Indie News

Judd Apatow Thinks Roseanne Is ‘Crying Out for Help,’ Not a ‘Hateful Person’

Judd Apatow Thinks Roseanne Is ‘Crying Out for Help,’ Not a ‘Hateful Person’
Judd Apatow has known Roseanne Barr for decades, and as such appears less quick to condemn her than many of his contemporaries. A tweet from the actress and comedienne led to the cancelation of her revived sitcom “Roseanne” last month despite massive ratings, with sympathy for Barr in short supply from most corners. Not Apatow: “I think you have a person who’s in a moment of success and maybe that’s uncomfortable for her, and whatever urges she has to be rebellious have overtaken her in some way,” he tells Vanity Fair in a new interview.

“I haven’t spoken to her recently to know where her head’s at generally, but I see it more as someone who’s crying out for help than someone who’s a hateful person … for the most part, I hope she’s okay and I feel bad for people who got hurt in that.
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‘Nossa Chape’ Review: Soccer Documentary Is a Remarkable Look at How Tragedy, Triumph, and Sports Intersect

‘Nossa Chape’ Review: Soccer Documentary Is a Remarkable Look at How Tragedy, Triumph, and Sports Intersect
“Bigger than the game” is a phrase that gets tossed around quite often during major sporting events. The World Cup is certainly no exception, as national soccer teams, regardless of who they’re playing, have come to symbolize more than just a group of athletes. Through their resiliency in competition and the pride they instill in fandoms, sports teams are almost never just a collection of jerseys.

“Nossa Chape,” the newest documentary from “The Two Escobars” filmmakers Jeff and Michael Zimbalist, recognizes this fact almost immediately. About Chapecoense, the team born from a western Brazilian city that grew to national and international prominence, the film wastes no time showing how both team and community are intertwined. It also doesn’t take long for “Nossa Chape” to detail the tragic aftermath of a plane crash that killed 71 players and club staff in a late November 2016. Rather than treat this cataclysmic event as a prolonged,
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‘Kumiko’ Directors David and Nathan Zellner Got Offered Horror Movies, But They Made a Feminist Western Instead

‘Kumiko’ Directors David and Nathan Zellner Got Offered Horror Movies, But They Made a Feminist Western Instead
David and Nathan Zellner had been making oddball shorts and features out of Austin, Texas for more than 15 years when their 2014 Sundance-winning “Kumiko, the Treasure Hunter” became an unexpected cult hit, grossing over half a million dollars in limited release and generating a new international fan base for the brothers over the course of a year. It wasn’t your obvious breakout: the story of a Japanese woman (Rinko Kikuchi) who believes the story of “Fargo” was real and journeys around the world to Nebraska with her pet bunny to find the hidden briefcase of cash from that 1994 film.

But the outrageous premise meshed with a surprisingly poignant tone that caught audiences by surprise. Suddenly a pair of filmmakers known mostly on the festival circuit and around the Austin film scene was getting offers for more work — just not the kind they wanted.

“We were very quick to turn stuff down,
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David Lynch Says More ‘Twin Peaks’ Is “Calling Him.”

David Lynch Says More ‘Twin Peaks’ Is “Calling Him.”
Twin Peaks: The Return” felt, for many like this generation’s “2001: A Space Odyssey.” It broke the rules of television and Lynch’s vision was so far out, it almost felt like a broadcast from another dimension. The mosaic of characters the legendary director presented to us was part of a greater whole, one that felt almost too impossible to describe.

As Agent Cooper (Kyle MacLachlan) finally found his way down the show’s never-ending rabbit hole of colliding cosmos, he did so by finding a way to redeem Laura Palmer (Sheryl Lee), even by saving her life, seemingly going back in time and changing the tragic events of 1989.
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David Lynch Explains How Trump ‘Could Go Down as One of the Greatest Presidents in History’

David Lynch Explains How Trump ‘Could Go Down as One of the Greatest Presidents in History’
David Lynch describes himself as “not really a political person” in a new Guardian interview, though he does have some strong views. The singular filmmaker, who endorsed Bernie Sanders in the 2016 Democratic primary and thinks (but isn’t sure) he ultimately voted Libertarian in the general election, “really like[s] the freedom to do what you want to do.”

Though he remains on the fence about Donald Trump, Lynch thinks he has potential. “He could go down as one of the greatest presidents in history because he has disrupted the thing so much. No one is able to counter this guy in an intelligent way.” Trump “may not be doing a good job himself,” according to the profile, but he might provide a template for other outsiders: “Our so-called leaders can’t take the country forward, can’t get anything done. Like children, they are. Trump has shown all this,” Lynch says.
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‘Fireworks’ Trailer: ‘Your Name’ Producer Hopes for Another Success With Wistful Anime — Watch

‘Fireworks’ Trailer: ‘Your Name’ Producer Hopes for Another Success With Wistful Anime — Watch
Your Name” was a huge success two years ago, earning critical acclaim and becoming the fourth-highest-grossing film ever released in Japan. “Fireworks” comes from the same producer, and though its box-office take hasn’t been nearly as prodigious, it’s also earned favorable reviews ahead of its U.S. release. Watch the trailer below.

Here’s the premise: “Shy Norimichi and fast-talking Yusuke are goo-goo-eyed over the same elusive classmate, Nazuna. But Nazuna, unhappy over her mother’s decision to remarry and leave their countryside town, plans to run away and has secretly chosen Norimichi to accompany her. When things don’t go as planned, Norimichi discovers that a glowing multi-color ball found in the sea has the power to reset the clock and give them a second chance to be together. But each reset adds new complications and takes them farther and farther away from the real world — until
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Female Agency And The Lesbian Gaze In Todd Haynes’ ‘Carol’

Directed by Todd Haynes,”Carol” is a slow burning, voyeuristic film about love, longing and the wistful ache of forbidden desire. The movie is so sensual in the most subtle ways. Without saying much, “Carol” is an expressive drama that says everything in the glances between Cate Blanchett and Rooney Mara. Every little movement is calculated and performed with a depth that goes beyond just a hand resting on a shoulder.

Continue reading Female Agency And The Lesbian Gaze In Todd Haynes’ ‘Carol’ at The Playlist.
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‘Izzy Gets the F Across Town’ Is A Brilliant Showcase For Mackenzie Davis [Review]

Christian Papierniak’s “Izzy Gets the Fuck Across Town” is a periodically inspired film with a wonderful central performance and a stacked supporting cast. It suffers, at times, from the overconfidence of a bold first-time filmmaker, but Papierniak’s risk-taking instincts pay off more often than not. The film, which is as aggressively episodic as “Pulp Fiction,” is too derivative of Tarantino and his ilk to successfully establish Papierniak’s own directorial voice, but the filmmaker does a more-than-serviceable job while playing in that sandbox.

Continue reading ‘Izzy Gets the F Across Town’ Is A Brilliant Showcase For Mackenzie Davis [Review] at The Playlist.
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New to Netflix in July: ‘Her,’ ‘Blue Valentine,’ ‘Jurassic Park,’ and More Worth Streaming

Another month, another batch of good (and not so good) movies coming to Netflix. Ever timely, the streaming service is adding the first three “Jurassic Park” movies to coincide with the release of “Jurassic World: Fallen Kingdom,” not to mention several movies that aren’t about dinosaurs run amok: “Her,” “Happy Gilmore,” “We Own the Night,” “Blue Valentine,” “Gone Baby Gone,” “Menace II Society,” “Chocolat,” “The Legacy of a Whitetail Deer Hunter,” “The Princess Diaries,” and more.

Avail yourself of the full list below:

July 1

Chocolat

Deceived

Finding Neverland

Get Smart

Happy Gilmore

Interview with the Vampire

Journey to the Center of the Earth

Jurassic Park

Jurassic Park III

Menace II Society

Pandorum

Penelope

Scooby-Doo

Scooby-Doo 2: Monsters Unleashed

Spanglish

Stealth

Swordfish

The Boondock Saints

The Lost World: Jurassic Park

The Princess Diaries

The Voices

Traitor

Troy

Van Helsing

We Own the Night

We the Marines

What We Started

July
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‘Ant-Man & The Wasp’ Reactions Promise A “Charming… Total Blast” And Marvel Winner

If it’s not broke, don’t fix it. Marvel has a formula, and they’re sticking to it because audiences seem to love. The studio seems to always know the right balance of action, heart and comedy, never quite too serious (‘Infinity War‘ aside), and never too silly unless the story demands it (“Guardians Of The Galaxy“). And it appears the company has created yet another winner with their latest sequel, and second Marvel film of 2018, “Ant-Man And The Wasp” starring Paul Rudd and Evangeline Lilly who finally gets her time to shine as the diminutive superheroines.

Continue reading ‘Ant-Man & The Wasp’ Reactions Promise A “Charming… Total Blast” And Marvel Winner at The Playlist.
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‘Ant-Man and the Wasp’ Reactions: Marvel’s Latest Is a ‘Damn Delight’ With a Great Post-Credits Scene

‘Ant-Man and the Wasp’ Reactions: Marvel’s Latest Is a ‘Damn Delight’ With a Great Post-Credits Scene
“Infinity War” may have been the self-proclaimed most ambitious crossover event in history, but it didn’t have Paul Rudd. “Ant-Man and the Wasp” does, however, and that appears to be to its credit. The first wave of reactions to Marvel’s latest has arrived — full reviews will follow next week — and early word is largely positive: It’s been called everything from “fun, funny, and forgettable” to “a damn delight,” with much of the praise going to its post-credits scene.

Ant-man And The Wasp is probably the closest Marvel will ever get to #nicecore. there’s no villain! just… mild impediments. And teamwork! I love teamwork.

everyone says “quantum” a lot, and then they joke *about* how everyone says “quantum” a lot. fun, funny, and forgettable.

— david ehrlich (@davidehrlich) June 23, 2018

Ant-man And The Wasp: It is refreshing to see a self-contained, relatively small-scale franchise film in this crowded summer.
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‘Jurassic Park III’ Honest Trailer: The Movie That Left The Franchise Extinct

It’s the 25 year anniversary of “Jurassic Park.” And “Jurassic World: Fallen Kingdom” has lumbered into theaters. But before hunkering down to revisit the original, or heading off to the theaters to marvel at the pure spectacle of the fifth installment, let’s revisit 2001’s “Jurassic Park III.”

Read More: ‘Jurassic World: Fallen Kingdom’: The Franchise Erupts, But It’s Never Enough [Review]

Honest Trailers went to the lab and cooked up their take on the final film of the original trilogy.

Continue reading ‘Jurassic Park III’ Honest Trailer: The Movie That Left The Franchise Extinct at The Playlist.
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David Simon Returns to Twitter, but 280 Characters Can’t Contain His Rage: ‘Dead You Mooks Oughta Drop’

David Simon Returns to Twitter, but 280 Characters Can’t Contain His Rage: ‘Dead You Mooks Oughta Drop’
David Simon’s Twitter suspension is over, but his anger has just begun. The outspoken creator of “The Wire,” “Treme,” and “The Deuce” was removed from the social-media platform for two weeks for telling trolls to “drop dead” — and then said the same to Twitter CEO Jack Dorsey after receiving a punishment that he felt didn’t fit the crime.

Now that he’s back, Simon has written a lengthy thread demanding “a cogent explanation of why the common rhetoric of telling assholes to drop dead is prohibited on your shithole platform” despite the fact that “allowing said assholes to slander women who have had children kidnapped is fine by you.” In other words, Simon isn’t just angry about the ban but what he sees as the underlying hypocrisy behind it.

Another example he cites is the fact that he wasn’t able to mourn the death of his
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Bringing Us Back: Close-Up on "Weirdos"

Bruce McDonald's Weirdos (2016) is having its exclusive online premiere on Mubi. It is showing from June 23 - July 23, 2018 in the United States.Bruce McDonald’s Weirdos is a beautiful and poignant lament to the loss of adolescence. Set in Nova Scotia in 1976, shot in crisp black and white, and apportioning much of its screen time to meditative close-ups on characters’ faces, Weirdos is a coming-of-age road movie that delicately explores the lives of its teenage protagonists, Kit (Dylan Authors) and Alice (Julia Sarah Stone), over the course of a single weekend. Kit, played by the boyishly awkward and sparkling Authors, decides to leave his unconventional family home where he lives with his single father (Allan Hawco) and matriarchal grandmother (Cathy Jones), to hitchhike with his girlfriend Alice to Sydney, in the hopes of reuniting with his absent but deified mother (Molly Parker). Kit packs a small suitcase, but is intent on a permanent move.
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Slight But Spirited Lgbt Romance ‘Several Conversations About A Very Tall Girl’ [Transilvania Review]

You could be forgiven for grimacing at the very notion of “Romanian Mumblecore.” And if Bogdan Theodor Olteanu‘s debut feature were a mixture of the least appealing associations of both terms — some sort of unholy amalgam of the lo-fi, unrefined navel-gazing of mumblecore and the sometimes dour social realism of the Romanian New Wave — it would indeed be a slog. But instead, “Several Conversations About A Very Tall Girl,” which played at the Transilvania International Film Festival and next will show up in Edinburgh, melds the strengths of all these influences to deliver a delightful, insightful sliver of a thing that feels both New Wave-authentic and airily spontaneous.

Continue reading Slight But Spirited Lgbt Romance ‘Several Conversations About A Very Tall Girl’ [Transilvania Review] at The Playlist.
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Three Shows That Are Changing the Look of Half-Hour Comedy

Three Shows That Are Changing the Look of Half-Hour Comedy
With over 500 scripted shows on TV and streaming platforms, one of the mandates of “peak TV” is that in order to get the audience’s attention shows need to be bold. While that certainly has impacted the type of stories being told, it also applies to visual storytelling. One of the most noticeable shifts in the last couple of years is that not only are half-hour shows pushing the envelope in terms of narrative structure, but how they have redefined what we expect in terms of the cinematography and filmic language in a TV comedy.

This year three sophomore shows – in three very different ways – have brought a cinematic style that challenges the notion that TV comedy must depend on the dialogue to carry the story. IndieWire talked to the cinematographers, directors and creators behind “Atlanta,” “Dear White People,” and “The Good Place” to go behind-the-scenes and learn how these
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Netflix Fires Director of Communications for ‘Descriptive Use of the N-Word’

After coming under fire for what Netflix CEO Reed Hastings referred to as “descriptive use of the N-word on at least two occasions,” Jonathan Friedland is leaving his post as Executive Director of Communications. He announced his exit with two tweets: “I’m leaving Netflix after seven years. Leaders have to be beyond reproach in the example we set and unfortunately I fell short of that standard when I was insensitive in speaking to my team about words that offend in comedy”

He continued, “I feel awful about the distress this lapse caused to people at a company I love and where I want everyone to feel included and appreciated. I feel honored to have built a brilliant and diverse global team and to have been part of our collective adventure.”

Within the company, Friedland’s departure was announced via a memo from Sarandos that claimed Friedland’s “unacceptably low
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‘Luke Cage’ Season 2 Review: The Marvel Hero’s Return Is Too Drawn Out, but Ends With a Fascinating Choice — Spoilers

[Editor’s note: The following review contains spoilers for “Marvel’s Luke Cage” Season 2.]

Like the changing of the seasons, another new superhero tale from the folks at Marvel and Netflix has arrived, continuing to expand upon the street-level action of New York City, far far away from any cosmic drama and snapping fingers.

Luke Cage” is extremely earthbound, in fact, focusing on the titular Harlem’s Hero (the always delightful Mike Colter) attempting to navigate his role as a very public superhero with all the complications of the modern world. Should he accept that endorsement deal? How should he handle the people he knows are up to no good in his neighborhood? And how do his actions affect the people around him?

The series comes in with an established world and very little catching up to do following the events of “The Defenders”, most importantly continuing the reign of Mariah as the crime queen she thinks Harlem needs. The only major new wrinkle
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‘Preacher’ Season 3 Review: One of TV’s Most Stylish Shows Loses the Plot While Searching for God

It’s no secret that no one stays dead on television anymore. Characters can always be revived, mortality can always be conquered, whether or not the show exists in any recognizable reality. What some of TV’s best shows have done is look at the consequences of that changing dynamic, the logistics of how to get viewers invested in the fates of people who may just live forever.

In its first two seasons, AMC’s graphic novel adaptation “Preacher” concerned itself with maybe the only thing bigger than death: the existence of God itself. Sometimes that’s manifested itself in the form of the series’ main character Jesse (Dominic Cooper) struggling to deal with an unstoppable power he’s been given. When the show hopped venues to New Orleans for Season 2, the essential trio of Jesse, Tulip (Ruth Negga), and Cassidy (Joseph Gilgun) searched for The Almighty inside jazz clubs and seedy off-highway motels.
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‘Get Out 2’: Jason Blum Says Jordan Peele Is ‘Flirting With the Idea’ of a Sequel to Their Horror Film

‘Get Out 2’: Jason Blum Says Jordan Peele Is ‘Flirting With the Idea’ of a Sequel to Their Horror Film
Is Jordan Peele making a sequel to “Get Out”? Producer Jason Blum won’t confirm or deny a “Get Out 2” in his new interview with Variety, although he is teasing the possibility of a sequel to the Oscar-winning horror film. When asked about a sequel, Blum said he would jump at the chance to make another “Get Out” as long as writer-director Peele is on board. Best of all, Blum said he believes Peele is “flirting with the idea” of a “Get Out 2.”

“If Jordan wants to do a sequel, I’ll do it in a second, but it has to come from Jordan Peele,” Blum said. “I think he’s flirting with the idea.”

Peele has expressed interest in the past of returning to the world of “Get Out.” At the Independent Spirit Awards earlier this year, the director told US Weekly that he’s “not closed off to a sequel,
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