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Throughout Wright’s “Cornetto Trilogy”, his star and co-writer Simon Pegg has played characters who haven’t quite managed to become fully functioning adults. Though Judd Apatow has received the lion’s share of the blame and praise for the proliferation of man-children in recent cinematic comedies, Edgar Wright has to shoulder his portion of the burden. It may be cliché to proclaim that Blanchett carries the film, but she truly exists on another plane. Compared to her fellow actors in the film, whose roles are basically comedic at heart, it frequently seems like Blanchett is in a wholly separate, much more melancholy film. Playing one of Allen’s least likeable characters, Blanchett lends the role a poignant agony. She is an out-of-touch, broken woman whose fragility and talent for lying continually recalls Blanche Dubois of A Streetcar Named Desire.
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Jasmine – formerly suffering under the dull name of Jeanette – has in every way invented her lush, pretentious life. Whether or not you enjoyed Allen’s film as a whole, the consensus this year is that Cate Blanchett has delivered one of if not THE best performance of her career, as a New York high society wife fallen from her life of excess thanks to the unsavory dealings of her investor husband (Alec Baldwin). As Jasmine French, we see a side of Blanchett that has up to this point never been fully culled, yet the performance is, as ever, stellar. No amount of praise for Blanchett’s performance here is an exaggeration. Thankfully, all this build-up didn’t result in a major letdown. Not to mention the high praise that the ticket man at my local theatre – an old guy named Ernie – gave before I walked into the screening (“By far the best performance she’s ever given!”). The deal was negotiated by Andrew Herwitz, president of Film Sales Company, and Andre Des Rochers of Gray Krauss Stratford Sandler Des Rochers LLP, on behalf of the filmmakers.I went into Blue Jasmine with high expectations. Finding ourselves in the same company as Woody Allen, Michael Haneke, Jim Jarmusch, and countless other iconic directors is an incredible honor,“ Stephens said, adding, “We can’t wait to get this party started.” “We are thrilled to be working with Sony Pictures Classics. “Sharing Mitch and Colin’s story that afternoon was just the beginning of an incredible journey for all of us.”
PAUL EENHOORN IN THE COMPANY OF WOMEN MOVIE
“Three days ago we saw the movie with an audience for the first time,” said Katz. Sony Pictures Classics has the same deep respect for filmmakers that we do,” adds Gamechanger Films. “We are so happy that our first feature out of the gate has found such a great home. We are also so pleased to collaborate with an important new independent company Gamechanger and especially the directorial voice of Martha Stephens and Aaron Katz,” said Sony Pictures Classics. “That rare bird of a movie, fresh and funny and moving, featuring the most memorable two characters you’ve experienced in a long, long time. Starring Paul Eenhoorn (THIS IS MARTIN BONNER) and newcomer Earl Lynn Nelson, LAND HO! follows a pair of retirees who set off to Iceland in an attempt to reclaim their youth through Reykjavik nightclubs, trendy spas, and rugged campsites. LAND HO! is the first film to be financed by Gamechanger, which launched last fall to exclusively finance features directed and co-directed by women.
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The film is produced by Mynette Louie, Sara Murphy, and Christina Jennings, and executive produced by David Gordon Green, and Julie Parker Benello, Dan Cogan, Geralyn Dreyfous, and Wendy Ettinger of Gamechanger Films. SPC plans to release the film nationwide in 2014. Park City, Utah (January 22, 2014) – Sony Pictures Classics announced this morning that it has secured worldwide rights to Martha Stephens & Aaron Katz’s bawdy road trip comedy LAND HO!, which premiered on Sunday at the Sundance Film Festival.