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Saturday, March 28, 2015

4 Things "50 Shades" Sequel Must Be Brave Enough To Do

Here's what 50 Shades Darker can't be afraid to do as it searches for a new creative team.

Story by Matt Cummings

The creative tug-of-war that was 50 Shades of Grey didn't exactly pan out the way some fans of the book had hoped. While it has made over $500 million worldwide, American audiences abandoned it in droves in its second week, evidence that Director Sam Taylor-Johnson's departure this week from the sequel might have been a good move. Still, its success - at only $40 million to make - has proven that mainstream audiences might be ready for something more kinky in their movies. Unfortunately, its first plate appearance never approached the heat of the book by Author EL James. Key scenes were removed or watered-down, and the chemistry between Actors Dakota Fanning and Jamie Dornan wasn't exactly Michael Douglas/Sharon Stone in Basic Instinct.

Now as Universal begins its hunt for a new creative team, SJF has put together the following suggestions that the sequel must be brave enough to do if it wants to grow its audience beyond its very limited core. Some of these are definitely of a mature nature and NSFW:

1. Find a director willing to take bold chances.
In the case of Basic Instinct, Director Paul Verhoeven took bold risks across the entire spectrum, showing full frontal nudity, bisexuality, and BDSM. The results were extraordinary and established an entire sub-genre of thriller films that now include 9 1/2 Weeks, The General's Daughter, the bizarre Crimes of Passion, and Wild Things. The must be a successor out there to Verhoeven or Ken Russell who doesn't specialize in the Torture Porn of Saw, but knows how to strike a balance between a hard R and NC17. That director also cannot be afraid of the Hollywood culture, recognizing that pushing the genre to its limits is what made Verhoeven and Russell household names in their heydey. Universal envisions this as a franchise, and so it's also up to them to find a director not only with vision but with full support from James. We know about the troubles between her and Taylor-Johnson, so te he next candidate needs to be ready to bare it all, in order for lovers of the books to not cry foul once again. Given this very basic but extremely difficult component to manage, it's doubtful we'll see anyone this special arise, since the movie was shopped to dozens of directors before it landed on Taylor-Johnson's lap.

2. Ask whether your current leads are still your best options.
It goes without saying that part of the reason why moviegoers didn't return to 50 Shades was based on the rather lethargic performances of Johnson and Dornan. To say there was zero chemistry between them isn't quite correct, but it was definitely in the realm of 'first date who shake hands' rather than kinky couple. Universal has a hard decision (no pun intended) to make: are these the two best leads available, or should they consider re-casting them? Much like the director chair, these roles were shopped to several people including Pacific Rim's Charlie Hunnam, Game of Thrones' Emelia Clark, and Insurgent's Shailene Woodley. Some turned down the roles due to other obligations, but others didn't want their careers constantly being associated with that much nudity (Clarke). Given the kind of talent that's walked away, it's possible that who we have in Johnson and Dornan might be the best options right now. But this is also where the right director can push performances out of their leads, so if a decision is made to stay the course with them, the product needs to be significantly hotter.

3. Good films can include elements of extreme sex.
Gone are the days when superhero films couldn't garner the attention of critics. Captain America: The Winter Soldier and X-Men: Days of Future Past changed all of that in 2014. In both, the story dominated over the action and costumes, pitting good and evil in ways previous entries weren't quite ready to do. For Darker, it is possible to include graphic images of sex, nudity, dominance/submission, and the tools used in 'play' while still crafting a story about relationships. These sorts of taboo subjects usually center around leads as broken people, much like Christian Grey who comes across looking like a genuine weirdo. That was perhaps 50 Shades' greatest failure, and a lost opportunity to advance the discussion of BDSM beyond the professional dungeons and fetish clubs. The franchise's next writer must bridge this gap by humanizing the people who partake in extreme sex rather than making them out to be damaged goods. This is a perception that Universal must correct immediately.

4. It's all about the sex.
For anyone (like yours truly) who felt a little sleepy during the bondage scenes in 50 Shades, don't worry: many couples left the theater thinking the same thing. In fact, it was clear that the steam was more like a gentle boil, and that Hollywood should have pushed the concepts of the book to new levels. For Darker to succeed, we're not saying that Director #2 needs to reveal angles of Johnson's body that would seem more likely to be found in a Kink.com video, but instead we should get more graphic detail of their play as it relates to the terms of their relationship. That sort of connection is what kept many erotic mainstream films from the 1990's/early 2000's from attaining X-rated status, while still delivering the sex that audiences have now come to expect. When both mothers and BDSM pleasure-seekers can gather on a common theme, it's time to take notice.

Conclusion
America is ready for more kink in their lives. With women's fashion now incorporating more fetish elements than ever, and gay/lesbian rights blending with more vanilla relationships, it feels like every social barrier is beginning to tumble. Modern film needs to tackle BDSM head on with original and captivating programming that celebrates the best of this recent run of fan fiction without the melodrama or the sense that what we're watching is only for an extreme counter-culture. If Universal can be brave in these four ways, it will do no less than return us to a time when Hollywood took bold risks while creating the next chapter for a generation that seems ready for it.

After you're done commenting, read our next article: WHY SAM TAYLOR-JOHNSON STEPPED ASIDE FOR 50 SHADES SEQUEL.

Sources: Business Insider

Discuss this story with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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"Maggie" Trailer Released

What Has It Revealed About Schwarzenegger’s New Movie?

Story by David Clark

The official Maggie website released a trailer on March 25th for the new Arnold Schwarzenegger movie Maggie. Schwarzenegger is joining up with the young Academy Award-Nominated Abigail Breslin in a unique take on the zombie genre.

The trailer runs slightly longer than two minutes, and it looks like Arnold might be pushing his comfort zone with this one. The name Arnold Schwarzenegger is practically synonymous with the Terminator franchise and with a dozen other action films over the past 30 years. Simply put, the man is rarely in a movie that requires him to convincingly display a gamut of emotions with any level of conviction. Maggie might push Arnold’s acting prowess to the limit.

For those that are not familiar with the movie and that have yet to see the trailer, Maggie does not appear to be the typical post apocalyptic gore fest. In fact, society appears to be very much intact and managing the zombie infection efficiently. The trailer shows scenes with law enforcement executing quarantine laws while a voiceover explains how the infection works. Apparently it can take months, if not longer, for a person exposed to the infection to completely lose hold of their humanity. It would appear that Maggie is going to explore the human struggle that takes place within and around an infected person going through the transition.

Enter Wade (Arnold), a single father who has to watch his only daughter whither away to the zombie infection. The impression given by the trailer is not one of action but one of heartbreak, pain, and loss. Several scenes within the trailer depict missing person flyers, deserted cities, run down highways, and desolate landscapes. It gives a very lonely and introspective feel when coupled with the haunted face of Wade.

We will have to wait for the movie to learn whether Wade is able to save and cure his daughter. The trailer does not give a release date, ending with the obligatory ‘coming soon.’ In the meantime, watch the trailer below and let us know if you have any insights that we might have missed.



For more information on the movie Maggie, click here.

Discuss this trailer with fellow SJF fans on Facebook. On Twitter follow us @Sandwichjfilms, and follow author David Clark @Clark_SJF

Source: Maggie Official Website
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Friday, March 27, 2015

#Vikings Season 3 New Clips & Photos From Episode 6

Vikings Episode 6 “Born Again” Clips & Images

Preparations for the Paris raid pick up pace, and Rollo ponders the Seer’s prophecy about his destiny. Kalf arrives in Kattegat to join the raid and the Viking fleet sails up the Seine and catches sight of Paris for the first time. Porunn and Judith both deliver children, and with new life there is also death.


RAGNAR AND FLOKI


See all the clips & Images after the Jump...

RAGNAR SAYS GOODBYE TO ATHELSTAN


FLOKI KILLS ATHELSTAN







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#SPECTRE Teaser Trailer & New Images

SPECTRE follows the release of SKYFALL, the biggest Bond film of all time, which took in $1.1 billion worldwide.



See all the images after the Jump...



In SPECTRE, a cryptic message from Bond’s past sends him on a trail to uncover a sinister organization. While M battles political forces to keep the secret service alive, Bond peels back the layers of deceit to reveal the terrible truth behind SPECTRE. Sam Mendes returns to direct SPECTRE, with Daniel Craig reprising his role as 007 for the fourth time. SPECTRE is produced by Michael G. Wilson and Barbara Broccoli, from a script by John Logan and Neal Purvis & Robert Wade.


SPECTRE is set for global release on November 6, 2015.

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The Walking Dead Spin-Off Title Revealed

New show asks that you now fear zombies.

By Brandon Wolfe

Walking Dead creator Robert Kirkman has revealed the title of his show’s upcoming spin-off on his Twitter page, and those expecting something more prosaic, like The Walking Dead: Los Angeles, are about to be proven dead wrong. The new show will be called Fear the Walking Dead, begging the question - weren’t we already doing that on the other show? Maybe this show’s zombies are just that much more fearsome.

A teaser for Fear the Walking Dead will air during this Sunday’s episode of Talking Dead, immediately following The Walking Dead’s 90-minute season finale. The spin-off will begin airing later this summer.

Discuss this story with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Brandon Wolfe at @BrandonTheWolfe.
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New #TerminatorGenisys TV Spot

I know alot of people are skeptical about this film, but it is one of the films on my must see list.



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#AgeofUltron TV Spot "Super Siblings"

Get to know Quicksilver And Scarlet Witch.



When Tony Stark jumpstarts a dormant peacekeeping program, things go awry and Earth’s Mightiest Heroes, including Iron Man, Captain America, Thor, The Incredible Hulk, Black Widow and Hawkeye, are put to the ultimate test as they battle to save the planet from destruction at the hands of the villainous Ultron.

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Magnolia Pictures Acquires #EXPERIMENTER

Magnolia Pictures takes EXPERIMENTER for North America.

EXPERIMENTER stars Peter Saarsgard as Stanley Milgram, who shook the world in the 1960s with his famous Yale study on obedience to authority known as the “Milgram Experiment.”

The Wagner/Cuban Company's Magnolia Pictures announced today that they have acquired North American rights to EXPERIMENTER, a new film written and directed by Michael Almereyda.



EXPERIMENTER premiered this year at the Sundance Film Festival where it was heralded by critics as one of the best films at the festival. The film features a stellar ensemble cast, including Winona Ryder, Jim Gaffigan, Taryn Manning, Anton Yelchin, Kellan Lutz, John Leguizamo, Anthony Edwards, Josh Hamilton, Lori Singer, Vondie Curtis-Hall and Dennis Haysbert. The film was produced by Uri Singer, Fabio Golombek, Isen Robbins and Aimee Schoof. Magnolia is eyeing a theatrical release later this year.

In 1961, social psychologist Stanley Milgram conducted the "obedience experiments" at Yale University. The experiments observed the responses of ordinary people asked to send harmful electrical shocks to a stranger. Despite pleadings from the person they were shocking, 65 percent of subjects obeyed commands from a lab-coated authority figure to deliver potentially fatal currents. With Adolf Eichmann’s trial airing in living rooms across America, Milgram’s Kafkaesque results hit a nerve, and he was accused of being a deceptive, manipulative monster. EXPERIMENTER invites us inside Milgram’s whirring mind, beginning with his obedience research and wending a path to uncover how inner obsessions and the times in which he lived shaped a parade of human behavior inquiries.

“EXPERIMENTER is an absolutely fascinating film,” said Magnolia President Eamonn Bowles. “Michael Almereyda again does a brilliant, imaginative job in illuminating a complex subject.”

"I've long been impressed with the great range and quality of titles released by Magnolia Pictures, and I'm excited to see Stanley Milgram's life and works reach a wider audience through Magnolia's distribution of this film."

The deal was negotiated by Magnolia VP of Acquisitions John Von Thaden with Cinetic Media on behalf of the filmmakers.

About MAGNOLIA PICTURES

Magnolia Pictures is the theatrical and home entertainment distribution arm of the Wagner/Cuban Companies, a vertically-integrated group of media properties co-owned by Todd Wagner and Mark Cuban that also includes the Landmark Theatres chain and AXS TV. Recent releases include Swedish Oscar selection and Golden Globe nominee FORCE MAJEURE, acclaimed documentary LIFE ITSELF, verite ballet doc BALLET 422, Susanne Bier's SERENA starring Bradley Cooper and Jennifer Lawrence, and music doc THE WRECKING CREW. Upcoming releases include Sundance Grand Jury Prize winner THE WOLFPACK, Buckley vs. Vidal doc BEST OF ENEMIES from Morgan Neville and Robert Gordon, Sean Baker's acclaimed TANGERINE, Albert Maysles' Iris Apfel doc IRIS, Alex Gibney’s STEVE JOBS: THE MAN IN THE MACHINE, Andrew Bujalski's RESULTS, Roy Andersson's A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE, thrilling documentary SUNSHINE SUPERMAN, Australian Sex comedy THE LITTLE DEATH and many more.

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#SOUTHPAW Official Trailer

Here is the trailer for The Weinstein Company's SOUTHPAW.



From director Antoine Fuqua (TRAINING DAY) and writers Kurt Sutter (SONS OF ANARCHY) and Richard Wenk (THE MECHANIC) comes SOUTHPAW - the story of Billy "The Great" Hope, Junior Middleweight Boxing Champion of the World. When tragedy strikes and he loses it all, Billy enters the battle of his life as he struggles to become a contender once again and win back those he loves. SOUTHPAW stars Academy Award® nominee Jake Gyllenhaal, Academy Award® winner Forest Whitaker, Rachel McAdams, Curtis "50 Cent" Jackson, Rita Ora, Naomie Harris and Victor Ortiz.

In theaters July 2015

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Movie Review: HOME. Unmemorable & Generic

Home is cute and cuddly, sure, it's quirky and very bubbly. It's bathed pastels and has a shiny plastic feel. The quick laughs and familiar story should make it easy for the film to endear itself, but its that familiarity that makes it unmemorable and generic.


The story of a pair of misfits from different worlds coming together is nothing new, and unfortunately Home doesn't bring anything to the table that would set it apart from its predecessors which were much better done.

After a hive-minded alien race called the Boov conquer the Earth, they relocate the planet's human population -- all except for a little girl named Tip (Rihanna), who's managed to hide from the aliens.
When Tip meets a fugitive Boov called Oh (Jim Parsons), there's mutual distrust. However, Oh is not like his comrades; he craves friendship and fun. After a potentially fatal mistake, Oh finds himself on the run from his own people. As their distrust fades, the pair set out together to find Tip's mother, but, unbeknown to them, the Gorg -- enemies of the Boov -- are en route. Through a series of comic adventures with Tip, Oh comes to understand that being different and making mistakes is all part of being human. While he changes her planet, she changes his world, and they discover the true meaning of the word HOME.



Home has plenty of funny moments, mostly delivered by Jim Parson's Oh, who is basically the alien Sheldon. The unfortunate part is that like many movies, Home's funniest moments have been ruined by being already shown in the trailers. Parson delivers his bumbling Oh with plenty of zeal, but for his first foray into voice acting, he resorts to a character that already has its own fanbase.

Rhianna's Tip is prickly, for kids in that awkward tween age, she's relateable, but only barely. Her character is very reminiscent of Lilo, minus some of the lovable eccentric traits.


Many of the Boov's problems come from great misunderstanding, that could have easily been avoided. The bubble-headed leader Captain Smek (Steve Martin), who resembles the devil and works himself into a flurry every chance he gets, steals a rock from the Borg looking Gorg which now sits on the pommel of his shushing staff. The flick is so utterly predictable, that it completely sucks away all of the much needed tension. What's a chase without any danger? While Home obviously aimed for lightheartedness, it needed something to bring the wow factor since the story wasn't going to.

Dreamworks had a much better tale with Shrek and certainly better story and graphics with the How to Train Your Dragon movies. So they can definitely deliver the goods. Especially with How to Train Your Dragon not only was there drama, and some gorgeous graphics, there was a great utilization of the 3D platform, and some very emotional moments..

Home does delivers a nice message for kids of being empathy and keeping open mindedness, but on a flat backdrop, its a message that's not likely to be remembered. Sure kids crave entertainment, but they also crave some complexity and intelligence, which just isn't delivered.

Discuss this review with fellow SJF fans on Facebook and make sure to follow us at @SandwichJFilms on Twitter, and follow the author Sue Lukenbaugh on Twitter at @suepafly.

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#MRHOLMESMOVIE To Premiere At @SF_FilmSociety 2015

BILL CONDON’S MR. HOLMES STARRING IAN MCKELLEN AND LAURA LINNEY TO HAVE US PREMIERE AT 58TH SAN FRANCISCO INTERNATIONAL FILM FESTIVAL.



Sherlock Holmes Revisits His Final Case with the Help of a Young Protege

The San Francisco Film Society announced today that it will host the US Premiere of acclaimed director Bill Condon’s Mr. Holmes, starring Ian McKellen, Laura Linney and newcomer Milo Parker Saturday April 25, 12:30 pm at the Sundance Kabuki Cinemas as part of the 58th San Francisco International Film Festival.

“We’re thrilled to have Bill Condon’s smart, elegant and moving take on the legendary detective as a Marquee Presentation at the Festival, “ said SFFS Director of Programming Rachel Rosen. “I know our audiences will appreciate the film’s stylish direction and stellar performances, led by the incomparable Ian McKellen.”

McKellen reunites with Gods and Monsters (1998) director Bill Condon for Mr. Holmes, a new twist on the world’s most famous detective. 1947, an aging Sherlock Holmes returns from a journey to Japan, where, in search of a rare plant with powerful restorative qualities, he has witnessed the devastation of nuclear warfare. Now, in his remote seaside farmhouse, Holmes faces the end of his days tending to his bees, with only the company of his housekeeper and her young son, Roger. Grappling with the diminishing powers of his mind, Holmes comes to rely upon the boy as he revisits the circumstances of the unsolved case that forced him into retirement, and searches for answers to the mysteries of life and love – before it's too late.

Loosely adapted from Mitch Cullin’s novel A Slight Trick of the Mind and featuring precise attention to period detail and the visual splendor of the English countryside, Mr. Holmes stands proudly along the other indelible portraits of the unforgettable man who lived at 221B Baker Street. Mr. Holmes plays Saturday April 25, 12:30 pm and Tuesday May 5, 2:00 pm at the Sundance Kabuki Cinemas.

Roadside Attractions and Miramax will release the film in theaters July 17, 2015.

Bill Condon is a celebrated film director and screenwriter who previously worked with Ian McKellen on Gods and Monsters, earning McKellen his first Oscar® nomination and Condon an Academy Award® for Best Adapted Screenplay. Condon also wrote and directed Kinsey, starring Liam Neeson and Laura Linney, and wrote the screenplay for the big-screen version of the musical Chicago, for which he received a second Oscar® nomination. Condon also directed Dreamgirls, The Twilight Saga: Breaking Dawn Parts 1 and 2 and The Fifth Estate.

Producers are Anne Carey (The American, Adventureland) of Archer Gray Productions and Academy Award® winners Iain Canning and Emile Sherman of See-Saw Films (The King’s Speech, Shame). Executive producers are Aviv Giladi and Len Blavatnik of AI Film (Lee Daniels' The Butler, Kill Your Friends), Christine Langan (Saving Mr. Banks, Philomena) on behalf of BBC Films, and Amy Nauiokas (Ten Thousand Saints, The Diary of a Teenage Girl) for Archer Gray Productions.

Tickets to Mr. Holmes are $13 for SFFS members, $15 general, $14 seniors, students and persons with disabilities. Box office opens March 31 for SFFS members and April 3 for the general public, online at sffs.org.

58th San Francisco International Film Festival
The 58th San Francisco International Film Festival runs April 23–May 7 at the Sundance Kabuki Cinemas, Castro Theatre, Landmark’s Clay Theatre and the Roxie Theater in San Francisco and the Pacific Film Archive in Berkeley. Held each spring for 15 days, SFIFF is an extraordinary showcase of cinematic discovery and innovation in one of the country’s most beautiful cities, featuring nearly 200 films and live events, 14 juried awards with nearly $40,000 in cash prizes and upwards of 100 participating filmmaker guests. For general information visit festival.sffs.org.


Distributor: Roadside Attractions and Miramax
Cast: Ian McKellen, Laura Linney, Milo Parker
Director: Bill Condon
Producers: Anne Carey, Iain Canning, Emile Sherman
Running Time: 105 Minutes
Release Date: July 17, 2015

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#DEADPOOL Bears All In This New Image

Ryan Reynolds just shared the highly-anticipated first official reveal of DEADPOOL, aka "The Merc with a Mouth".

Based upon Marvel Comics’ most unconventional anti-hero, DEADPOOL tells the origin story of former Special Forces operative turned mercenary Wade Wilson, who after being subjected to a rogue experiment that leaves him with accelerated healing powers, adopts the alter ego Deadpool. Armed with his new abilities and a dark, twisted sense of humor, Deadpool hunts down the man who nearly destroyed his life.

DEADPOOL Official Socials
Website: http://www.foxmovies.com/deadpool
Facebook: https://www.facebook.com/DeadpoolMovie
Twitter: https://twitter.com/deadpoolmovie
Instagram: https://instagram.com/DeadpoolMovie/
Pinterest: https://www.pinterest.com/DeadpoolMovie/

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iZombie S01E02 Recap – Brother Can You Spare a Brain?

Brains and beauty, some zombies can just have it all.

Story by @ErikaAshley

A murder victim, Javier, is found dead with the weapon sticking out of his eye by his wife and art dealer. When Ravi and Liv arrive to the scene Ravi notices the victim is a local popular artist and admires his art while he works. Babineaux automatically assumes the wife who found the victim killed him but asks for Liv’s psychic input. Ravi and Liv return to the morgue where Live eats the victim’s brain in a hot pocket in order to help out Babineaux, without him known of course. Later Major drops by Liv’s apartment return some of her items and but mostly just wants to get close to her again. He suggests they take a road trip and she acts cold and distant towards him. Feeling awkward and out of place he leaves before her roommate can ask for the juicer they got as an engagement gift. He agrees to bring it by and leaves upset. That night Liv has a nightmare that the other zombie from the incident almost attacks her and she feels the need to find him. At work the next day she tells Ravi and he suggest she distract herself and throws her a magazine, she begins flipping through the pages when suddenly she has a flashback from Javier’s memory. She witnesses Javier’s having an affair with a beautiful young girl that was broken up by someone walking in. Live goes to Babineaux to give him the news where he again voices his original thought that the wife must have been the murderer. Because the wife is always the murderer.

The two go to see the victim’s wife, Lola and finds her being consoled by the girl from the vision, Tasha. Lola admits she respects Javier’s decisions to sleep with other women as a part of his artistic process and she wasn’t bothered by it. She explains that they didn’t have any children to worry about because Javier never wanted any. Liv is taken by Javier’s brain’s impressions and thoughts begins to be distracted and flirts with Tasha. Babineaux gives her a questioning look then calls her out when they leave. He sticks to his previous assumptions that the wife killed Javier when Ravi texts him to inform them the weapon was thrust into Javier’s eye by a killer that is between 6’1” to 6’3”. Lola is obviously not that tall as she is roughly Liv’s height.

When Liv returns to the morgue Ravi has the police sketch artist there to help her picture their “missing friend,” AKA the other zombie. Liv describes the characteristics of the missing person but uses language and descriptors only a true artisan would use. The sketch artists gets frustrated because she starts to draw the man herself and he leaves abruptly. Back at the precinct Babineaux questions Javier’s art dealer, Artie, and tries to press him on details about Lola. Artie reassures Babineaux that they were only friends, and instead he should be looking at the deadbeat boyfriends left in the dust after Javier sleeps with their girls. When Babineaux asks him his height he doesn’t answer at first but then confesses he’s 6’2”.

Liv realizes that after she’s eaten Javier’s brain she’s consumed with passion for beautiful things and takes up painting on her own. She goes to work as usual a few days later and is surprised when the missing zombie appears in the morgue. He first confirms that Liv’s a zombie too then asks what she wants with him. They get along pretty well and reminisce about their previous lives and what they miss about being alive. He allows Ravi to take his vitals because he too is on board with getting cured. He asks Liv how she became a zombie and she defensively blames him. The other zombie doesn’t believe it at first but then apologizes profusely at ruining her life. Liv suddenly has another flashback to a man smashing a painting of Javier’s and she tells them she has to leave but not before the other zombie leaves first. Hurt he accepts this and takes off.

Liv goes to Babineaux and tells him that it wasn’t Lola who walked in on Tasha and Javier in her first vision, but instead it was Tasha’s jealous boyfriend. Babineaux already has the boyfriends in a line up and Liv picks out Tasha’s from the group of men. They take him into a room for questioning and ask about his alibi. He admits he was alone that night at home and when Babineaux asks his height he confirms he’s 6’3”. Taken by his good looks Liv starts to flirt with him and Babineaux threatens to kick her out of the room. The boyfriend swears he didn’t kill Javier over his ex-girlfriend, instead he left Tasha and shortly after Javier ditched her too for a younger version. Javier began to sleep with his art dealer’s 18 year old daughter, Becca.

The other zombie, Blaine, goes to the bar and offers to buy a drink for an older lady and she quickly tells him she isn’t a cougar. They agree to just talk but then end up at her place all over each other. Not before long Blaine goes “full zombie mode.” Cut to Liv painting in her apartment when Major arrives with an engagement present and jokes that he has no idea who she is anymore since she took up art as a hobby. They reminisce for a moment and she’s gives him a peck on the cheek only to confuse him more. The next day Blaine shows up at Liv’s work again and they have a little spat dealing with their trust issues between them. He tries to gain her trust and asks her for a little favor. He doesn’t want to grave rob anymore and instead asks her for help getting more brains. Blaine tells her he isn’t a drug dealer anymore and instead has cut out all of the bad people in his life as he’s turned a new leaf. Liv agrees to help him. He awaits her first delivery outside when his old drug dealing colleagues show up demanding their old boss needs to see him. Liv catches Blaine “making a deal” and leaves without giving him the goods he requested. Blaine attempts to fend off his old pals refusing to go see their boss but gets into the car anyways and kills them.

Later Blaine returns to the cougar and she’s not a zombie too. She asks what’s happened to her and he admits he’s turned her into a zombie. He offers her a business proposal that he’ll supply her new need for brains for $25k a month and dangles a fresh sample in front of her as long as she keeps quiet about the whole thing. She calls for her assistant to get her checkbook. Back at the morgue Ravi requests that Liv get in contact with their new zombie friend but she refuses to call him because she thinks he’s a liar and dangerous. Babineaux pops in and invites them to Javier’s most recent art show and gives them the info he just scored from a waitress that places Artie at a diner down the street. He explains that Artie left to go to an ATM and spent far too much time trying to get funds he doesn’t have. Instead Artie is dead broke living off of credit cards, so killing Javier would get him boatloads of cash since artist’s art goes up in price once they’re dead.

The group attends the art show and Babineaux goes to look for Artie. Ravi starts to mingle with the crowd and Liv goes to take a look around for clues. Babineaux finds Lola instead and asks her about why she’s covering for Artie and she stands stunned. Ravi is approached by Tasha and he pretends to be a detective that will help her with getting rid of her ex-boyfriend while Liv heads down to his storage room and peeks through Javier’s paintings. Tasha’s ex-boyfriend finds Liv in the storage room and tries to make a pass at her. She quickly scans the room to see an abstract painting of a baby’s sonogram and has a flashback to Becca and Javier at her doctor’s appointment to see the gender of their unborn child Becca is carrying. She quickly snaps too and Tasha’s ex-boyfriend tries to make another pass at her more aggressively. Liv snaps to zombie mode and hits him breaking his nose. She runs back to the party and finds Babineaux questioning Artie about his finances and the timeline for the night Javier died. Liv brings up Becca’s pregnancy and spills the beans on Javier and Becca’s indiscretions. Artie is stunned by the news and doesn’t believe her at first when Ravi stops them and explains that a shorter person could have killed Javier if they were standing on the stair like Liv was at that moment. Babineaux looks to Lola and puts the pieces together that Artie didn’t kill Javier, instead Lola did because she found out that Javier was having a child with Becca. He confronts her in front of everyone and she confesses that she was so upset that he was starting a family with an 18 year old girl when he clearly did not want one with her. Babineaux was right all along. After assisting with solving Javier’s murder Liv doesn’t want to lose her passion and inspiration that Javier’s brain supplied her. She eats another portion of his brain and finishes the painting she started earlier. She then goes to Major’s and tries to have a romantic moment with him to rekindle their romance because she finally admits she’s missed him so much when he refuses and kicks her out of being so hot and cold towards him. Liv realizes that the passion she’s consumed has caused her to be selfish and instead returns home to hang her new art. She has a self-reflecting moment and promises to be a better version of her new dead self.

Although the somewhat silly premise of a zombie-cop duo can be a little bit difficult to get past at first, this series is actually pretty intriguing. The characters are well thought out and can stand alone as individuals not needing one another to progress the story and the dialogue is still witty enough to get a laugh at the right time. This series does have some outstanding potential but if the inner monologue continues it might get old fast as it takes the viewer out of the moment and projects what they should be thinking instead of allowing them to draw their own conclusions. I’m excited to watch as this series continues on and the story develops further. I’m a sucker for comic book crossovers but this is well done so far but can use a few minor changes.
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Thursday, March 26, 2015

Movie Review: Get Hard

The comedy Get Hard merely survives and never elevates into something new.

Review by Matt Cummings

In the raunchy comedy Get Hard, James (Will Ferrell) is a successful hedge fund manager whose slick deals and sixth sense about the market sees him making money hand-over-fist for his boss (Craig T. Nelson), whose gold-digging daughter (Brie Larson) is really in it for the money. Meanwhile, Darrell (Kevin Hart) is struggling to get his car wash business to the next level, while his family dreams of a better life in an upscale neighborhood. That isn't going to happen unless Darrell can post a $30,000 deposit which he hopes James can help him secure. But when James becomes the scapegoat for securities fraud, he turns to Darrell to him help prepare for prison life. Even though Darrell is black, he's no hardened criminal, but takes the offer with the promise of getting his money. Through a series of misadventures, the duo tries desperately to relate to one another, before joining forces to exonerate James before he begins his prison time.

Get Hard is one of those movies that you enjoy while you're watching but ultimately cannot remember once it's over. Look deeper into it and you realize why: it's directed by Etan Cohen, the same guy who crafted Idiocracy - one of my least favorite movies - and written by a team including long-time Ferrell collaborator Adam McKay. That formula worked in 2004, but now it feels tired and utterly predictable. Moreover, this universe makes James' and Darrell's positions feel real and grounded, rather than mere excuses for comedy; Darrell wants more for his family but just needs a break from someone like James, who looks to be the fall guy as the real thief gets away with the money. Knowing your world is why Anchorman is still so brilliant: we know something like that might have happened in the late 70s/early 80s, and from there it can bend reality just enough to make it hilarious. From the beginning of Get Hard, it's clear where our characters are going and what they will ultimately do to right their collective ships. When that moment finally arrives and the guys go after James' former boss - in what feels like the last 15 minutes - that resolution feels out of place, unrealistic, and wrapped up way too neatly.

I don't know how the gay community will react to the film, as they're placed in a pretty awful light, portrayed as one-night-standers with no morals and libidos the size of Texas. Ferrell and Hart discuss anal violations of all kinds, which I suppose we should celebrate since 50 Shades of Grey didn't have the nuts to do so. And then there's the nudity, including a flash of male junk and enough T&A to mimic a strip club. That's all well and good, but here it's unnecessary to the plot. Gay rape in prisons is probably an important topic of conversation for someone, but here it's trivialized until it just becomes tedious. This does lead to some funny moments, as the boys riff on the movie's title, to the arousal of gay men at a pick up location, but like I said you'd be hard pressed to remember any of it.

Ferrell and Hart do work well together, but it all feels practiced and not really funny or even inventive. Scenes go on way too long, including the opening sequence of Ferrell crying for what feels like minutes, while Hart's imitations of the various prison inmates that James will encounter could have been edited for better effect. Our test crowd went from genuinely laughing, to giggling, to politely chuckling before finally being led down the next skit that we've frankly already seen. I was thinking through most of the film how much better this would have been if Ferrell would been replaced by someone with more credibility as a Dan Aykroyd-type from Trading Places, whose ability to play the innocent banker-type would have worked against Hart's usually charismatic zaniness. Perhaps my standards are too high, but in the world Cohen has created, it would have made a ton more sense.

Supporting actors are serviceable, such as Nelson and Larson, each showing up just enough to establish their characters, with the totally hot Larson getting the better of it. McKay and team do give Ferrell and Hart some of Larson's treatment, letting Darrell project the aura of being a hard gangstah with a pretty funny monologue over dinner. But that's about it: this is merely an excuse for the duo to show off they must have thought was a hilarious shoot at the time, barely straying from their pre-assigned roles as either dorky white guy or maniac little black man. This will play well to the hardcore audiences both have built, but it won't re-establish either as household names among those who know better.

Get Hard is not so much a wasted opportunity as it is more of the same from these leads. And while I found myself laughing at points, it's a formula that's ultimately boring and might not play well as the weekend crowds descend. Instead of crafting a uniquely funny madcap comedy from two of the best in the business, this one feels like a wasted opportunity to pull the lowest hanging offensive fruit possible. When viewed through those eyes, Get Hard is a complete failure.

Get Hard is Rated R for...well...everything and has runtime of 100 minutes.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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One Big Happy S01E02 Recap - Out of the Closet

Lizzy’s out of the closet and into the fire.

Story by @ErikaAshley

This week we find Prudence and Luke canoodling in the kitchen when Lizzy enters the room greeting them with good mornings. Prudence has made Lizzy a traditional English breakfast full of bangers and mash to nourish the new mom. She also announces that her things have finally arrived from England when Lizzy has a mild OCD induced panic attack at seeing the clutter filled living room. Luke reminds Lizzy that he's very thankful for her being such a great friend and roommate after allowing Prudence to move in and feel welcome in her new home. Lizzy agrees to allow Prudence to move her stuff in and Prudence suggests she keep most of her items in the front closet. Lizzy quickly detests and Luke fills Prudence in on the closet situation stating that closet houses the belongings of Lizzy's ex-girlfriend, Erica, although they have been broken up for 3 years.

Prudence decides to help Lizzy get over Erica because she must have an issue with avoidance since she waited too long to get rid of her things. Lizzy literally avoids the situation by running away. Luke chases her down and Lizzy finally agrees to clean out the closet. While Luke assists her with get rid of Erica's things, Prudence brings them her marionette puppets she used to help cheer up sick kids that she found while unpacking. Luke then freaks out as he is afraid of puppets and asks her to put them away in the calmest way he can. She leaves to find a new place to keep them and Lizzy calls out Luke’s silly little puppet phobia, when Prudence returns with an idea that Lizzy needs to return Erica’s belongings to her in person in order to get closure. Luke knows Erica is Lizzy’s kryptonite refuses to let her give the items back because it wouldn’t be the best idea.

That evening Lizzy secretly meets Erica anyways and quickly falls for her again when Erica showers her with compliments. Lizzy attempts to resist her urges and tries to keep the discussion on topic by shifting the conversation to her pregnancy. Back at the apartment Luke struggles to fall asleep with the puppets dangling overhead. As Lizzy wraps up her meeting with Erica she goes to say goodbye and make her final attempt for closures when Erica reaches out and pulls her in for a kiss. The next morning Lizzy comes clean to Luke but leaves out the kissing details until Prudence finds a hickey on her neck. Frustrated Luke scolds her for being stupid enough to meet Erica in person and Lizzy dishes she has dinner plans that night with her. She tries to convince him that Erica’s changed and the two get into an argument over how Luke is being possessive. Lizzy tells him to back off and he has the least amount of say in who she sees because he married his wife on the second date.

Luke confides in Markus back at his bowling alley and asks for advice to deal with his silly puppet fear. Markus suggests he just bottle it up and deal with the problem like a man or else Prudence will think he’s weak and not want to have sex with anymore. So, like any other man Luke bucks up and says he’ll just man up and get over it. While back at the apartment, Lizzy has dinner with her sister and brother-in-law as Erica stands her up for the romantic get together. Like usual Lizzy blames Prudence for her troubles when Luke busts into their sad dinner party to confront Erica. When Lizzy points the finger to Prudence, she agrees that she might be somewhat at fault but not completely. Lizzy admits she should have just listened to Luke since he knows her so well and he proposes they burn Erica’s belongings to get rid of them for good.

They all come together in the backyard to burn Erica’s things in a small trashcan bonfire and rally around Lizzy for support. Erica shows up catching them about to burn her sweatshirt and Luke steps up to tell her off for Lizzy but she stops him. Erica begs Lizzy for another chance to prove herself and Prudence comes to her aid by pretending she’s Lizzy’s new girlfriend. They kiss a few times to prove it and Erica backs off. That night when Luke and Prudence go bed Luke tries to be brave laying directly under the puppets. As a joke Lizzy sneaks into the room to throw her voice pretending to be the puppets plotting to kill Luke. He starts to panic and wakes up Prudence confessing his fear. He apologizes and tells her he understands if she never wants to sleep with him again but she reassures him that his vulnerability doesn’t bother her. They start to make out and Lizzy pouts as her joke backfires on her.

This entire series is somewhat frustrating to watch as it really does not reflect real gay/lesbian culture. The ridiculous titles and beating the gay jokes into the ground has already gotten old. With this being the second episode and the obvious connection between Luke and Lizzy it will be a matter of time before they start to question if they “love-love” each other or before Prudence begins to get jealous of their close attachment. Hopefully the jokes will get better as time progresses as there is only so many times the writers can stress how much of an OCD clean freak Lizzy is and how non-prudish Prudence is. I mean the fact that the main character plays on the stereotypical “Lizzy the Lezzy” is laughable but in the bad way. To be completely honest it will be a miracle if they complete a full first season.
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"Fifity Shades of Grey" Steps Aside for Sequel

We analyze how 'Creative Disagreements' led to her dismissal/departure.

Story by Matt Cummings

In what might have been the biggest DUH moment of the entertainment week, The Hollywood Reporter has revealed that Director Sam Taylor-Johnson will not be returning to direct the sequel, 50 Shades Darker. In a statement released Thursday, the director of 50 Shades of Grey said the following:

"While I will not be returning to direct the sequels, I wish nothing but success to whosoever takes on the exciting challenges of films two and three...Directing Fifty Shades of Grey has been an intense and incredible journey for which I am hugely grateful. I have Universal to thank for that. I forged close and lasting relationships with the cast, producers and crew and most especially, with Dakota and Jamie."

The tale of bondage and love, 50 Shades opened to an impressive $92 million over the Valentines Day weekend, but quickly fell 72% in its second week, after audiences left less than impressed with Actors Dakota Johnson and Jamie Dornan. Complaints of a lack of chemistry could be felt in every scene, with the sadomasochistic sequences failing to turn up the heat that readers had come to expect. In addition, personality conflicts between Author EL James and Taylor-Johnson were nearly common occurrences by the end of filming.

Our review chided the lack of heat between the leads, but we were also put off by the unnecessary side stories that failed to figure in to the larger tale of Christian Grey's dominance over Alexandria Steele. Truth be told, we were hoping for the next Basic Instinct 2.0, given the situations which James concocted in her book. But can scenes of anal play, dungeons, and full-frontal (male included) thrive in mainstream features, rather than be relegated to porn houses and subscription services?

Observers here have been correct to place a 'Creative Differences' label over why Taylor-Johnson left/was fired, but will anything be different in Part 2 with both her and screenwriter Kelly Marcel out of the picture? It's tough to beat up on two people when a production fails on so many levels, but it's clear that Universal listened to James over Taylor-Johnson and stepped in to demand, "Quit or be fired." Whether a new creative team will be able to up the passion without MPAA slapping an NC17 rating along the way might be more interesting in the follow-up itself, especially if the action is just as tame.

Still, the $40 million production has made over $550 million worldwide, proving that audiences do at least want to see BDSM portrayed on the big screen. Whatever Universal plans to do with the sequels is signaling their desire to see bigger profits and respond to what is obviously pent-up demand for sexual sadism in mainstream movies.

However that works out - and whoever is tapped to take over the reigns - will determine the future of the genre for the forseeable future. If 50 Shades Darker can succeed beyond mere financial numbers, and encourage a greater conversation about sex, then the decision see Taylor-Johnson move along will be viewed as the right move.

Source: THR

Discuss this story with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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Coach Revived as 13-Episode Event Series. No, Seriously.

Hayden Fox will coach another day.

By Brandon Wolfe

Dusting off The X-Files, 24 and Twin Peaks was one thing, but here’s something no one saw coming. A deal has been struck to revive Coach, the Craig T. Nelson sitcom that ran on ABC from 1989-1997, for a 13-episode event series on NBC. Nelson will reprise his role as Hayden Fox and series creator Barry Kemp will write the new installments.

The new Coach will be a real-time sequel to the original series, picking up 18 years after the series finale to focus on the now-retired Coach Fox stepping forward to assist his adult son, who is the head coach at an Ivy League school in Pennsylvania. The new series will retain the multi-camera style employed by the original.

It has yet to be determined how many of Nelson’s original co-stars, including Jerry Van Dyke, Shelley Fabares, Bill Fagerbakke, Clare Carey and Kenneth Kimmins, will join him, but presumably at least a few will.

Man, Coach is coming back. That’s so weird. Can we revive Perfect Strangers next?

Discuss this story with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Brandon Wolfe at @BrandonTheWolfe.
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TV Review: Agents of S.H.I.E.L.D. "Love in the Time of Hydra"

Coulson’s abilities are questioned, as well they should be.

Review by Brandon Wolfe

When Gonzales (Edward James Olmos, another impressive “get” for the series), the head of the “real S.H.I.E.L.D.,” informs Hunter of all the reasons why Coulson is not fit to run the agency, it’s hard to argue with any of them. Coulson has been infused with alien DNA, leading him to make erratic decisions. The deaths that happened on his watch were indirectly his fault. Moreover, the success rate in the apprehension of villains under his command is a big, fat goose egg and he runs his unit more like a squishy den mother than a lead agent. Coulson is the pits, and it creates a sort of cognitive dissonance in the viewer when the person making the most sense is someone we’re supposed to immediately distrust because he dares to oppose the chief protagonist. If Agents of S.H.I.E.L.D. were a smarter show, I’d think that perhaps it purposefully intended to call into question the competency of its hero. But this is Agents of S.H.I.E.L.D. This is not a smart show.

It’s also not a consistent one, since the episode opens with Coulson and May both deciding that removing Skye from active duty is the smart play. While this is a rare intelligent decision for the characters, it also runs counter to their stated “all Skye needs is hugs” stance from recent weeks (May’s position, in particular, is the polar opposite of what it was at the conclusion of last week, meaning the Agents of S.H.I.E.L.D. writers must have as hard a time remembering what happens on their own show as I do). Coulson takes Skye to a secluded cabin in the woods (surrounded by a laser field, in what has to be a nod to a much, much better Joss Whedon production), one once occupied by Captain America, in one of a few “remember the cool stuff we’re technically associated with?” Avengers reminders this week. Skye’s deactivation causes a lot of teary-eyed friction between Fitz and Simmons, both of whom still act as though they’re better suited to a jungle gym than an intelligence agency. Again, the bulk of Coulson’s team consists of butt-hurt marshmallows perpetually fighting back the urge to cry. Advantage: Gonzales.


Ward resurfaces again this week to remind everyone who has understandably forgotten that he’s still on this show. He’s now partnered with Agent 33, the operative who used that facial cloning mask - the same model that Black Widow utilized in The Winter Soldier - to impersonate Agent May for reasons I couldn’t recall right now at gunpoint. Anyway, her encounter with May left Agent 33 facially scarred and with the mask permanently fused to her face, locked in May mode. She and Ward concoct a plan to nab the mask’s creator, by ripping off the opening scene in Pulp Fiction, so that he can fix her face. This leads to a scheme where the two infiltrate the air force base holding Bakshi, the guy in earlier episodes who did things that I don’t recall and don’t care enough to track down a Wiki page to re-learn. This is accomplished by 33 impersonating the wife of Agent Talbot (Adrian Pasdar, asked to do a lot of embarrassing comic relief). Despite Coulson’s best efforts (see how bad he is at this stuff?), Bakshi is successfully kidnapped and is last seen being Clockwork Oranged, for reasons we’ll learn later and forget soon after.


The return and beefed-up prominence of Agent 33 is odd. Again, my retention of the minutiae of this show isn’t great, but I thought she was just a throwaway character designed solely for the sight gag of May kickboxing herself. She didn’t strike me as a likely candidate for an increased presence. I suspect she only exists because she can, and does, morph into May and Skye, allowing Ming-Na Wen and Chloe Bennet to play something other than the one-note characters in which they’re constantly straitjacketed. Although it’s not like Ward himself really has much of a place on this show anymore, either. With all the villains knocking about lately, he seems like an afterthought, an echo continuing to reverberate because he has first-season seniority. This show could really use a good pruning.

The idea of another S.H.I.E.L.D. that opposes that bonehead Coulson and his cadre of creampuffs remains the best idea this show currently has going. The fact that nü-S.H.I.E.L.D. counts among its ranks Bobbi and Mack, the two characters who have seemed substantially more qualified than the rest of Coulson’s team, speaks to this branch’s greater sense of legitimacy. The problem with this, however, is that Agents of S.H.I.E.L.D. isn’t aware that it’s broken, so the opportunity to use this new angle as either a means of honest self-evaluation or even as a corrective measure is extremely unlikely. Like Coulson himself, the show has no idea how thoroughly incompetent it is.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Brandon Wolfe at @BrandonTheWolfe.
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2 Broke Girls S04E15 Recap: And The Fat Cat

The girls get catty when their pet Nancy goes missing but finds them a potential business lead.

Story by @ErikaAshley

This week we find the Caroline at the diner covering for Max, whom shows up late to work when she tries to locate their missing cat, Nancy. Max is upset that Nancy has been missing for several days and fears this might just be the time she never makes it back to their dingy little apartment. Caroline reassures her that Nancy will be home in no time or that someone will call the number on her collar to report her found. Shortly after arriving back at the dinner Max gets a call on her cell from an anonymous caller. Alas Nancy has been found!

The girls make it back to their place to meet the hero that located Max’s precious kitty. Caroline gives Max flack about being so worried about the missing cat but hardly flinching at their $10k loan debt and over 1,000 cupcake shirts that they can’t unload. Max assures her that she wakes up at night screaming because of their situation. A knock at the door brings a handsome rich businessman with an equally expensive cat carrier. Max struggles to open the bag while Caroline tries to stay relevant with her old money talk and falls all over herself flirting with the handsome hero, Owen. He mentions that Nancy has been visiting his cat Dickens regularly and he was happy to help bring her back home. They finally break Nancy free from her fancy cat carrier and Max snuggles her and Caroline gets Owen’s business card when he tells her he’s a Venture Capitalist. This information perks Caroline’s interest and she promises to return the cat carrier as soon as possible. When Owen leaves Sophie pops into The Girl’s apartment and notices that Nancy is back and pregnant.

The Girls and Sophie then deliver an adorable litter of kittens which must be Dicken’s and Max demands that Owen help pay for the new little bundles of joy. Caroline suggests they just leave the matter alone and find new homes for the kittens, instead she wants to reach out to Owen to pick his brain for business tips and to hopefully get their cupcake business back on track. Max gets angry and tries to pull his card from Caroline’s apron and Caroline promises she’ll handle the situation. Once Caroline calls Owen they setup a time for him to come pick up the cat carrier and The Girls wait on their apartment stoop for Owen to arrive. In the meantime a shooting takes place and their neighbor Rico flees from the scene, The Girls joke about their neighborhood and a Max returns inside to watch the kittens but demands that Caroline bring up the money for the kittens to Owen. When he finally shows up nearly scared to death Caroline continues to flirt with him and requests a time to get together again and go over business tips he agrees only so he doesn’t have to stay another moment in their neighborhood.

The next day Caroline goes to Owen’s office and conducts a rather unprofessional meeting as she accidently spills coffee on his brand new suede loafers. She promises to clean up her mess and excuses herself to the lobby and asks his assistant for water to clean the loafers. The assistant is too busy freaking out about to un-send an email where she calls Owen a “self-absorbed ridiculous pig,” and Max bursts in demanding to see Owen while holding a basket full of kittens. Caroline swore she avoided Max by lying about where she was going and Max admitted to following her. She wants Owen to pay up and not be a deadbeat dad, like her own non-existent father. Caroline begs Max to leave and to her handle the situation but Max breaks into Owen’s office spilling the kittens onto the floor. Owen is taken aback by the abrupt entrance but then overjoyed by the adorableness in the overturned basket. Max demands again that he pay up for his cat’s wrong-doings and Owen contests that Nancy is pretty easy going into almost every window on the block. But, he is so taken by the cute kitties he agrees to take them all.

Instead of leaving it at that he asks Caroline when they are finally going to hookup because her little meeting is the weirdest fore-play ever. Caroline takes offense and insists her flirting was only business and Owen responds by telling her straight up that there would be no chance of him investing his company’s large fortune on their desperate cupcake business. Both girls take offense, gather the kittens and leave, but not before the tell Owen they agree with his assistant about his self-absorbed, ridiculous, and piggish characteristics. They return to the diner with the bundle of kittens and Han agrees to give them out at his apartment complex filled with animal loving lesbians and reassures them the kittens will have great homes with loving new caretakers. The Girls agree that they don’t need Owen’s help and they’ll get their business back on track with their own efforts but first they need to fix Nancy since Max received a text informing her that someone just found Nancy 69-ing with another cat.

Closing credits show The Girls' bank account last week at $1,475.00 took another large dip to $975.00

As much as I adore the show this week’s episode was a far fetch attempt at trying to make it the season finale by filling the last few episodes with random filler. The cupcake business is dwindling I'd like to see them make another effort at bringing it back to life. Instead they have been floating around the issue and making The Girls focus on off topic minor problems. This week was fairly disappointing but with the season finale coming soon enough hopefully the story will get back on track.
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#HotelTransylvania2 Poster. The Gang Is Back

Drac's pack is back for an all-new monster comedy adventure in Sony Pictures Animation's Hotel Transylvania 2!

Everything seems to be changing for the better at Hotel Transylvania... Dracula's rigid monster-only hotel policy has finally relaxed, opening up its doors to human guests. But behind closed coffins, Drac is worried that his adorable half-human, half-vampire grandson, Dennis, isn't showing signs of being a vampire. So while Mavis is busy visiting her human in-laws with Johnny - and in for a major cultural shock of her own - "Vampa" Drac enlists his friends Frank, Murray, Wayne and Griffin to put Dennis through a "monster-in-training" boot camp. But little do they know that Drac's grumpy and very old, old, old school dad Vlad is about to pay a family visit to the hotel. And when Vlad finds out that his great-grandson is not a pure blood - and humans are now welcome at Hotel Transylvania - things are going to get batty!

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