There is no shortage of shocking moments this season. It looks like Downton Abbey is channeling Melrose Place. Here’s hoping that Heather Locklear stops by as a 1920s advertising executive hell-bent on getting her hands on the Abbey. The original Shady Lady Mary Crawley (Michelle Dockery) is replete with side-eyes, social slights, and aristocratic sass. Lady Edith is also making poor romantic choices as usual. Oh poor Edith, why are you so unlovable? Meanwhile, has anyone noticed that Cora (Elizabeth McGovern) sounds a lot like a slightly inebriated Liza Minnelli?
The party guests are slowly leaving. Michael Gregson (Charles Edwards) proved himself a hero. Miss Braithwaite (MyAnna Buring) has gone full-on Fatal Attraction on Tom Branson (Allen Leech). She is trying to turn their one-night-stand into a ticket to the wealth of Downton.
Lady Mary, Edith, Tom and Lady Rose MacClare (Lily James) head to London to stay with Lady Rosamund Painswick (Samantha Bond). They head to The Lotus Club to listen to some jazz. Steve Urkel Jack Ross (Gary Carr) serenedes with the most nasal rendition of 1920s jazz. When, Lady Rose’s escort gets sloppy, Jack saves the day by cutting in. However, Tom rushes to stop her from dancing with a black man. Racism is alive in London, people.
Lord Gillingham (Tom Cullen) is courting the hell out of Lady Mary. He even snuck on the same train to surprise her at home. He proposes but Mary has to decline but she does give him an epic kiss on the grounds.
The Drama: Not only is Mr. Gregson heading to a pre-World War 2 Germany to get a divorce, but they totally spent the night together. He seems somewhat above board since he gave Edith power of attorney over his finances. But ... does he plan to sleep with her and run? Also, has he left her with legal control for an ulterior motive?
Anna Bates (Joanne Froggatt) is still recovering from her attack and not doing so well since she has to see Mr. Green (Nigel Harman) before he leaves. She has become very icy to Bates (Brendan Coyle) and absolutely refuses to tell him why. She has even asked Mrs. Hughes (Phyllis Logan) to move back with the servants. Ivy (Cara Theobold) and Jimmy (Ed Speleers) have upgraded their lame courtship into full-on canoodling. Alfred (Matt Milne), jilted, has decided to apply for a cooking fellowship with The Ritz hotel. He may be leaving Downton like his aunt O’Brien. Carson (Jim Carter) is also beginning a very slow flirtation with Mrs. Hughes. Could the Mom and Pop of the staff get together for real?
The Drama: Mrs. Hughes plays Tom’s hero by destroying Braithwaite and her pregnancy claims. She finds a book about conception and bluffs Braithwaite into leaving Downton. She also tells her that if she makes a fuss she will never get a job in her lifetime. Now, if only Mrs. Hughes can tackle Anna’s attacker.
Best Lines of the Night
Don’t be transparent mamà, it doesn’t suit you. -Lady Mary to Cora
Don’t say I’m not good enough. If you were good enough for Lady Cybil Crawley then I’m good enough for you. -Braithwaite to Tom
Ivy moves a little fast for a beginner, don’t she -Daisy (Sophie McShera)
If we only had moral thoughts ... what would the poor church men find to do? -Dowager Countess (Maggie Smith)
Things have come to a pretty pass when you have to be rescued by a black band leader. -Lady Rosemound being a tad wee bit racist
Do you ever wonder why people dislike you so much? It’s because you’re sly, oily, and smug and I’m really pleased I got to tell you before I go. -Braithwaite to Barrow
If we’re playing the truth game. You’re a lying manipulative little witch and if your schemes have come to nothing I’m delighted. -Tom Barrow (Rob James-Collier) to Braithwaite
Edith is about as mysterious as a bucket. -Lady Mary
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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Daniel Radcliffe preferred not having his own trailer on the set of low-budget Allen Ginsberg biopic Kill Your Darlings because it forced the cast to hang out together and bond in between takes. The former Harry Potter star portrays the late poet in the new independent drama alongside Dane DeHaan as Lucien Carr, Jack Huston as Jack Kerouac and Ben Foster as William S. Burroughs, and he admits the minimalist set helped the actors to build up a rapport which only added to their onscreen chemistry.
He tells U.S. breakfast show Today, "We didn't have trailers on this one, but that actually did a great thing because it meant all the actors just hung out in green rooms and we got to know each other really, really well in a way that you don't always on films...
"It's my least favourite thing that I hear actors say, when they go, 'Film sets are so boring, you have to wait in your trailer all the time.' I'm like, 'You don't have to, you can actually go on set and engage with people if you like!'"
Michael C. Hall, Elizabeth Olsen, Jennifer Jason Leigh, David Cross and Kyra Sedgwick also star in the movie.
It's not that Movie 43 is shocking or "edgy " or whatever any of the writers or directors would like to convince you. If you want to actually puke or cry or be shocked you can go to Rotten.com like the rest of us Internet miscreants. The Cinema of Transgression films by Nick Zedd and Richard Kern have more artistic value than Movie 43 and are generally more interesting. Which is saying a lot because Zedd's films can get pretty boring. You can only see Annie Sprinkle make out with a man who's listed as Ray the Burn Victim for so long... although I feel terrible for writing because everyone needs love. Sorry Ray.
Movie 43 has 12 directors and 17 writers credited with this anthology of shorts modeled according to producers Peter Farrelly and Charlie Wessler in the spirit of Kentucky Fried Movie. Surprisingly none of those writers or directors go by the name Alan Smithee. It's not even totally clear which were written and directed by whom; the production notes are "hilarious first hand [sic] accounts from those who were a part of and were witnesses to the creation of MOVIE 43."
Kate Winslet and Halle Berry and Richard Gere were tricked into participating which is supposed to make their "outrageous" shorts all the more titillating. One of the larger problems of Movie 43 is that it relies on this handful of mega-stars and on our reactions to them and their off-screen personas all in lieu of genuine comedy onscreen. Would it be funny if some schmuck on YouTube played a Steve Jobs-like character who didn't understand why his company's iBabe music player — which looks like a naked woman but has a coolant system with a fan between its legs — was mangling users? No it wouldn't. And it's definitely not any funnier because it's Richard Gere playing him.
What's most offensive about Movie 43 isn't the scatological humor but how shoddily the whole thing was put together. (To be honest I did nearly walk out during the Anna Faris/Chris Pratt short about her desire to be pooped on. I also nearly barfed during Salo. Because poop.) In quite a few of the shorts half of the actors' heads are cut out of frame. Their heads are literally cut off of the screen in a movie that was professionally filmed by accredited cinematographers. Now it could have been the theater projecting the film that was having the problem but that's not really my concern. My concern was mainly that a handful of paying customers (including myself) were sitting through a studio movie where the top of actors' heads aren't in frame.
The self-referential wraparound for the movie is embarrassing for everyone involved including the viewer. Dennis Quaid plays a disheveled crazy writer who holds a studio exec (Greg Kinnear) hostage until the exec agrees to buy his movie pitch. His pitch is the series of shorts which the exec obviously thinks is a terrible idea... because it is. This is like adding insult to injury because the creators know what they've made is crap. Even the studio exec that they themselves wrote thinks the premise of Movie 43 is crap and has to be held at gunpoint to bring the idea to his boss. This idea that you will have wasted 90 minutes of your life on — minutes you could have spent watching YouTube videos of people squeezing their own cysts or having botflies removed from their bodies or yes making out with burn victims.
Complain all you like about stodgy critics who have no sense of humor and don't get "the kids" today and all that but it seems that Peter Farrelly and the group of people who forced this towards theaters (with little to no help from most of the stars or writers or directors) are the ones who are completely out of touch. With anything. Including humor.'s>
According to director John Krokidas, his feature debut Kill Your Darlings took nearly 11 years to bring to screen. After premiering at the 2013 Sundance Film Festival Friday afternoon, the slow cook appears to have only strengthened the film. If Darlings was released a decade earlier, it wouldn't have the impressive roster of Daniel Radcliffe, Dane DeHaan, Ben Foster, Michael C. Hall, Jack Huston, and Elizabeth Olsen to bring the vivid story of Allen Ginsberg and the beat poets to life. It's hard to imagine any other ensemble pulling it off.
Even after a string of other performances (including the gothic Woman in Black), the question still lingers whether Radcliffe will evolve past his lightning-scarred former character into a viable leading man. Kill Your Darlings puts the speculation to rest. Embodying the unrestrained Ginsberg in his early years, Radcliffe bears witness to the energy, chaos, love, and harsh truths that flow through the streets of '40s New York. When he's accepted by Columbia University to study poetry, he's exposed to the alternative underbelly of the city, courtesy of the smooth-talking devil on his shoulder, Lucien Carr (DeHaan). Through Carr, Ginsberg is introduced to a rebellious group of writers: the on-again-off-again lover David Kammerer (Hall), the drug connoisseur William Burroughs (Foster), and the star quarterback of the literary squad, Jack Kerouac (Huston). Together, they eventually form "The New Vision," a poetic task force whose sole mission is to destroy lesser works of rigid indecency (that is to say, Ogden Nash is in their crosshairs).
Krokidas takes full advantage of his setting, draping Kill Your Darlings in bold colors and compositions. The director knows when his scenes require a bit of swing — as Ginsberg and Carr delve deeper into the world of anti-establishment poetry, Krokidas' responds with stylish camera work and rhythmic editing. In a scene at the collective's Christopher Street jazz club hangout, Krokidas allows imagination to take hold of his realistic biopic. The effects of nitrous oxide seep in, the surrounding clientele come to a halt, and Carr and Ginsberg float around the room manipulating the frozen scene. When Ginsberg wakes up from his trip, it all makes perfect sense.
But Krokidas also knows when to let the talent do the talking. Radcliffe is a performer who can stay silent, expose the mind of a thinker through the subtlest of reactions. One moment sees the actor wound up by recreational drug use, and Radcliffe rises to the occasion by stripping down, running around a room, and eventually settling at a typewriter to bang out his first poem. DeHaan is his foil, always ready to unleash bravado; his Carr enlivens the world around him, making it easy to see why Ginsberg would have been so taken by him. If Radcliffe's performance puts skeptics to rest, DeHaan's proves he's at the top of Hollywood's young actor's pack. The duo's romantic relationship creates conflict over the course of the entire movie, eventually swelling to a burst of passion. The authenticity of the moment may surprise even the biggest diehard Harry Potter fans.
Kill Your Darlings has a rare vision behind it, and it's clear Radcliffe and DeHaan are in on the plan. The ups and downs never miss a beat, nor do they feel stricken to the form that Hollywood may normally take to bring a story of this nature to life. That feels like a cue from Ginsberg himself — as we see in the film, the poet's early days were filled with school lessons he threw to the wind (and flipped the bird to, naturally). His independent spirit runs through the veins of Darlings, a great Sundance pick that will no doubt find a home before year's end. And we'll still be talking about it then.
[Photo Credit: Benaroya Pictures]
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Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
One of the most significant eras of artistic expression in American history is the Beat Generation. And one of the most significant figures of the Beat Generation is Allen Ginsberg. And one of the most significant upcoming movies about Allen Ginsberg is Kill Your Darlings, primarily because it stars one of the most significant young actors in Hollywood today: Daniel Radcliffe.
A young Ginsberg is pictured left. The writer is most famous for his biting, meandering poem "Howl." Below, you can see Radcliffe embodying Ginsberg, and getting just about everything right: the hair, the glasses, the clothes, the smirk, the jagged scar—wait, no. Not that.
Just two years ago, James Franco played Ginsberg in the biopic Howl. Not to knock Franco's performance, or his dedication to all things offbeat, but the smart money says Radcliffe will be the Ginsberg to remember. The plot of Kill Your Darlings also has a leg-up on Howl, focusing on the stalking and murder involving beat figures Jack Kerouac, William S. Burroughs, Lucien Carr and David Kammerer.
The movie will also star Elizabeth Olsen, Jack Huston, Michael C. Hall, and Ben Foster.
To all of the present day, free-wheeling English majors who wish they were born forty years earlier, Kill Your Darlings is the vicarious answer to your prayers.
The film features the central figures of the Beat Generation—Allen Ginsberg, Jack Kerouac and William S. Burroughs, among others—in a story centering around artist Lucien Carr's murder of his teacher and stalker David Kammerer. The cast as it stands contains an impressive lot: Dane DeHaan (Chronicle) has the central Carr role, while contemporary greats Daniel Radcliffe, Jack Huston (Boardwalk Empire's reigning hero) and Elizabeth Olsen will play legendary figures Allen Ginsberg, Jack Kerouac and Edie Parker, respectively. But the news just gets better.
Rising film star Ben Foster (3:10 to Yuma, Rampart) has accepted the role of the brilliant William S. Burroughs. Dexter star Michael C. Hall joins the cast as a separate friend of Burroughs' whose death is credited as the inspiration to pioneer the Beat Generation. Additional cast members include Kyra Sedgwick and Jennifer Jason Leigh, both in yet unconfirmed roles.
Excitement brews, undeniably. The dark film depicting timelessly fascinating individuals as seen through the eyes of some of today's greatest young performers...trust me on this: five seconds in the theater, you'll be howling with joy. And you'll keep on howling until you're back on the road. So you'd better pack a naked lunch.
Let's just hope this doesn't tank (like where all those hippos were boiled) at the box office!