See a New Poster for ‘Spring Breakers’ and Check Out Annapurna Pictures’ Sizzle Reel

If you had any doubts about the nature of Harmony Korine’s upcoming warped coming-of-age on the beer-soaked and bikini-clad beaches of spring break tale, well this new poster for the film sets it all out for you. Spring Breaker’s juxtaposition between candy-coated neon bubbles of youth and playfulness matched with the drugs, sex, and most of all,  gun-toting of the film, is what really makes it something powerful, bizarre, and fascinating.

Out in New York and Los Angeles on March 15th, the film is being released by A24 and Annapurna Pictures , Megan Ellison’s production company that has lead some of the most exciting and noteworthy projects of the last year. And now, there’s an amazing sizzle reel showcasing their most beloved films thus far from The Master and Zero Dark Thirty to Spring Breakers. In the next year, she’ll be moving on to Wong Kar-wai’s The Grandmaster, Bennett Miller’s Foxcatcher, PT Anderson’s Inherent Vice, Spike Jonzes’ Her, and finally, David O. Russell’s next project. Take a look at the reel below.




Oscar Deathmatch: Pitting the Casts of ‘Reds’ and ‘Silver Linings Playbook’ Against Each Other

Silver Linings Playbook is slowly edging its way closer and closer to grabbing up some Oscars, and the feel-good film about feeling weird has an aggressive campaign, courtesy of those schemin’ Weinsteins, bent on stealing those trophies away from Daniel Day-Lewis, Jessica Chastain, Tommy Lee Jones, and Anne Hathaway. While it’s unlikely that the entire cast of Silver Linings Playbook will get to walk on stage at the end of February to collect their golden statues (although Jennifer Lawrence’s recent SAG win increases her chances), the film is notable for being the first in 31 years to get nominations in all four acting categories. The other film, of course, was Reds, Warren Beatty’s epic drama about the Russian Revolution. 

Here’s my question: can you really expect the cast of Silver Linings Playbook, a movie about feeeeelings, to go head-to-head with the heavyweights in Reds, a movie about political activism and the endurance of love amid historical revolution? No, you cannot! The cast of Reds would not only drink the cast of Silver Linings Playbook under the table, but I’m willing to bet they could easily knock them off faster than you can sing "Ho Hey." 

But let’s not stop there! Let’s take a look at what each of these eight actors have to offer, shall we?

Warren Beatty vs. Bradley Cooper

Warren Beatty is like, "Who?" Sorry, but Beatty is too busy resting because he’s super exhausted from fucking literally everything in Hollywood. Sure, he’s settled down now with Annette Bening, but his real life made both The Hangover and The Hangover Part II look like The Sandlot. What does Bradley Cooper bring the table? Sure, he can act like a obsessive-compulsive manic-depressive (let’s not forget that Jack Nicholson set the standard back in As Good As It Gets, by the way), and apparently he can tango or something. But can he do all that while writing, producing, and directing a movie—about the Russian Revolution? That clocks in at over three hours? And features documentary-style interviews with the likes of Henry Miller? Cool it, B-Coop. We’ll call you when we re-make Shampoo.

Diane Keaton vs. Jennifer Lawrence

Ohhhh, brother. Diane Keaton has more wacky charm in her pinky than the 22-year-old it-girl has in her entire body. But nevermind the off-screen abilities of these two; let’s talk about their roles in these two movies. Lawrence plays a woman who acts out after the death of her husband by screwing everything in sight, jogging next to a man who wears a plastic bag as a shirt, layering her face with eye-liner, and ballroom dancing. Keaton’s character, on the other hand, falls in love with poet and activist John Reed and alcoholic playwright Eugene O’Neill. The gal from Silver Linings learns to dance, whereas Keaton’s Louise Bryant is present when the course of history is changed forever. Way to put your stamps on the world! 

Jack Nicholson vs. Robert De Niro

This seems like the ultimate match-up, although it’s a bit unfair to put a 44-year-old Jack Nicholson against 69-year-old Robert De Niro. But it must happen, because everyone’s losing their minds over Robert De Niro crying and watching football. Meanwhile, in Reds, Nicholson was busy boning Diane Keaton and writing a Pulitzer Prize-winning play. No biggie. 

Maureen Stapleton vs. Jacki Weaver

Maureen Stapleton won an Oscar for her portrayal of radical feminist activist Emma Goldman. Jacki Weaver got an Oscar nomination for saying "crabby snacks and homemades" twice (and also because they just needed some nominees because we all know that Anne Hathaway is going to get that thing). This seems like an incredibly even match, right? I’d just like to see Maureen Stapleton’s Emma Goldman clomp around modern-day Philadelphia teaching these people what real suffering is like. Get me on the phone with David O. Russell: I’ve got a great idea for his next dramedy.

Follow Tyler Coates on Twitter.

Director’s Guild Award Nominations Fall Short

Well, the Director’s Guild nominations have come in, and they’ve proved to be entirely predictable. Not a surprise in the house. And that isn’t to say the directors nominated aren’t deserving and that their films don’t merit acclaim but come on, there are so many brilliant films being made and so many talented people at work, that although awards don’t mean everything, it’s just slightly disheartening to see the scope of praise be so narrow.

The nominees are:
Ben Affleck, Argo
Ang Lee, Life of Pi
Steven Spielberg, Lincoln
Tom Hooper, Les Miserables
Kathryn Bigelow, Zero Dark Thirty

But aren’t we missing something? Sure, Django Unchained could have been about 40 minutes shorter, but Quentin Tarantino most definitely deserves accolades for his cinematic achievements. He knows how to craft something that’s universally entertaining while always staying true to his heavily-rooted obsessions and idiosyncrasies as a filmmaker, while coining his own take on an old genre. And what about David O. Russell? Silver Linings Playbook was a heartfelt and challenging film, and if we’re talking purely of directorial skill, he managed to get incredibly nuanced, passionate, and sincere performances out of his actors while crafting something wonderfully enjoyable. Um, not to mention P.T. Anderson for The Master, which was basically a master class on how to direct your actors and build a mise en scène.

I’m hoping the Academy Award nominations will provide a bit more excitement in terms of choices, but that’s always a toss up. The Director’s Guild Award winners will be announcement on Saturday, February 2nd at the Ray Dolby Ballroom at Hollywood & Highland.

The Best of BlackBook’s 2012 Film Coverage

2012 was an interesting year for cinema—whether it be Hollywood franchise blockbusters, independent stage-play-turned-comedies , or haunting and heartbreaking foreign dramas. In the first half of the year, we saw young filmmakers such as a Brit Marling, Benh Zeitlin, and Leslye Headland debut their innovative and fresh take on modern stories, with films that established them as unique new voices of independent American cinema. Hollywood staples David O. Russell, Quentin Tarantino, Wes Anderson, and Whit Stillman once again pleased audiences and won critical praise for their idiosyncratic features. And then there were the beautifully guttural foreign films from Michael Haneke, Miguel Gomes, and Leos Carax that constantly reinvent, not only what film can be, but the experiential nature of cinema as well. 

So as the year draws to a close and we begin to anticipate next year’s film slate, here’s the best in BlackBook’s film coverage of the past twelve months—highlighting our favorite films of 2012 that will linger on in history and the one’s to breakout next year’s biggest stars.

Holy Motors
Silver Linings Playbook

Damsels in Distress

Django Unchained

Moonrise Kingdom
The Deep Blue Sea
The Queen of Versailles
Beasts of the Southern Wild

Sound of My Voice
Wuthering Heights

The Loneliest Planet
Sleepwalk with Me

Beware of Mr. Baker
Anna Karenina
The Imposter

The Snowtown Murders
The Perks of Being a Wallflower

The Movies We Hated In 2012

My colleague Hillary Weston and I see a lot of movies. Sure, we both loved a bunch of movies this year, such as the delightful Moonrise Kingdom, the biting Bachelorette, the lovely Beasts of the Southern Wild. But there were a few that we downright hated. While we don’t always agree on which movies were, in fact, the worst, here’s a brief list of the films from this year that drove us into fits of fury.


Ridley Scott’s sort-of-prequel to Alien left me with more questions than answers. For example, why did they hire Guy Pearce to play an old man instead of, I dunno, an actual old person? Would that automated surgery machine take my health insurance? What’s Michael Fassbender’s daily caloric intake? (It must not be too high.) What I did take away was this: there is no way that this has anything to do with Scott’s original masterpiece other than casually tossing around “Alien prequel” will gain a lot of buzz. I couldn’t have explained the plot of this movie five minutes after leaving the theater, and I had thankfully forgotten Prometheus until I decided to come up with the worst movies I’d seen this year. So there you have it, folks: Prometheus is completely forgettable until you try your best to think of things that are horrifically bad.—TC

To Rome With Love

Oh Woody, how I love thee. But just because you have spent your entire career putting out film after film—back to back every year for what seems like an entire century now—doesn’t mean you should allow yourself to be so sloppy. Honestly, I doubt he even liked it, as even Allen’s character felt like someone doing a bad impression of himself. (Larry David, Owen Wilson, and Will Ferrell have all played better Woody Allens.) And don’t even both trying to find anything intelligent or redeeming about the women that populate the picture. Ellen Page’s boyish waif seductress was, to borrow a term in just about every one of his movies, "a pseudo intellectual" who was both manipulative and hollow; Greta Gerwig was an oblivious and passive goof who was supposed to be an intellectual but looked like an witless idiot; Alison Pill’s character was about as bland and lifeless as the canvas pants they wrongly put her in; and even the brilliant and beautiful Judy Davis had absolutely nothing to work with. The whole Penelope Cruz hooker storyline was absurd and a narrative bore, the Roberto Benigni "comedic" meditation on celebrity and the ego was unbearable to watch, and the father-turned-opera-singer sideline was no better than this Flintstones episode. By far the best part of the film was when I left to get a jumbo box of M&Ms and had to spend five minutes searching for the candy attendant. —HW

Silver Linings Playbook

There’s at least one movie released every Oscar season that everyone but me seems to like. This year, David O. Russell’s choppy mess of a movie fills the Little Miss Sunshine slot. Furthermore, this is the first movie that has ever forced me to leave the theater early. What did I hate most? The over-the-top quirkiness of the script? The propensity for each character to explain his or her madness rather than convey them with their actions? The fact the last thirty minutes are better than the first hour-and-a-half, at least according to every person I know who claims I cannot judge it solely on the first two-thirds of the film? (Go watch The Godfather and try to tell me the same thing, folks.) I’ve never been so grateful for Jessica Chastain, who will surely quash Jennifer Lawrence’s shot at an Oscar next spring. —TC

Lola Versus

After seeing Daryl Wein and Zoe Lister-Jones’s sophomore effort, I recall writing down a few initial thoughts: "This movie has little to no genuine feeling. The dialogue was trite. The characters were like posed mannequins in an Anthropologie window attempting to tell a joke." And the worst part: even the wonderful and talented Greta Gerwig as Lola and a score by Fall On Your Sword could not save this shallow attempt at an anti-typical romantic comedy. The filmmakers are both young, intelligent people who have lived in New York for years, but I have to wonder: have they ever spoken to other humans? Every moment was contrived and two-dimensional, and it was filled with pathetic portrayals of wallowing that weren’t even accurate save for the lovelorn title character’s affinity for binge drinking and sleeping with people she would later regret. Lola chastises herself, saying "I know I’m slutty, but I’m a good person," even though it’s made clear that her ex was the only person she had slept with until they broke up, and then she sleeps with two other guys. Even the sparse scenes with her ex have absolutely no chemistry, and neither character exhibit qualities that would make you root for them not to wind up alone. All in all, it’s a film that apparently takes place in New York, but not a New York you’ve ever seen. —HW

The Dark Knight Rises

Here’s the thing: I knew I would hate this. But I had to see it, because to completely avoid the movie blockbuster of the summer would prove my own ineptitude at being a blogger. (And, as a blogger, it is my duty to share my opinions.) Christopher Nolan finally wrapped up his dour Batman trilogy with an overwrought political epic complete with as many of The Christopher Nolan Players as possible. Christian Bale brooding? Check. Tom Hardy being gay-question-mark? Yup. Marion Cotilliard for no particular reason? Uh huh. And leave it to Nolan to even strip away all the fun from Catwoman, who, as played by Anne Hathaway, is more like an old, unenthused tabby who only occasionally gets to ride some stupidly overdesigned motorcycle. Don’t get me started on the fact that it took a good forty-five minutes for Batman to actually show up; it was less of a superhero movie and more of a chance for Christopher Nolan and co-writer/brother Jonathan to an Oscar-clip monologue to every single character. —TC

The Paperboy

I don’t know why I expected more from the guy who interpolated shots of incestuous rape with images of bacon sizzling on a griddle in Precious, but I can say without wavering that The Paperboy was not just my least favorite film of the year—it’s also the worst movie I’ve ever seen. I’m all for a piece of well-made trash, but no amount of scrubbing would reveal a diamond under those layers and layers of shit. It’s misogynistic, homophobic, exploitative all around, and relies on the popular opinion that the South is a cesspool of murder, rape, racism, alligators—things that can only take place down there. And something must be said when Macy Gray delivers the best performance in a cast made up of Zac Efron, Nicole Kidman, Matthew McConaughey, John Cusack, and Scott Glenn. —TC

My Editor Is Wrong About ‘Silver Linings Playbook’

As a writer for this august publication of record, it is my sad and solemn duty to report upon all of my editor’s gravest errors. In this case, it is his willful dismissal and obstreperous refusal to see the relative merit and entertainment value in Silver Linings Playbook (2012), which is so totally good enough to kill a few hours with, so watch your mouth, Tyler.

My esteemed editor registered his disgust on his personal Tumblr before bragging about his remarkable state of domestic bliss at present:

Ten minutes into this movie, I thought, “What the hell is this shit?” Five minutes later, Andrew turned to me and said, “I hate this.” We left about an hour later. 

True love is sharing a hatred for overrated Oscar-bait movies, you guys.

First of all, “Oscar-bait”? The last thirty-odd Best Picture winners have been overwrought melodramas, not screwball romantic comedies. [Ed. note: "screwball?" More like blue balls. Also, please review Shakespeare in Love, Chicago, and last year’s winner, The Artist.] Secondly: you left an hour after you both agreed you hated it? Seats must have been pretty comfortable, dude. [Ed. note: We were in the front row. Perhaps that added to my discomfort? That and the choppy, extreme close-ups that David O. Russell employed foolishly.] Feels like you might as well have stuck it out to the end, where it becomes the exact kind of movie you like! [Ed. note: So, like, Wet Hot American Summer? Coal Miner’s Daughter? DO EITHER JANEANE GAROFALO OR SISSY SPACEK SHOW UP?] (Am I kidding? You’ll have to watch to find out.)

In conclusion, I’m not entirely sure what this man expected from the director of Flirting With Disaster, Three Kings, and ♥ Huckabees. [Ed. note: Solid point. None of those are particularly good, either.] I thought Silver Linings Playbook was slighter than these but slotted neatly into the oeuvre itself, delivering the philosophical laughs and credible absurdities I’ve come to associate with David O. Russell’s work, and I certainly can’t see what in it would so offend as to drive one from the theater. [Ed. note: Well, there was the whole thing where Jennifer Lawrence was playing a role that could have gone to Miley Cyrus or, hell, Juliette Lewis if it came out fifteen years ago. Both would be similarly competent at delivering lines in which they explain their feelings rather than bothering to subtely show them.] But perhaps it’s not for me to say how my editor has strayed from the path—only to note that he has.

Follow Miles Klee on Twitter. [Ed. note: I wouldn’t recommend it.]

What We Watched Instead Of ‘Liz & Dick’

I had every intention of avoiding Liz & Dick last night. First of all, I don’t particularly enjoy watching people crash and burn as much as the next guy—even when that person in Lindsay Lohan. Also, I was fully prepared to be annoyed by everyone on Twitter live-tweeting it. As far as I’m concerned, last night’s presentation of Liz & Dick was amateur hour on Twitter (now I know how actual alcoholics feel on St. Patrick’s Day). Anyway, I went to see Silver Linings Playbook instead, which didn’t last very long. (Congrats, David O. Russell, for directing the first movie I’ve ever walked out of.) I got back in time to see enough of Liz & Dick to turn it off, and here’s what I watched instead:

1. Last week’s episode of Happy Endings

2. This Lord of the Rings spoof from French and Saunders.

3. This Cold Mountain spoof from French and Saunders.

4. The French trailer for Rust and Bone.

5. The international trailer for Rust and Bone (which is better, I think).

6. The trailer for Les Miserables.

7. The trailer for Les Miserables.

8. The trailer for Les Miserables.

9.This supercut of Julianne Moore crying.

10. The trailer for Les Miserables.

Follow Tyler Coates on Twitter.

Getting To The Heart Of David O. Russell’s ‘Silver Linings Playbook’

It’s rare in today’s cinematic landscape to find a film that’s not only emotionally engaging and relevant but also teaches you something about yourself and allows you to understand those around you more clearly. And when it comes to films dealing with mental illness, there always seems to be a slant towards the extreme—either we’re viewing those dealing a condition through a stigmatized lens or we’re looking at someone totally consumed by it. So what feels entirely unique is a film that shows what actual life is like—what it is actually like to deal with something profoundly troubling inside yourself, as well as to force yourself to get through the day and live your life in a way that doesn’t allow you to fall prey to it. With his latest film, Silver Linings Playbook, director David O. Russell doesn’t simply make a romantic comedy about troubled adults; he gives us one very specific look into a community of people like yourself and the people that you love, just trying to find a way to make it all work.

Based on the novel of the same title by Matthew Quick, Silver Linings Playbook was given to Russell by Sydney Pollack who owned the rights with his partner Anthony Minghella and Harvey Weinstein. “Were it not from my son who had some of these struggles with bipolarity and other matters, the book would not have grabbed me,” said Russell at a press conference with the cast on Monday. “The characters were fantastic, all very complicated characters—very powerful women and very powerful men grappling with things in a very particular neighborhood way.” Silver Linings tells the story of Pat Solitano (played by Bradley Cooper), a former high school history teacher who returns to his Philadelphia community after being released from a court-ordered stint in a mental hospital. Now living with his parents, Pat Sr. and Dolores (played by Robert De Niro and Jackie Weaver), Pat attempts to reconcile with his new life and desperately gain back the affections of his estranged ex-wife, Nikki.

Amidst his recovery, Pat meets Tiffany (played by Jennifer Lawrence), a young widow with troubles of her own. The two tortured souls connect instantly but clash on impact, immediately bonding over their unspoken recognition that they’re different from those around them but their unfiltered personalities find them at odds with one another. After some mild stalking, the two arrange to become friends with benefits—those benefits being Tiffany’s help sneaking Pat’s letters to Nikki in exchange for Pat partnering her in a dance competition she has been eagerly preparing for. 

The characters in Silver Linings—whether it’s Pat’s abrasive deadpan delivery of “saying more inappropriate things than appropriate things,” or the way Tiffany’s entire attitude can turn on a dime in a way that’s as hilarious as it can be heartbreaking—all have their own idiosyncratic tendencies that are embodied by the brilliant performances of the actors who play them. Bradley Cooper delivers the performance of his career, showing an absolute dedication to his work and a selflessness that makes you wonder why we haven’t seen this side of him sooner. Upon watching Wedding Crashers, Russell found it intriguing that Cooper seemed a much angrier person. “When I got to know him he was only more interesting because that guy was 30 pounds heavier and was angrier at that time,” Russell said. “So that was interesting to hear when Bradley told me about himself because that mirrored the journey of Pat. And as Pat is reintroducing himself to his community, I feel so is Bradley when we meet him in the picture as an actor. I don’t think people have seen that face of him in cinema.” 

Russell’s desire was to capture the essence of these very specific communities, and Cooper, being from Philadelphia himself, brought an authenticity and knowledge of that very ritualistic, family-oriented world. “I confided in him early on that I didn’t know if I could do it,” said Cooper of his trepidation about taking on the role next to De Niro. "But he said, ‘You’re from Philly, you’ll be fine.’ And I knew I could say the word ‘dad’ and look at him and that would come from a real place. So that was built in.” De Niro himself got to know Russell over a period of years, allowing them, according to Russell, to “have a personal dialogue about members of our family that had various challenges they’d faced.” The simpatico between De Niro and the entire cast resulted in one of the most dynamic and energetic performances I’ve seen from De Niro in years, utilizing his restrained intensity that’s filled with so much love and so much fear. 

Jennifer Lawrence on the other hand, was not at all who Russell expected to cast. “We thought she was perhaps too young and too inexperienced, we didn’t know how much depth she had,” said Russell, who admitted that at the very last minute she came in and stole the show. It’s hard now to imagine the film without her; she brings such life and charisma to the film, with a presence that feels at once very powerful yet gentle enough to understand that her fragility. “She possesses many qualities of the character,” Russell continued. “She possesses a great maturity emotionally and a great confidence but also a great vulnerability.” Rounding out the cast is Chris Tucker (someone we haven’t seen enough of since Rush Hour) as Danny, Pat’s friend from the mental hospital, who serves up the legal language of the film. "My role was a small role, but it had so much depth to the character," said Tucker. “It was so much fun, and I think this is one of the most important roles I’ve ever done."

Filmed in just a little over a month, De Niro explained that “there was a kind of chaotic shooting where the camera was always moving around, this and that. It gave it a life that’s very important.” “It’s almost like theater,” Cooper said. “That house almost felt like we were doing theater in it. That scene where Tiffany comes in and does the whole parlay scene—almost the whole cast was there and it just had this immediate vibration, which is intoxicating for an actor. And all David’s characters in all of his movies are very dynamic, they have to deal with emotions that we can all relate to but are a little bit heightened.” 

Speaking to Pat’s socially jarring nature, Russell said, “I love how uncomfortable people are at the beginning of the movie. People say, ‘Oh Bradley Cooper, The Hangover. I’m uncomfortable. He’s a very scary character.  What’s he going to do next?’” But in watching the film, what proved so fascinating to me was how relatable everything and everyone feels. It hits on a guttural level that allows you to identify with the characters even at their worst, recognizing their faults and flaws as your own. Each dealing with their own anxieties and disorders, these characters are not sketches of a person scrapped together or extreme examples meant to teach a lesson. Rather, they are all simply people trying to deal with something beyond their grasp in the best way they can. It feels as if you are peering through a window on your neighbor, slightly frightened and enticed by the situation at hand, but knowing that when you return home, someone could be thinking the same thing watching you. And that’s where the genius of the writing comes into play. Russell’s dialogue never feels forced or contrived, and there’s immediacy with each word. “That is, as Frank Sinatra once said, the whole trick of the record to me,” Russell said. “You feel like you’re spying on people. And everybody has to trick themselves, when I’m writing I have to trick myself as a writer, you have trick yourself into being in a moment and that’s one of my favorite things about the film.”

Adding to the dimensionality of the characters is the fact that there are always consequences for their actions; no one is allowed to come away unscathed. The film also does a beautiful job of subtly portraying the point in illness, treatment, and recovery when one has the clarity and consciousness to recognize his or her behavior and faults but still does not have the power to control them and the shame, guilt, and self-hatred that comes along with it. “My goal as a filmmaker is really to grab people by the throat with a sustained intensity of emotion,” said Russell. That sentiment is never articulated in a sentimental way. “I think it’s a great thing when characters have a challenge,” Russell said. “Whether it’s someone who is bipolar or a drug addict; these people are challenging but make everybody around them rise or fall. It’s about second chances.”

Nothing Bonds People Like Depression: A New Clip from ‘Silver Linings Playbook’

Last week we saw a second trailer for David O. Russell’s wonderful new drama, Silver Linings Playbook. The new preview gave us a better look into the heart of the film, focusing on the comedic aspect—just one of the many dimensions Russell has built into the story to give it a tremendous amount of life and ethos. Following last week’s trailer, the a new clip has been released, featuring a scene from a dinner party thrown by Julia Stiles with Bradley Cooper and Jennifer Lawrence as the guests of honor. The two discuss their prescription med intake, showing the initial spark that bonds them together—the realization that they’re both different than everyone they know, almost as if they both in on a secret joke. We get a sense of Russell’s brilliant way of crafting chemistry between people as well as his affinity for strained familial situations on edge. 

I saw the film about two weeks and haven’t been able to stop thinking about it. There was something about it, although far removed from my own life, that felt deeply relatable and hit on a real guttural level. The characters—all dealing with their own anxieties and disorders—weren’t sketches of a person scrapped together (as so many films dealing with mental illness are wont  to do) rather, they were all everyday people trying to deal with problems beyond their grasp that stemmed from something real. Not only that, but there were consequences for their actions. The film also managed to subtly show the point in illness, treatment, and recover when you have the clarity and consciousness to recognize your behavior and your faults/flaws but still don’t have the power to control them and the shame, guilt, self-hatred that comes with that and perpetuates it. No one was looking to be “cured,” just simply finding ways to cope and make a life that had meaning from the pieces they lost and the things they gained in return. And that was wonderful to see played out in such an entertaining way that didn’t try to beat you over the head but really employed the use to subtext to allow you to enter these character’s psyche’s, as well as their hearts.

The long synopsis goes as follows:

Life doesn’t always go according to plan. Pat Solatano has lost everything—his house, his job, and his wife. He now finds himself living back with his mother and father after spending eight months in a state institution on a plea bargain. Pat is determined to rebuild his life, remain positive and reunite with his wife, despite the challenging circumstances of their separation. All Pat’s parents want is for him to get back on his feet – and to share their family’s obsession with the Philadelphia Eagles football team. When Pat meets Tiffany, a mysterious girl with problems of her own, things get complicated. Tiffany offers to help Pat reconnect with his wife, but only if he’ll do something very important for her in return. As their deal plays out, an unexpected bond begins to form between them, and silver linings appear in both of their lives.

Check out the new clip.