind of guy anyone would love to hate and John exacts revenge on him. Getting him thrown in the can is the easy part but John wants to actually witness and take part in Nelson’s prison hazing. So with relative ease and indifference he intentionally gets himself thrown in prison for selling pot and shacks up with Nelson. Now he gets to give him “the full treatment.” For Shepard and Arnett admission into the fabled “Frat Pack” (whose ever-expanding alumni include Vince Vaughn Owen and Luke Wilson and Will Ferrell) is still a ways away but Prison is a good cred builder. Shepard (Employee of the Month TV’s Punk’d) might be a minor hit away from becoming a star. He has a natural knack for comedy but also has shown great variation from role to role. In Prison his impassivity towards incarceration and its goings-on is funny but this is still not the vehicle to transport him to “breakout” stardom. Arnett has more work to do. His brand of comedy is more dry i.e. his late great Gob on Arrested Development. The more overt comedy in Prison Arnett's biggest film role to date doesn’t always work but that’s not to say he doesn’t provide hilarity. Chi McBride (TV’s Boston Public) sheds his shirt for laughs as rotund inmate Barry. Dylan Baker (Happiness) is funnily sadistic as the warden and David Koechner himself a “Frat Pack” fringester is zany as usual. Adapted loosely from Jim Hogshire’s cult book You Are Going to Prison the film doesn’t always successfully translate. But it occasionally makes up for its comedic misfires by being funny in unexpected ways. For that we can thank director Bob Odenkirk--who also has a small role in the film--a man who’s given us underappreciated shock humor for years (and by “shock” we mean the kind that sneaks up on you not the Borat kind). The co-star and -creator of HBO’s beloved Mr. Show--along with the equally outlandish David Cross--Odenkirk is never satisfied with the straightforward stuff and often swings for the fences. Sometimes he misses but when it’s funny it’s hilarious! Such is the case with Let's Go to Prison (and he re-teams with Arnett on next year’s The Brothers Solomon) which is stupid-funny in a way that might turn it into a cult hit upon DVD release.