The Bluth family reluctantly attends a chaotic family reunion organized by Lucille. As tensions rise and secrets are revealed, Michael tries to keep the peace while George Michael navigates his own romantic troubles. Hilarity ensues as the dysfunctional family tries to survive the event without causing a scene.
Actor: David Cross
David Cross is an American comedian, actor, writer, and director known for his sharp wit and irreverent humor. Rising to fame with his role as Tobias Fünke in the cult-classic television series “Arrested Development,” Cross showcased his comedic talent and knack for delivering memorable performances. He has also gained recognition for his stand-up comedy specials, which tackle a wide range of social and political issues with biting satire and incisive commentary. In addition to his work in television and stand-up, Cross has appeared in numerous films and has written and directed several comedy projects. With his distinctive style and fearless approach to comedy, David Cross continues to be a prominent figure in the entertainment industry, captivating audiences with his unique brand of humor.
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Arrested Development – Episode 2
At a tumultuous family gathering organized by Lucille Bluth, the Bluth clan faces off in a whirlwind of chaos and comedic mishaps. Michael strives to maintain order amidst the madness, while George Michael navigates awkward romantic entanglements. As the eccentric family members collide, laughter and mayhem ensue in true “Arrested Development” fashion.
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Arrested Development – Episode 3
When the Bluth family convenes for a mandatory reunion orchestrated by Lucille, tensions flare and hijinks ensue. Michael attempts to keep the peace amid the chaos, while George Michael finds himself entangled in romantic complications. As the dysfunctional family navigates through a minefield of absurdities, laughter and mayhem ensue in this uproarious episode of “Arrested Development.”
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Napoleon The Movie
A life lived so vibrantly spotlighted as that of Amy Winehouse’s was ripe for the biographical pickings from the moment of her death, all too soon back in 2011. It’s an indictment of the day and age we live in. Nothing to be proud of. Back to Black is the first dramatisation out of the blocks. It follows, and skulks in the shadow of, Asif Kapadia’s superior 2015 documentary, Amy. Where that film dived deep, upsetting her family in the process, this one’s but a paddle in the shallow end. A superficial and underwhelming entry to the current vogue for jukebox biopics. It’s worse than that though. Back to Black hasn’t the self-awareness to recognise itself as being no better than the then paparazzi it vindicates.
Many, it is likely, will find the film entirely passable. Courtesy of Winehouse herself, it boasts a terrific soundtrack, allowing Sam Taylor-Johnson ample opportunity for montage. It’s an easy win for the Fifty Shades of Grey director, who shoots with eloquence and style. As for the lead, Marisa Abela certainly looks the part. She makes an impressive stab too at vocal impersonation, going hell for leather with song and script alike. Rote, simplistic writing – from Film Stars Don’t Die in Liverpool’s Matt Greenhalgh – does Abela no favours but her effort and respect for Winehouse are palpable. There’s more to capturing Amy than the donning of a beehive and faux ‘Daddy’s Girl’ tattoo.
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Trainwreck
“Trainwreck” is a 2015 romantic comedy film directed by Judd Apatow and written by Amy Schumer, who also stars in the lead role. The film follows the life of Amy Townsend, a free-spirited, commitment-phobic writer for a men’s magazine, who lives by her father’s philosophy that monogamy isn’t realistic. Her carefree lifestyle involves a series of one-night stands and a focus on her career over relationships.
Amy’s outlook on love and life starts to shift when she is assigned to write a profile on Aaron Conners, a successful sports doctor played by Bill Hader. As she gets to know Aaron, she finds herself unexpectedly falling for him, challenging her long-held beliefs about relationships and commitment. The film blends humor with heartfelt moments as Amy navigates the complexities of love, family, and personal growth.
“Trainwreck” features a strong supporting cast, including Brie Larson, Colin Quinn, John Cena, and LeBron James, playing a fictionalized version of himself. The film received positive reviews for its witty script, Schumer’s performance, and its fresh take on the romantic comedy genre.
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What to Watch in May
A life lived so vibrantly spotlighted as that of Amy Winehouse’s was ripe for the biographical pickings from the moment of her death, all too soon back in 2011. It’s an indictment of the day and age we live in. Nothing to be proud of. Back to Black is the first dramatisation out of the blocks. It follows, and skulks in the shadow of, Asif Kapadia’s superior 2015 documentary, Amy. Where that film dived deep, upsetting her family in the process, this one’s but a paddle in the shallow end. A superficial and underwhelming entry to the current vogue for jukebox biopics. It’s worse than that though. Back to Black hasn’t the self-awareness to recognise itself as being no better than the then paparazzi it vindicates.
Many, it is likely, will find the film entirely passable. Courtesy of Winehouse herself, it boasts a terrific soundtrack, allowing Sam Taylor-Johnson ample opportunity for montage. It’s an easy win for the Fifty Shades of Grey director, who shoots with eloquence and style. As for the lead, Marisa Abela certainly looks the part. She makes an impressive stab too at vocal impersonation, going hell for leather with song and script alike. Rote, simplistic writing – from Film Stars Don’t Die in Liverpool’s Matt Greenhalgh – does Abela no favours but her effort and respect for Winehouse are palpable. There’s more to capturing Amy than the donning of a beehive and faux ‘Daddy’s Girl’ tattoo.
Amy has neither as the film opens. Back to Black joins her story just prior to the completion of Frank, her debut album, in 2003. It was an album born of anachronism, jazz in the age of manufactured pop. Amy is no f*****g Spice Girl and won’t be manufactured for anyone. She’s a family girl through and through, devoutly close to her nan, Lesley Manville’s Cynthia, and the apple of her parents’ respective eyes. Mum, Janis (Juliet Cowan), is unwell, we’re told, but the film has no further insight there.
More focal is Mitch Winehouse, who is played by a sympathetic Eddie Marsan. The real Mitch hated Kapadia’s documentary – which dared to critique his culpability in Amy’s downfall – but should find Back to Black more palatable. Here, he is a doting, kindly figure. Totally exonerated. True, he’s the man who said no, no, no to rehab but he’s the father that drove her there when she truly needed it. No mention is made of the exploitative documentary he made for Channel 4 just two years before her death.