eddie kaye thomas Tagged Articles at Cinematical
Potentially Offensive, Definitely Unamusing: The Blind Dating Trailer
Filed under: Comedy », Trailer Trash », Cinematical Indie »
Some people always seem to think that Hollywood's run out of ideas, but I disagree. For example, I just watched a brand-new trailer for a comedy about a 22-year-old blind guy who goes on dates but is still a virgin! I mean, that's pretty original, isn't it? Blind guy? Dating? Virgin? Eh? Anyone?From first-time screenwriter Christopher Theo and solid actor turned bad director James Keach, Blind Dating (and the whole concept is right there in the title) stars Chris Pine, Eddie Kaye Thomas, Harland Williams and a humiliated Jane Seymour. The Samuel Goldwyn folks are planning to get this one into limited release on May 11, but I say just save the money you'd spend on prints and invest it in another movie that's not A) a blatant ripoff of other "virgin" comedies or B) focused on jokes in which blind people walk face-first into doors.
Lots More Hit the Road for Harold and Kumar 2
Filed under: Action », Comedy », Casting », New Line », DIY/Filmmaking », Newsstand », Remakes and Sequels »
We knew it was coming, we knew where they were going, but we didn't know who would be joining them for another round of marijuana-induced adventures. And now we do. Eleven folks have joined Kal Penn (Kumar) and John Cho (Harold) in the long-awaited sequel to Harold and Kumar Go to White Castle. Harold and Kumar 2 (previously known as Harold and Kumar Go to Amsterdam ... except they don't really go to Amsterdam) has added -- deep breath -- David Krumholtz, Rob Corddry, Christopher Meloni, Ed Helms, Eddie Kaye Thomas, Paula Garcés, Jack Conley, Roger Bart, Danneel Harris, Eric Winter and -- drum roll please -- Neil Patrick Harris!
For die hard fans of the original film, the only name that really matters to you is Neil Patrick Harris, as his cameo in the first flick stole the show. Daily Show vets Corddry and Helms should also provide plenty of laughs along the way. Story picks up right where we left our two heroes: at White Castle, putting an end to their vicious case of the munchies. When Harold's crush Maria heads off to Amsterdam, the boys attempt to follow her ... only to be yanked off the plane when a fellow passenger suspects Kumar is a terrorist. From there, the duo travel a lot farther than the state of New Jersey -- from Guantanamo Bay, through the deep south and eventually ending up in "Bush country ..." all the while being chased by Homeland Security.
Production began last week in Louisiana, with original Harold and Kumar scribes John Hurwitz and Hayden Schlossberg writing and directing the follow-up. Currently, there's no word from New Line on a release date.
Tribeca Review: Farewell Bender
Filed under: Comedy », Drama », Independent », Tribeca », Theatrical Reviews », Cinematical Indie »
Sometimes you watch a movie and instantly see the movies that have influenced it. With Farewell Bender, for instance, it's obvious that the movie's influences include Dazed and Confused, American Graffiti and Diner. But in this instance, it's more than just an observation. Writer-director Matt Oates acknowledges in the press notes for Bender that he and co-writer Jeremiah Lowder initially set out to make a movie similar to those exact three. Such ambition is respectable, yet allowing for such comparisons can often diminish a film's chances for independent and unrivaled praise (the near-equal esteem of Dazed and Confused to American Graffiti, which influenced it, is a rarity). Regardless of how good Bender is -- and it is surprisingly quite good -- it will unfortunately exist in the shadow of its better predecessors.
The main reason the movie doesn't rise up and supplement the group is that its story is too reliant on a catalyst: the worn-out device of a funeral, which reunites old friends. This time it is the death of the title character that brings together his high-school buddies Mitch (Kip Pardue), Stan (Eddie Kaye Thomas) and Dixon (Josh Cooke). Although the funeral stimulates a number of important dramatic and philosophical angles in the script, the film requires a more freewheeling context in order to accommodate its broader points. The characters in Bender, all on the verge of an adulthood they don't seem ready for, are sufficiently interesting and enjoyable when the film consists of them simply hanging out, experiencing the story's weekend time frame no differently than any other time in their young lives.
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