Recorded a few days before the film's opening, they worry about how the film will fare against Man of Steel. Their novelty long worn off, most commentaries aren't a great use of your time, but these guys are unusually easy and fun to listen. Kicking off the all-hd video side, "Directing your Friends" (6:30) has Rogen and cast explaining the pros and cons of working with his friends, their remarks complemented by raw takes and on-set footage. "Meta-Apocalypse" (7:43) collects thoughts on the concept of the actors playing characters that bear their names and credits but differ from their real personalities. "Let's Get Technical" (10:44) finds cinematographer Brandon Trost and other crew members discussing the style and practical effects atypical for a comedy. "Party time" (12:54) lets us in on the star-studded party scene atmosphere, with peeks at the improvisational filming, thoughts on how the supporting cast came to be a part of this, and on-set remarks from the actors themselves.
This, is, the, end review : supergood FlickFilosopher
This has more or less been dead on arrival in international markets, but with its production budget what it was, it stands as one of 2013's biggest commercial triumphs and one that I'm convinced will have people at a loss to explain for decades. One of Sony's two bright spots at the summer box office, this is the End is now available to own on dvd and in the Blu-ray parser dvd ultraviolet combo pack reviewed here. Blu-ray dvd details.40:1 Widescreen (dvd anamorphic) bd :.1 dts-hd ma (English dolby digital.1 (French, descriptive video service) dvd : Dolby digital.1 (English, French, descriptive video service) Subtitles: English, English for hearing Impaired, French Not Closed Captioned; Extras Subtitled in English Release. Blu-ray skillfully shows off the cinematic.40:1 visuals and their polished effects. Beyond parts of a few shots lacking focus, this transfer upholds the high quality of most Sony bds. The.1 dts-hd master audio also distinguishes this film, not only with its assortment of inspired needle drops but with its occasional action effects and directionality. The dialogue remains crisp throughout also, which is easy to take for granted nowadays but definitely enhances the experience all the same. Bonus features, menus, packaging and design apatow's comedies are regularly loaded with entertaining extras and in this regard, his protégés follow in his footsteps. First up comes an audio commentary by writers-directors Seth Rogen and evan Goldberg. They take this track seriously, comparing the actors to their fictionalized versions of themselves, pointing out visual effects used to turn New Orleans into los Angeles and to bare michael Cera's butt, and reflecting on unused bits, dashed concepts, getting Rihanna to sing without asking.
Yes, Franco and Hill are Oscar nominees and Franco has had success with. Rise of the Planet of the Apes and, oz the Great and Powerful. But movies relying on their own slacker/stoner personas (e.g. Your Highness, the sitter, she's Out of my league, observe and Report ) have been striking out consistently for about four straight years. For the entire troupe to rebound with a well-reviewed hard sell, a meta hangout session whose ending night is almost too deliciously absurd not to spoil, is remarkable and bizarre. To me, the reception is almost on par with the unexpected success. The hangover, whose poorly-reviewed threequel barely grossed more stateside.
But, there's enough outrageousness, good vibes, and unfakable chemistry to fuel over an hour of enjoyment from this unlikely place. Pineapple Express and, green Hornet, rogen and Goldberg don't wade online into genre material half-assed. They embrace their doomsday plot with serious visual effects and some creature work by pros whose name you might remember from. Chronicles of Narnia bonus features. This is definitely not your typical summer comedy, even as this gang basically makes sport out of clinging to their established types and unending adolescent mentalities. With help from a pretty random early september expansion back into 2,000 theaters, This Is the End narrowly eclipsed 100 million at the domestic box office. Though that mark has lost meaning in recent years, with real blockbusters able to hit it in as little as two days, it is no small achievement here. In fact, This might be the weirdest and unlikeliest movie to ever gross that much. It's a largely improvised, free-form, non-spoof work featuring actors whose comedy careers have all been on a slide in the past few years.
Rogen and Franco seize a free moment to make a trailer for. Pineapple Express sequel they cooked up at the party while considerably stoned. Hill, having ballooned back to his comedy weight, alternates between caring excessively and just plain creeping everyone out. McBride's version of himself isn't much more flattering than his signature role of Kenny powers. A.-hating Baruchel clutches to a bible and consults the book of revelations, which the movie treats slightly more delicately and respectfully than you'd imagine. Franco's home is an artist's tribute to himself. The film does run out of steam near the end, sometime after one character is raped by a visibly aroused demon.
This, is the, end, movie, review film Summary (2013)
They board up the manga doors and holes formed at Franco's artsy bachelor pad and pool their modest resources consisting funny of little more than booze, illegal drugs, a dirty magazine, a milky way bar, a box of Cinnamon toast Crunch, and some props from Franco's films. That bold design requires confidence. Here is a film that holes itself up in a single setting with six comedy actors/friends, each with their share of vocal detractors who consider them annoying, playing exaggerated versions of themselves. The prospects of getting outside or going anywhere are dim. The action that ensues is nothing more than drawing for burned matches and taking turns to try to break through a concrete floor to secure more jugs of water. Rogen and Goldberg have adapted this feature screenplay, their fifth together, from a 10-minute 2007 short starring Rogen and Baruchel that Goldberg wrote with Jason Stone. It's the kind of project that seems to have grown organically out of friendship, free time, and probably some recreational drug use.
Just barely in their thirties, rogen and Goldberg have earned an impressive amount of creative power. Agreeing to a 32 million budget obtained with pay cuts, the writers-directors have been spared the studio interference you expect a major summer release - and the pair's coolly-received. The watch and, the Green Hornet - to endure. One gets the sense that Rogen and his social circle have won enough fans and respect from their handful of productive years to allow Columbia pictures to place an unusual amount of trust in their instincts. Surprisingly, it pays off, at least for much of the 107-minute runtime. In the right company, the apocalypse can be quite funny and these six seasoned veterans prove themselves to be the right company, able to portray themselves as petty, irresponsible idiots and laugh at their personas and bodies of work.
He's visiting Rogen, who has plans for them to spend "the best weekend ever." to these slacker icons, such a weekend begins with Rogen abandoning his gluten-free cleanse to indulge in some carl's. Burgers before heading home, where a table of Starburst, pot, and video games await the pals. As night falls, baruchel reluctantly agrees to attend with Rogen a housewarming party at James Franco's newly-finished abode. The scene is out of Baruchel's comfort zone, but Rogen doesn't seem to notice that as he effortlessly socializes with the likes of Franco, jonah Hill, and other famous entertainers. Those in attendance include rihanna, emma watson, Craig Robinson, and a lightly mustachioed Michael Cera, whose mild-mannered nice guy act has been a stretch, for we learn he's really a coke-snorting jerk.
Eager to exit, baruchel settles for a walk to get cigarettes from the nearest convenience store with Rogen. That's when stuff starts going down, starting with what seems to be more than just an earthquake. Baruchel and Rogen escape safely and return to find the party at Franco's "fortress" continuing unaffected. Moments later, though, peril strikes the actor's home, with an earthquake registering.7 on the richter scale and a giant, fiery sinkhole out front claiming the lives of numerous famous actors who don't get their face on the poster or cover art. When the dust settles, we're left with Baruchel, rogen, Franco, hill, and Robinson. The next morning, they're joined by a reckless Danny McBride rounding out this six-man unit. As the title suggests, these friends appear to be facing an apocalypse.
This, is the, end, reviews - metacritic
Apatow is surprisingly uninvolved with this film, which nonetheless shares the impresario's taste for raunchy, improvisation-heavy comedy. Actors cast in the short-lived but beloved television series "Freaks and geeks" and "Undeclared" accompanied the showrunner on his rise lined of filmmaking's ranks, appearing in films like. The 40-year-Old Virgin and, knocked. Seth Rogen, the most prominent link between those two hits, got his break not only in front of the camera but behind it too as the writer of the Apatow-produced. Now, rogen and his writing partner evan Goldberg make their directorial debuts together in a film that rounds up their gang of friends that's always growing in number and profile. This hard-R-rated comedy lets Rogen and his repeat co-stars of film and television send up their public images and fictionalize their longtime friendships. The film opens with Canadian actor jay baruchel flying into los Angeles for the first time in a year.
Luckily, the advisor drama immediately returns to mark and Isaac. Several positive signs — lydia, an acting gig, and a pet goldfish for Isaac — have been gathering, but Mark slowly tilts toward wrecking them all. You feel for Isaac's safety the entire time, but only in the film's second half does this dawn on Mark. The most impressive feat of Webber's film is noticing how little Isaac is actually present. You get the feeling that, for him, "The End of love" is just another home video, like the ones that bookend the feature - only with nicer cameras and a theatrical release. This is Webber's flawed but treasured document of his son, an attempt to share a portrait of their developing relationship, and — later on — a chance for Isaac to see his dad's parental reflections captured on-screen. This Is the End assembles a group of young actors who owe their film careers to some degree to judd Apatow.
natural and welcome performance i've seen from her. Though her and Mark's relationship begins predictably, it evolves as naturally as the one between father and son. However, the film weakens in its second half: Mark's attempt at a night out finds a young Hollywood cast (. Aubrey plaza, michael Angarano, jocelin Donahue ) at Michael Cera's cavernous mansion. Isaac is left with a craigslist-sourced sitter - along with this part of the film. Advertisement, cera's brief character (credited as Micheal) is a tonal oddity: he's playing at a swaggering version of himself — comic relief and a comment on Mark's outsider status — but we don't need an example of this; Mark's inner journey does the job just. By the time cera screams first-world problems while waving a revolver, the film shifts into an alternate reality.
Their interactions evade real-time; they unfold almost as a crystallized memory — compressing laughter, tears, and wonder into a sensory collage — and as both character and director, webber truly displays his talent. The half-improv approach is a risky one, especially. Judd Apatow has made intra-family line-ups almost a special effect, a shorthand promising some form of parental truth. But there's never a gimmicky statement found in Webber's revelation work, only a series of confident questions. Webber's clarity extends outside the home. An early audition with. Amanda seyfried (one of many cameos) has the ring of first-hand embarrassment.
This is the, end, news, This is the, end, review, this
Mark webber's The End of love" connects and lingers by making incredible effort seem natural. Following his 2008 ensemble debut, "Explicit Ills actor/director Webber combines a structured narrative with something that feels like near-documentary realism. He plays "Mark a los Angeles-based actor struggling over the recent death of his girlfriend, evelyn (. Frankie shaw with whom he fathered a two-year-old son Isaac (Isaac love). A philadelphia transplant to la, webber examines how his actor's ego collides with new role as a father. It's one thing for Mark to brag about a high-profile movie part, but when Isaac gives him a forehead tattoo with a permanent marker, humility is really his only option. Advertisement, with his real-life son joining him, webber is not paired with a performer in the usual sense. Lively Isaac is simply goes about his existence while a film is expertly assembled around guaranteed him. As a result, skilled dp patrick lucien Cochet needs only to capture the conversation between Webber and his boy.