Latest news with #PEN15
Yahoo
16-05-2025
- Entertainment
- Yahoo
‘Friendship' Moves To Top Ten Markets, Star Tim Robinson's Hometown Detroit; ‘Sister Midnight', ‘The Old Woman With The Knife'
After a stellar limited opening last weekend, A24's jumps from 6 to 60 screens in top ten markets plus Detroit, the hometown of star Tim Robinson. The comedy bromance with Robinson and Paul Rudd soared to $451k on screens in New York and LA, the top limited opening of 2025, with a per screen average of over $75k. Written and directed by Andrew DeYoung (Our Flag Means Death, PEN15). With Kate Mara, Jack Dylan Grazer. Robinson, the former SNL performer and writer is the face of his popular Netflix sketch comedy I Think You Should Leave. Magnolia Pictures/Magnet Releasing opens , the debut feature of London-based Indian artist and writer-director Karan Kandhari starring Radhika Apte, Ashok Pathak, Chhaya Kadam and Smita Tambe, at the Angelika Film Center in NYC. A rebellious small-town misfit Uma (acclaimed Indian actress Apte) arrives in Mumbai to find herself totally unsuited to life as a housewife. At odds with her prying neighbors and under the constant oppressive noise and heat of the city, she decides to break free from the shackles of domesticity and follow her own path. Featuring an eclectic soundtrack (Interpol frontman Paul Banks makes his debut as composer) and interesting visual aesthetic, the film world-premiered in Cannes' Directors Fortnight and won the award for Best Film in the Next Wave section at Fantastic Fest. More from Deadline 'Friendship' Skyrockets To Top Limited Opening Of 2025 For Tim Robinson, Paul Rudd Comedy - Specialty Box Office 'Friendship' Comedy Bromance With Tim Robinson, Paul Rudd Selling Tickets And Hats - Specialty Preview Paramount's Republic Pictures Takes International Rights To Tim Robinson & Paul Rudd Comedy 'Friendship' Adds LA (Landmark Nuart and Alamo Drafthouse DTLA) next week with additional cities to follow. At 96% with critics on Rotten Tomatoes. Fathom is beaming Strauss' for The Met: Live In HD on Saturday at 1 pm ET across 700 theaters. Encores on Wednesday at 1 pm and 6:30 pm local time. Soprano Elza van den Heever stars in the title role, alongside baritone Peter Mattei as Jochanaan in the company's first revisiting of the opera in more than 20 years. In his Met debut, director Claus Guth leads a Victorian-era production that explores societal tension and modern psychological themes. 'We were inspired by Stanley Kubrick's Eyes Wide Shut, which has this same kind of atmosphere — normal people behaving normally in the daytime, but you'd never expect the parallel life they lead at night,' says Guth. Yannick Nézet-Séguin conducts the one-act tragedy for his first time at the Met. Mezzo-soprano Michelle DeYoung is Herodias, alongside tenor Gerhard Siegel as Herod and tenor Piotr Buszewski as Narraboth. The Met Live series has been a stalwart of the specialty box office this year. from Juno Films opens in limited release at 16 theaters including New York and LA. Directed by Academy Award and two-Time Golden Globe Winner Bille August, starring Esben Smed, Clara Rosager, Lars Mikkelsen, David Dencik and Rosalinde Mynster. The romantic historical drama set against the backdrop of 1913 Denmark at the start of World War I was adapted by August and Greg Latter based on Stefan Zweig's German classic novel Beware of Pity. It's has a nice festival run. Follows Anton Abildgaard, a noble cavalry officer hoping to complete his military training with distinction. After helping the local Baron Løvenskjold out of a tough situation, he is invited to join the family for dinner at their castle, where he meets the Baron's beautiful wheelchair bound daughter, Edith. As Edith slowly falls in love, Anton struggles to understand if his feelings for her are genuine or merely out of pity, while the ominous threat of the first World War looms over them. Korean action thriller from Well Go USA opens on 27 screens. Directed by Min Kyu-dong (All About My Wife), the film follows Hornclaw, a veteran assassin whose fading strength is tested when a younger killer with ties to a buried mission resurfaces, forcing her into a reckoning shaped by survival, memory, and long-suppressed consequences — all set within a grounded, stylized world that reframes the action thriller through a distinctly female perspective. Premiered in Berlin. Stars Lee Hye-young (In Front Of Your Face, The Novelist's Film) alongside Kim Sung-cheol (Our Beloved Summer), Yeon Woo-jin (Daily Dose Of Sunshine) and Kim Moo-yul (The Roundup: Punishment). Adapted from the novel by Gu Byeong-mo, author of Apartment Women. GVN Releasing is out with July 7: Who Killed the President?, a Haitian-set and produced political thriller from filmmaker Robenson Lauvince, in about 20 theaters, more theaters being adding with demand. The story of a curious college student who travels to Haiti to unravel the life of its President Renel Moïse for a memoir and gets a front-row seat to the chaos and intrigue of a bloody political firestorm when he is brutally assassinated. This unexpected turn of events introduces a terrifying twist to what she thought would be an ordinary story. As she chases the truth, she is forced to navigate a world of corruption, betrayal, and power where uncovering what really happened could cost her life. Seismic Films and Mena Films presents thriller , written, directed and self distributed by Stevan Mena (Bereavement, Malevolence) and starring Veronica Cartwright (Alien, The Witches ofEastwick), Michael Steger (90210), and Madelyn Dundon (Getting Grace) on 400+ screens including AMC and Regal theaters for a one week run. When the in-home caregiver assigned to an elderly patient mysteriously vanishes, Dale (Dundon) is quickly sent as the replacement nurse. She rushes to the remote seaside home, only to find herself in the middle of chaos — forced to deal with an unruly patient, mysterious neighbors and terrifying supernatural occurrences that seem to plague the home. As the walls close in, unsure whom she can trust, Dale fears for her life and that of her patient. Romcom , written and directed by Max Talisman and the first theatrical release from Andrew Felts and Ryan Bury's new distribution shingle MPX Releasing, opens on 300 screens. Follows two men named Zack — a struggling writer and a talent agent assistant, played by Max Talisman and Joey Pollari (Love, Simon) — as they navigate love, friendship, and identity in New York City. Ensemble cast by includes Charlie Tahan, Cara Buono, Jackie Cruz, Eric Roberts. MORE Best of Deadline Everything We Know About 'Jurassic World: Rebirth' So Far Everything We Know About Paramount's 'Regretting You' Adaptation So Far 2025 TV Cancellations: Photo Gallery
Los Angeles Times
09-05-2025
- Entertainment
- Los Angeles Times
It's hilarious. It's awkward. It's ‘Friendship'
We keep hearing that we're in a male-loneliness epidemic. The agonizing and hilarious 'Friendship' makes it feel like the Black Death. Written and directed by debuting filmmaker Andrew DeYoung (TV's 'PEN15,' 'Shrill'), this bromance trembles as guy meets man-child, guy dumps man-child and man-child burns everything down. It's a reflection of the adult struggle to make new friends as seen through a spook-house mirror. Tim Robinson plays Craig, a dad who is delighted to pal around with his new neighbor, Austin (Paul Rudd), until a boys' night ends in a punch and, eventually, someone calling the cops. Craig's grief over his lost BFF makes him fume with denial, anger, bargaining and depression. Acceptance is impossible. Spontaneous nose bleeds happen twice. Elsewhere, Robinson has become the poster boy for male social anxiety: the pariah who is so flummoxed by the rules of polite chitchat that he crosses the line and bursts into tears. On his cult sketch show 'I Think You Should Leave,' he's won two consecutive Emmys for the way he layers vulnerability under anger, like the skit in which he gets himself kicked out of an adults-only ghost tour and blubbers, 'I don't know what is going on, but somehow our wires got crossed!' Robinson has never claimed that his characters are on the spectrum, but autistic viewers have made fan videos about how much they relate to his confusion. Only 5' 8', Robinson can appear threateningly huge. Choices that would diminish other actors — oversized jackets, hunched shoulders, public mockery — only make him puff up bigger. When Craig senses humiliation on the horizon, he goes on the attack. He wants desperately to fit in, but he'd rather interrupt, challenge and correct than let the tension relax. 'Friendship' looks and feels so much like a feature-length extension of 'ITYSL' that it's worth pointing out that DeYoung came up with the script idea in 2018 before that show existed. The movie would be a totally different animal if it starred, say, Adam Sandler or Will Ferrell. Perhaps working in television has trained DeYoung to adapt to other's sensibilities before insisting on his own. 'Friendship' surrounds Robinson with normalcy: filler talk, obliging laughter and the kind of handsome lighting you'd see in a home-insurance commercial. Craig somehow has a lovely wife (Kate Mara) and believable son (the always engaging Jack Dylan Grazer). Mara's sensible Tami sets up the tone in the opening scene, which takes place at a couples' support group. She delivers the kind of halting, relatable monologue about sexual dysfunction and malaise that you could find in an earnest indie movie. Craig, naturally, quashes the mood. 'I'm orgasming fine,' he blurts. It's impossible to imagine why Tami ever agreed to marry him in the first place, as she chooses to spend most of her time with her ex (Josh Segarra), a hunky and sensitive fireman. Meanwhile, Craig swoons over Austin, a local weatherman whose hang-out ideas — mushroom harvesting, urban spelunking, starting a punk rock garage band — give Craig genuine joy. No one's ever wanted to be his friend before. (Craig is so tough to be around that we're more likely to side with his bullies, like Eric Rahill, who has a great bit part as a nasty co-worker.) When Craig spots Austin cracking a corny one-liner on the nightly news, he smiles like Santa Claus is real. Austin's lush mustache and hammy Southern drawl aren't quite in sync with the tone; Rudd seems stuck in the Ferrell version of the film. I'm fine with the idea that Austin is a bit of a phony who pretends he doesn't own a cellphone. But when he admits to the lie, nothing happens. (At least the fib leads to several scenes at a phone store with Billy Bryk's very funny clerk.) The film doesn't really care about anyone else's psychology; it wants to keep Craig marooned on Oddball Island. Empathy would be too easy. Still, Rudd and Robinson's scenes together are great. They get laughs even going through the ritual of ordering a sandwich at Subway. And Rudd's made an inverted version of this movie before, 2009's sweeter and raunchier 'I Love You, Man,' where he played the wallflower with a buddy (Jason Segel) who teaches him to scream. There won't be any learning here, although Craig tries and fails to mimic Austin in his absence. Robinson didn't invent this kind of cringe comedy. One of the most sublime examples of the form traces back to Anton Chekhov's wordless short play, 'The Sneeze,' a proto-'SNL' skit about a man who accidentally wheezes on the back of a government official's neck and in his escalating desperation to normalize his oopsie suffers a breakdown and dies. But 'Friendship' feels exactly right for exactly right now. Cultural norms are shifting just as in-person communities are breaking down. At any given second in public, you could go from invisible to starring in a viral video that puts you on blast. It's hard to be a human. No wonder Craig feels more like a bunch of possums in a skin suit. By everything I've seen of Robinson off-camera (he doesn't seem to enjoy press), he's a lovely man raising two teenagers with his high school sweetheart. He plays gauche on our behalf. Although this is his first major movie role after his show's breakout success, I can see him on that clown-to-thespian trajectory that ends with an Oscar to go with his Emmy. For now, however, I want to apologize to DeYoung. He won't get the credit he deserves for this terrific comic torment because it just feels like another Tim Robinson masterclass in self-immolation. Maybe that's an awkward thing to say. Maybe it's fine.
