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CONFESSIONS OF A SHOPAHOLIC Review

CONFESSIONS OF A SHOPAHOLIC Review

Brandon Harris
By Brandon Harris posted 9 months ago
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Its rare that a moment in a deeply flawed film completely signifies (and transcends) its tone deafness, but at one point in the preternaturally ridiculous, surprisingly star-studded, hatched well before the Recession panic Confessions of a Shopaholic, John Goodman, who’s made a side career of late playing dad to kids who drive fast and spend a lot, looks out at the a small New Jersey bay where he likes to come with his family. He stands next to his beautiful daughter, the “shopaholic” of the title, and offers a bit of perspective. He says, looking into Isla Fisher’s deeply vacant, always pleading eyes, “If the US can be billions of dollars in debt and survive, you can too.”

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Momma’s Day: Trade Roughage 03/05/08

Karina Longworth
By Karina Longworth posted 1 year ago
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  • ThinkFilm has announced their acquisition of Azazel Jacobs’ Momma’s Man, for theatrical release after its New York premiere at New Directors/New Films next month. We reviewed the film (which I love) when it premiered at Sundance, and also interviewed Azazel.
  • Joan Cusack is playing Isla Fisher’s mom in a romantic comedy about a New York magazine journalist with a lot of credit card debt (ah, romance). Before you ask, “Wait, does that even make mathematical sense?”––yes, it does. If Joan gave birth when she was 14. Eight years before playing a teenager in Sixteen Candles.
  • Speaking of fuzzy math, I don’t understand these figures at all.  Turner Broadcasting (TBS, TNT, etc) has picked up broadcast rights to a number of films that will theoretically be released by New Line and Picturehouse later this year. Variety says, “The coin involved in Turner’s purchase…[comes] in at a high end of about 11% of the eventual domestic box office gross of the four New Line pictures.” How do you calculate eventual gross on films that have not only not opened, but which lie in limbo because their ostensible distributor no longer really exists? According to this story, Warners execs have just started screening films on New Line’s leftovers, and questions like “What pictures will ultimately make it to the slate, and when will they be released?” have yet to be answered. Isn’t the eventual gross of, say, The Women remake heavily dependent on whether or not Warner Brothers gives it the full push as if it were one of its own, or, conversely, dumps it in September when all their “real” fall films are opening at Toronto?