Adapted and directed by Dan Rush, and based on a short story by Raymond Carver, EVERYTHING MUST GO tells the story of NICK PORTER (WILL FERRELL) a career salesman whose days of being on top are long gone. The same day Nick gets fired, for falling off the wagon one last time, he returns home to discover his wife has left him, changed the locks on their suburban home and dumped all his possessions out on the front yard. Faced with his life imploding, Nick puts it all on the line – or more properly, on the lawn – reluctantly holding a yard sale that becomes a unique strategy for survival. (Source)
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This spring, producer Judd Apatow (Knocked Up, Superbad) and director Paul Feig (creator of Freaks and Geeks) invite you to experience Bridesmaids. Kristen Wiig leads the cast as Annie, a maid of honor whose life unravels as she leads her best friend, Lillian (Maya Rudolph), and a group of colorful bridesmaids (Rose Byrne, Melissa McCarthy, Wendi McLendon-Covey and Ellie Kemper) on a wild ride down the road to matrimony. Annie’s life is a mess. But when she finds out her lifetime best friend is engaged, she simply must serve as Lillian’s maid of honor. Though lovelorn and broke, Annie bluffs her way through the expensive and bizarre rituals. With one chance to get it perfect, she’ll show Lillian and her bridesmaids just how far you’ll go for someone you love. (
A group of teenagers find their lives intersecting and their futures taking shape as they prepare for the most pivotal event of their high school careers. At first Nova Prescott is infuriated at a classmate who nearly destroys her plans for prom. But the closer the big day gets, the more she realizes that he may be the perfect date. Meanwhile, secretive seniors Tyler and Mei wrestle with the consciences over how to make the most of their big night as the rest of their classmates attempt to reconcile their explosive anticipation with their growing uncertainty over how the dance will ultimately pan out. (
Set in 1977 in a provincial French town, POTICHE is a free adaptation of the 1970s eponymous hit comic play. Catherine Deneuve is Suzanne Pujol, a submissive, housebound ‘trophy housewife’ (or “potiche,”) who steps in to manage her wealthy and tyrannical husband (Fabrice Lucchini)’s umbrella factory after the workers go on strike and take him hostage. To everyone’s surprise, Suzanne proves herself a competent and assertive woman of action. But when her husband returns from a restful cruise in top form, things get complicated. Gerard Depardieu plays a former union leader and Suzanne’s ex-beau who still holds a flame for her. Acclaimed writer-director Francois Ozon (“Swimming Pool,” “Under the Sand,” “Time to Leave,”) who had previously directed Ms. Deneuve in “8 Women,” twists the original play on its head to create his own satirical and hilarious take on the war between the sexes and classes. (
When her five grown-up children fail to answer her call for a family gathering, exacerbated mother Shirley calls on outspoken force of nature Madea to see that everyone comes together to discuss some rather important issues in this filmed stage play written and directed by Tyler Perry. With everyone finally assembled thanks to Madea’s tenacity, Shirley addresses some important family secrets, reveals that she’s in the midst of a financial crisis, and engages her sons and daughters in a serious talk about drugs. Through it all, Madea makes it a point to emphasize the importance of faith in helping her family weather the rough waters ahead, and stay true to their values. – Jason Buchanan, Rovi (
In this irreverent comedy, awkward teenager Tobe (Dustin Ingram) sets off on a road trip to meet Monica Velour (Kim Cattrall), his favorite ’80s porn star, at a rare live appearance hundreds of miles away. Instead of the glamorous sexpot portrayed on film, he finds a 49-year-old single mom living in a trailer in rural Indiana, performing at seedy strip clubs to make ends meet. A starry-eyed Tobe, still captivated by his crush, befriends Monica, further complicating her difficult life. Kim Cattrall gives a career-defining performance in this offbeat love story that appeals to the dreamer — and the nerd — in all of us. (
A family, including a young couple, travels to Paris, France for business and have their lives transformed. (
Irresponsible charmer Arthur Bach has always relied on two things to get by: his limitless fortune and the good sense of lifelong nanny Hobson to keep him out of trouble. Now he faces his biggest challenge — choosing between an arranged marriage that will ensure his lavish lifestyle or an uncertain future with the one thing money can’t buy, Naomi, the only woman he has ever loved. With Naomi’s inspiration and some unconventional help from Hobson, Arthur will take the most expensive risk of his life and finally learn what it means to become a man. (
When a house painter inadvertently receives some penguins from a friend in Antarctica, he decides to train them as a circus act. (
Boundary-pushing Oscar(R)-nominated filmmaker Morgan Spurlock explores the world of product placement, marketing and advertising in POM Wonderful Presents: The Greatest Movie Ever Sold, a film that was fully financed through product placement from various brands, all of which are integrated transparently into the film. While using brands in film promotion is not new for Hollywood, it certainly is new territory for the documentary format. Spurlock exploits the phenomenon to new heights, with everything from branded pizza boxes and in-flight film promotions to branded-everything in-film. With humor and insight, POM Wonderful Presents: The Greatest Movie Ever Sold unmasks the marketing process to bring audiences behind closed doors directly into the pitch meetings and marketing presentations which ultimately inform our everyday entertainment decisions. Sponsors were provided with brand category exclusivity. The brands that agreed to sponsor the film placed Spurlock front and center in their brand campaigns and advertisements, both on and off-line. Partners have the unique right to promote themselves in association with Spurlock and the film as “The Greatest.” The agreements also stipulate that Spurlock maintains creative control of the film’s content and final edit. (