Exclusive: Karen Gillan (Thor: Love and Thunder) will star opposite Margaret Sophie Stein (Bullets Over Broadway), Jermaine Fowler (Sorry to Bother You), Kevin Nealon (SNL) and Talia Balsam (Divorce) in the Lisa Steen-directed comedy Late Bloomers from We’re Doin’ Great and Park Pictures, which has wrapped production in Brooklyn, NY.
The film written by Anna Greenfield is loosely based on her experience living in Brooklyn in her 20s. It centers on Louise (Gillan), an aimless millennial who drunkenly breaks her hip, landing her in physical therapy. There, she makes an elderly Polish Bff (Stein) who speaks no English. And it’s this unlikely friendship that gives her the courage to face what she’s been running from all along: Her mother’s early-onset Alzheimer’s. Fowler plays Louise’s Craigslist roommate/landlord Brick, with Nealon and Balsam as her parents.
Late Bloomers marks the feature directorial debut of Greenfield’s frequent collaborator,...
The film written by Anna Greenfield is loosely based on her experience living in Brooklyn in her 20s. It centers on Louise (Gillan), an aimless millennial who drunkenly breaks her hip, landing her in physical therapy. There, she makes an elderly Polish Bff (Stein) who speaks no English. And it’s this unlikely friendship that gives her the courage to face what she’s been running from all along: Her mother’s early-onset Alzheimer’s. Fowler plays Louise’s Craigslist roommate/landlord Brick, with Nealon and Balsam as her parents.
Late Bloomers marks the feature directorial debut of Greenfield’s frequent collaborator,...
- 7/14/2022
- by Matt Grobar
- Deadline Film + TV
Who will be included for the special “In Memoriam” segment for Sunday night’s Oscars 2022 ceremony? For almost all other Academy Awards productions since the 1990s, producers typically select 40-50 people from the various branches. The 2021 segment had close to 100 people in a particularly fast-paced three minutes that was not very well-received since many of them were only on screen for a second or two.
SEECelebrity Deaths 2022: In Memoriam Gallery
Previous Oscar winners from acting categories passing away since last year’s late April ceremony are Olympia Dukakis, William Hurt and Sidney Poitier. Past acting nominees include Ned Beatty, Sally Kellerman and Dean Stockwell.
Almost all of the dozens on the list below were Academy members, previous nominees/winners or both.
Louie Anderson (actor)
Ed Asner (actor)
Ned Beatty (actor)
Marilyn Bergman (composer)
Val Bisoglio (actor)
Robert Blalack (visual effects)
Peter Bogdanovich (director)
David Brenner (editor)
Leslie Bricusse (composer...
SEECelebrity Deaths 2022: In Memoriam Gallery
Previous Oscar winners from acting categories passing away since last year’s late April ceremony are Olympia Dukakis, William Hurt and Sidney Poitier. Past acting nominees include Ned Beatty, Sally Kellerman and Dean Stockwell.
Almost all of the dozens on the list below were Academy members, previous nominees/winners or both.
Louie Anderson (actor)
Ed Asner (actor)
Ned Beatty (actor)
Marilyn Bergman (composer)
Val Bisoglio (actor)
Robert Blalack (visual effects)
Peter Bogdanovich (director)
David Brenner (editor)
Leslie Bricusse (composer...
- 3/24/2022
- by Chris Beachum
- Gold Derby
Mark Tarlov, who produced the John Waters-directed films “Pecker,” “Serial Mom” and “Cecil B. Demented,” died on July 31 at his home in Manhattan due to cancer, his family announced. He was 69.
Starting his career in entertainment in 1979, Tarlov worked in business affairs at Warner Bros. before executive producing his first feature, “Christine,” based on the Stephen King novel. In 1986, Tarlov produced Sidney Lumet’s “Power,” which starred Richard Gere, Gene Hackman and Julie Christie. In 1995, he produced “Copycat,” starring Holly Hunter and Sigourney Weaver.
In 1990, he worked with the British novelist William Boyd to transform Mario Vargas Llosa’s 1977 book “Aunt Julia and the Scriptwriter” into “Tune in Tomorrow,” directed by Jon Amiel and starring Keanu Reeves, Peter Falk, Barbara Hershey, Patricia Clarkson and John Larroquette. The film won the audience and critics awards at the Deauville Film Festival, and was closing-night selection at the Toronto International Film Festival.
Starting his career in entertainment in 1979, Tarlov worked in business affairs at Warner Bros. before executive producing his first feature, “Christine,” based on the Stephen King novel. In 1986, Tarlov produced Sidney Lumet’s “Power,” which starred Richard Gere, Gene Hackman and Julie Christie. In 1995, he produced “Copycat,” starring Holly Hunter and Sigourney Weaver.
In 1990, he worked with the British novelist William Boyd to transform Mario Vargas Llosa’s 1977 book “Aunt Julia and the Scriptwriter” into “Tune in Tomorrow,” directed by Jon Amiel and starring Keanu Reeves, Peter Falk, Barbara Hershey, Patricia Clarkson and John Larroquette. The film won the audience and critics awards at the Deauville Film Festival, and was closing-night selection at the Toronto International Film Festival.
- 8/9/2021
- by Ethan Shanfeld
- Variety Film + TV
Mark Tarlov, who produced such films as Copycat and Serial Mom, passed away on July 31st after a battle with cancer. His family made the announcement. Tarlov was 69.
Tarlov landed his first entertainment job in Business Affairs at Warner Bros. in 1979. Four years later, he EP’d his first feature, Christine, based on the Stephen King novel and directed by John Carpenter. Next, he produced Sidney Lumet’s Power starring Richard Gere, Gene Hackman and Julie Christie.
In the ’90s Tarlov worked with the British novelist William Boyd to transform the Mario Vargas Llosa novel, Aunt Julia and the Scriptwriter into the offbeat film, Tune in Tomorrow, directed by Jon Amiel and starring Keanu Reeves, Peter Falk, Barbara Hershey, Patricia Clarkson and John Larroquette. His collaboration with William Boyd grew into a lifelong friendship and yielded another film based on Boyd’s novel, A Good Man in Africa starring Colin Friels,...
Tarlov landed his first entertainment job in Business Affairs at Warner Bros. in 1979. Four years later, he EP’d his first feature, Christine, based on the Stephen King novel and directed by John Carpenter. Next, he produced Sidney Lumet’s Power starring Richard Gere, Gene Hackman and Julie Christie.
In the ’90s Tarlov worked with the British novelist William Boyd to transform the Mario Vargas Llosa novel, Aunt Julia and the Scriptwriter into the offbeat film, Tune in Tomorrow, directed by Jon Amiel and starring Keanu Reeves, Peter Falk, Barbara Hershey, Patricia Clarkson and John Larroquette. His collaboration with William Boyd grew into a lifelong friendship and yielded another film based on Boyd’s novel, A Good Man in Africa starring Colin Friels,...
- 8/9/2021
- by Tom Tapp
- Deadline Film + TV
Mark Tarlov, a producer on the John Waters-directed films Pecker, Serial Mom and Cecil B. Demented, died July 31 at his home in Manhattan after a battle with cancer, his family announced. He was 69.
Tarlov also worked with British novelist William Boyd to transform the 1977 Mario Vargas Llosa book Aunt Julia and the Scriptwriter into the offbeat Tune in Tomorrow (1990), directed by Jon Amiel and starring Keanu Reeves, Peter Falk, Barbara Hershey, Patricia Clarkson and John Larroquette.
Tune in Tomorrow was the closing-night selection at the Toronto International Film Festival and won the audience and critics awards at the Deauville Film Festival.
The ...
Tarlov also worked with British novelist William Boyd to transform the 1977 Mario Vargas Llosa book Aunt Julia and the Scriptwriter into the offbeat Tune in Tomorrow (1990), directed by Jon Amiel and starring Keanu Reeves, Peter Falk, Barbara Hershey, Patricia Clarkson and John Larroquette.
Tune in Tomorrow was the closing-night selection at the Toronto International Film Festival and won the audience and critics awards at the Deauville Film Festival.
The ...
Mark Tarlov, a producer on the John Waters-directed films Pecker, Serial Mom and Cecil B. Demented, died July 31 at his home in Manhattan after a battle with cancer, his family announced. He was 69.
Tarlov also worked with British novelist William Boyd to transform the 1977 Mario Vargas Llosa book Aunt Julia and the Scriptwriter into the offbeat Tune in Tomorrow (1990), directed by Jon Amiel and starring Keanu Reeves, Peter Falk, Barbara Hershey, Patricia Clarkson and John Larroquette.
Tune in Tomorrow was the closing-night selection at the Toronto International Film Festival and won the audience and critics awards at the Deauville Film Festival.
The ...
Tarlov also worked with British novelist William Boyd to transform the 1977 Mario Vargas Llosa book Aunt Julia and the Scriptwriter into the offbeat Tune in Tomorrow (1990), directed by Jon Amiel and starring Keanu Reeves, Peter Falk, Barbara Hershey, Patricia Clarkson and John Larroquette.
Tune in Tomorrow was the closing-night selection at the Toronto International Film Festival and won the audience and critics awards at the Deauville Film Festival.
The ...
You don’t dare cross Beverly Sutphin… Scream Factory has a special treat in store for John Waters fans, as they have announced a new Collector’s Edition Blu-ray of 1994’s Serial Mom that will make its North American Blu-ray debut this May, including a new conversation with Waters himself.
Press Release: If you are ill-mannered, have a poor sense of social etiquette or just plain irresponsible, then beware of the cheerfully psychotic housewife Beverly Sutphin from John Waters’ wickedly hilarious cult classic, Serial Mom. She will stop at nothing to rid of anyone failing to live up to her moral code! Starring Kathleen Turner (Romancing the Stone) as Beverly Sutphin, Sam Waterston (Grace and Frankie) and Ricki Lake (Hairspray), writer-director and pop culture icon John Waters puts a twist on the everyday mediocrity of suburban life in this outrageous dark comedy brimming with his unique brand of perverse humor and high camp.
Press Release: If you are ill-mannered, have a poor sense of social etiquette or just plain irresponsible, then beware of the cheerfully psychotic housewife Beverly Sutphin from John Waters’ wickedly hilarious cult classic, Serial Mom. She will stop at nothing to rid of anyone failing to live up to her moral code! Starring Kathleen Turner (Romancing the Stone) as Beverly Sutphin, Sam Waterston (Grace and Frankie) and Ricki Lake (Hairspray), writer-director and pop culture icon John Waters puts a twist on the everyday mediocrity of suburban life in this outrageous dark comedy brimming with his unique brand of perverse humor and high camp.
- 2/1/2017
- by Derek Anderson
- DailyDead
In the 1970’s, Mark Tarlov worked as a speechwriter for the Supreme Court and then as an attorney for the Justice Department. In the ‘80s and ‘90s, Tarlov produced over a dozen films and, just before the millennium, directed his first (Simply Irresistible). Nowadays, as the co-founder of Maison L’Envoyé, he is best known as […]
The post How Did This Get Made: A Conversation with Mark Tarlov, Director of Simply Irresistible appeared first on /Film.
The post How Did This Get Made: A Conversation with Mark Tarlov, Director of Simply Irresistible appeared first on /Film.
- 7/1/2016
- by Blake Harris
- Slash Film
Sneak Peek director Mark Tarlov's 1999 comedy romance feature "Simply Irresistible", now available on Blu-ray/DVD from Anchor Bay, starring Sarah Michelle Gellar, Sean Patrick Flanery, Patricia Clarkson and Dylan Baker:
"...'Amanda Shelton' (Gellar) is the chef at 'Southern Cross', a trendy Tribeca restaurant she inherited from her legendary mother.
"Not the most inspired of culinary artists, Amanda is running the establishment into the ground, until a cab-driving, Cupid-like guardian angel playwright 'Christopher Durang' intervenes with a magical crab that puts Amanda in the path of slick spin master 'Tom Bartlett' (Flanery)..."
Click the images to enlarge and Sneak Peek "Simply Irresistible"....
"...'Amanda Shelton' (Gellar) is the chef at 'Southern Cross', a trendy Tribeca restaurant she inherited from her legendary mother.
"Not the most inspired of culinary artists, Amanda is running the establishment into the ground, until a cab-driving, Cupid-like guardian angel playwright 'Christopher Durang' intervenes with a magical crab that puts Amanda in the path of slick spin master 'Tom Bartlett' (Flanery)..."
Click the images to enlarge and Sneak Peek "Simply Irresistible"....
- 6/3/2013
- by Michael Stevens
- SneakPeek
Film review: 'Simply Irresistible'
The Great Winter Studio Dump-Off continues with Fox's "Simply Irresistible", an insufferable romantic comedy starring Sarah Michelle Gellar as a mopey restauranteur whose newfound magical cooking technique spices up her love life.
Not even a whole vat of Chef Emeril's "essence" would make this glop palatable.
Despite the enticing title and Gellar's proven drawing power, this seriously muddled first film by successful producer Mark Tarlov (from an equally problematic first script by former lawyer Judith Roberts) will likely prove most unappetizing for its targeted twentysomething audience.
Gellar has been given mousy brownish hair for the role of Amanda Shelton, a not-so-talented chef for her late mother's struggling TriBeCa restaurant. While it has belonged to her family for the better part of this century, the Southern Cross has been having trouble making its recently jacked-up rent and the future's not looking rosy.
Enter a mysterious, impish farmers market merchant (playwright Christopher Durang), who sells Amanda a magic crab, et voila, she starts whipping up culinary masterpieces in the restaurant's tiny kitchen, much to the pleasant surprise of her loyal sous-chef, Nolan (Larry Gilliard Jr.), and her aunt/hostess Stella (Betty Buckley).
Soon business is booming, and more importantly, things start to really cook between her and Tom Bartlett Sean Patrick Flanery), a starchy exec at Bendel's who's in charge of overseeing the opening of the New York fashion institution's chichi in-store restaurant.
Aiming for something of a '40s romantic style combined with a hint of '30s screwball comedy and a '90s independent-minded sensibility, "Simply Irresistible" ends up being an unfocused mishmash.
The punchlines sag with a leaden lethargy, the scenes feel stifled and repetitive, and Roberts' mechanical, anemic script has an annoying habit of having characters discuss what has transpired in the previous scene. Why the Henri Bendel people would agree to extensively lend their respectable image to the convoluted plot -- it ain't "Breakfast at Tiffany"'s -- remains the picture's singular intriguing aspect.
While Gellar works hard to imbue her underdeveloped character with a rooted, vulnerable determination and Flanery has his flappable moments, the three-named pair fail to generate any necessary sparks. There's more electricity in an ice cube.
SIMPLY IRRESISTIBLE
20th Century Fox
Regency Enterprises presents
A Polar production
Director: Mark Tarlov
Screenwriter: Judith Roberts
Producers: John Fiedler, Jon Amiel and Joe Caracciolo Jr.
Executive producers: Arnon Milchan and Elisabeth Robinson
Co-producer: Brian Maas
Director of photography: Robert Stevens
Production designers: John Kasarda and William Barclay
Editor: Paul Karasick
Costume designer: Katherine Jane Bryant
Music: Gil Goldstein
Casting: Hopkins Smith Barden
Color/stereo
Cast:
Amanda Shelton: Sarah Michelle Gellar
Tom Bartlett: Sean Patrick Flanery
Stella: Betty Buckley
Lois McNally: Patricia Clarkson
Jonathan Bendel: Dylan Baker
Gene O'Reilly: Christopher Durang
Nolan Traynor: Larry Gilliard Jr.
Running time -- 95 minutes
MPAA rating: PG-13...
Not even a whole vat of Chef Emeril's "essence" would make this glop palatable.
Despite the enticing title and Gellar's proven drawing power, this seriously muddled first film by successful producer Mark Tarlov (from an equally problematic first script by former lawyer Judith Roberts) will likely prove most unappetizing for its targeted twentysomething audience.
Gellar has been given mousy brownish hair for the role of Amanda Shelton, a not-so-talented chef for her late mother's struggling TriBeCa restaurant. While it has belonged to her family for the better part of this century, the Southern Cross has been having trouble making its recently jacked-up rent and the future's not looking rosy.
Enter a mysterious, impish farmers market merchant (playwright Christopher Durang), who sells Amanda a magic crab, et voila, she starts whipping up culinary masterpieces in the restaurant's tiny kitchen, much to the pleasant surprise of her loyal sous-chef, Nolan (Larry Gilliard Jr.), and her aunt/hostess Stella (Betty Buckley).
Soon business is booming, and more importantly, things start to really cook between her and Tom Bartlett Sean Patrick Flanery), a starchy exec at Bendel's who's in charge of overseeing the opening of the New York fashion institution's chichi in-store restaurant.
Aiming for something of a '40s romantic style combined with a hint of '30s screwball comedy and a '90s independent-minded sensibility, "Simply Irresistible" ends up being an unfocused mishmash.
The punchlines sag with a leaden lethargy, the scenes feel stifled and repetitive, and Roberts' mechanical, anemic script has an annoying habit of having characters discuss what has transpired in the previous scene. Why the Henri Bendel people would agree to extensively lend their respectable image to the convoluted plot -- it ain't "Breakfast at Tiffany"'s -- remains the picture's singular intriguing aspect.
While Gellar works hard to imbue her underdeveloped character with a rooted, vulnerable determination and Flanery has his flappable moments, the three-named pair fail to generate any necessary sparks. There's more electricity in an ice cube.
SIMPLY IRRESISTIBLE
20th Century Fox
Regency Enterprises presents
A Polar production
Director: Mark Tarlov
Screenwriter: Judith Roberts
Producers: John Fiedler, Jon Amiel and Joe Caracciolo Jr.
Executive producers: Arnon Milchan and Elisabeth Robinson
Co-producer: Brian Maas
Director of photography: Robert Stevens
Production designers: John Kasarda and William Barclay
Editor: Paul Karasick
Costume designer: Katherine Jane Bryant
Music: Gil Goldstein
Casting: Hopkins Smith Barden
Color/stereo
Cast:
Amanda Shelton: Sarah Michelle Gellar
Tom Bartlett: Sean Patrick Flanery
Stella: Betty Buckley
Lois McNally: Patricia Clarkson
Jonathan Bendel: Dylan Baker
Gene O'Reilly: Christopher Durang
Nolan Traynor: Larry Gilliard Jr.
Running time -- 95 minutes
MPAA rating: PG-13...
- 2/5/1999
- The Hollywood Reporter - Movie News
Film review: 'Man Who Knew Too Little'
Bill Murray's in his element as an unwitting secret agent in the spy spoof "The Man Who Knew Too Little".
But while the performance is vintage Murray, the vehicle is a little wobbly.
Based on the unpublished novel "Watch That Man" by England's Robert Farrar, the mistaken-identity story has an unmistakably warmed-over feel, playing out like a Peter Sellers movie that got away.
The elements are certainly all there, but director Jon Amiel ("Copycat", "Sommersby") and co-writer and frequent Murray collaborator Howard Franklin ("Larger Than Life", "Quick Change") have opted for a laid-back, low-key approach to the kind of material that cries out for more of an "Austin Powers" broadness.
As a result, the intermittently amusing picture never quite attains crowd-pleasing status. While it could use a big hit, Warner Bros. shouldn't expect "The Man Who Knew Too Little" to do too much at the boxoffice.
Murray tones down the patented sarcasm as Wallace Ritchie, an Iowa video store clerk who treats himself to a trip to London, where he'll be able to celebrate his birthday with his very successful, big-business brother, James (Peter Gallagher).
As it happens, Wallace's surprise visit coincides with a very important party James is having for potential investors. Determined to keep Wallace occupied and out of the way for a few hours, James gets him a ticket to "Theatre of Life", one of those participatory pieces in which role-playing audience members interact with the performers.
The rules are simple. Wallace must wait at a phone booth until he gets the call to show up at a designated location. But quicker that you can say, "Sorry, Wrong Number", he inadvertently intercepts a call made for a real-life, hired assassin whose people are hell-bent on reviving the Cold War with Russia.
After some initial awkwardness, Wallace quickly gets into his "role," gleefully unaware that the fate of the entire free world is hanging on his every movement.
Playing his part in a "Walter Mitty" state of sustained bliss (he never does cotton to his mistaken identity status), Murray brings an infectious, little-boy innocence to the picture.
It's too bad director Amiel and screenwriters Farrar and Franklin couldn't give the picture a stronger comic backbone. While the pace picks up a bit toward the end, it's a case of too little, too late.
THE MAN WHO KNEW TOO LITTLE
Warner Bros.
Regency Enterprises presents
An Arnon Milchan/Polar production
A Jon Amiel film
Director: Jon Amiel
Screenwriters: Robert Farrar and Howard Franklin
Producers: Arnon Milchan, Michael Nathanson, Mark Tarlov
Based on the novel, "Watch That Man" by Robert Farrar
Executive producers: Elisabeth Robinson, Joe Caracciolo Jr.
Director of photography: Robert Stevens
Production designer: Jim Clay
Editor: Pamela Power
Costume designer: Janty Yates
Music: Chris Young
Casting: Michelle Guish
U.S. casting: Hopkins, Smith & Barden
Color/stereo
Cast:
Wallace Ritchie: Bill Murray
James Ritchie: Peter Gallagher
Lori: Joanne Whalley
Sir Roger Daggenhurst: Richard Wilson
Boris: Alfred Molina
Embleton: John Standing
Running time -- 95 minutes
MPAA rating: PG-13...
But while the performance is vintage Murray, the vehicle is a little wobbly.
Based on the unpublished novel "Watch That Man" by England's Robert Farrar, the mistaken-identity story has an unmistakably warmed-over feel, playing out like a Peter Sellers movie that got away.
The elements are certainly all there, but director Jon Amiel ("Copycat", "Sommersby") and co-writer and frequent Murray collaborator Howard Franklin ("Larger Than Life", "Quick Change") have opted for a laid-back, low-key approach to the kind of material that cries out for more of an "Austin Powers" broadness.
As a result, the intermittently amusing picture never quite attains crowd-pleasing status. While it could use a big hit, Warner Bros. shouldn't expect "The Man Who Knew Too Little" to do too much at the boxoffice.
Murray tones down the patented sarcasm as Wallace Ritchie, an Iowa video store clerk who treats himself to a trip to London, where he'll be able to celebrate his birthday with his very successful, big-business brother, James (Peter Gallagher).
As it happens, Wallace's surprise visit coincides with a very important party James is having for potential investors. Determined to keep Wallace occupied and out of the way for a few hours, James gets him a ticket to "Theatre of Life", one of those participatory pieces in which role-playing audience members interact with the performers.
The rules are simple. Wallace must wait at a phone booth until he gets the call to show up at a designated location. But quicker that you can say, "Sorry, Wrong Number", he inadvertently intercepts a call made for a real-life, hired assassin whose people are hell-bent on reviving the Cold War with Russia.
After some initial awkwardness, Wallace quickly gets into his "role," gleefully unaware that the fate of the entire free world is hanging on his every movement.
Playing his part in a "Walter Mitty" state of sustained bliss (he never does cotton to his mistaken identity status), Murray brings an infectious, little-boy innocence to the picture.
It's too bad director Amiel and screenwriters Farrar and Franklin couldn't give the picture a stronger comic backbone. While the pace picks up a bit toward the end, it's a case of too little, too late.
THE MAN WHO KNEW TOO LITTLE
Warner Bros.
Regency Enterprises presents
An Arnon Milchan/Polar production
A Jon Amiel film
Director: Jon Amiel
Screenwriters: Robert Farrar and Howard Franklin
Producers: Arnon Milchan, Michael Nathanson, Mark Tarlov
Based on the novel, "Watch That Man" by Robert Farrar
Executive producers: Elisabeth Robinson, Joe Caracciolo Jr.
Director of photography: Robert Stevens
Production designer: Jim Clay
Editor: Pamela Power
Costume designer: Janty Yates
Music: Chris Young
Casting: Michelle Guish
U.S. casting: Hopkins, Smith & Barden
Color/stereo
Cast:
Wallace Ritchie: Bill Murray
James Ritchie: Peter Gallagher
Lori: Joanne Whalley
Sir Roger Daggenhurst: Richard Wilson
Boris: Alfred Molina
Embleton: John Standing
Running time -- 95 minutes
MPAA rating: PG-13...
- 11/10/1997
- The Hollywood Reporter - Movie News
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