‘Cut Off’, which Hill wrote alongside regular collaborator Ezra Woods, will see Wiig and Hill playing wealthy siblings whose parents turn off the money faucet and force their adult kids to support themselves.
The movie hit news sites earlier this year as one of those set to receive $10 million in California production tax credits, against a budget that nears $50 million.
Where else can we see Kristen Wiig and Jonah Hill?
Kristen Wiig in ‘Palm Royale’, now streaming on Apple TV+.
Wiig, who most recently reprised the voice role of Lucy in Illumination’s ‘Despicable Me 4’, will be back on screens in the second season of Apple TV+ series ‘Palm Royale’, which returns next year.
Before that, she’ll be seen as a quirky cat lady in the movie based on popular kids’ series ‘Gabby’s Dollhouse’. That lands in theaters on September 26th.
She’s also attached to a variety of movie projects, including romantic comedy ‘Epiphany’, which will find her as broke fashionista heiress who races against time to marry rich and save herself from financial ruin.
Hill was last seen in Netflix comedy ‘You People’ and has been busy behind the cameras. He’s directed ‘Outcome’, which follows Hollywood star Reef (Keanu Reeves) as he is forced to confront his problems and atone for his past after being threatened by bizarre video footage that resurfaces.
That movie, which Hill also wrote with Ezra Woods, co-stars Cameron Diaz and Matt Bomer. It has yet to lock down a release date.
When will ‘Cut Off’ be on screens?
‘Cut Off’ doesn’t seem to share the money worries of its protagonists –– Warner Bros. is providing the backing and has already secured a July 17th, 2026 release date for the movie, signaling that studios are really hoping big summer comedies can make a comeback.
Cameron Diaz in ‘Bad Teacher.’ Photo: Sony Pictures Releasing.
Preview:
Cameron Diaz is in talks to join the movie ‘Outcome’.
Keanu Reeves is starring, with Jonah Hill directing.
Apple is backing the new movie.
Given that she seemed to be done with acting after completing work on 2014’s musical remake ‘Annie’, it’s reassuring to know that Cameron Diaz still seems to want to grace our screens.
She already has one project on the way –– Netflix action comedy ‘Back in Action’, which co-stars ‘Annie’s Jamie Foxx –– and has now entered talks to star with Keanu Reeves in a new dark comedy ‘Outcome’.
Keanu Reeves speaks onstage at Comic-Con at San Diego Convention Center on July 22, 2022 in San Diego, California. Photo by Jerod Harris/Getty Images for Lionsgate.
The new movie’s plot focuses Reef (Reeves), a damaged Hollywood star who must dive into the dark depths of his past to confront his demons and make amends after he is extorted with a mysterious video clip.
Deadline’s story on Diaz joining the film offered no details on who she’s playing. Could she be someone from Reef’s life that he’s wronged in the past? Or a woman who knows him now and is shocked to discover exactly what he was up to back in the day?
‘Outcome’ represents the latest film to be directed by actor Jonah Hill (who may also show up in front of the cameras). He co-wrote the script with Ezra Woods.
Hill, best known for the comedy likes of ‘Superbad’ and the ‘21 Jump Street’ movies, has been making inroads into filmmaking. He first directed 2018 coming-of-age tale ‘Mid90s’ and followed that up with 2022’s ‘Stutz’, a documentary about his therapist.
In addition to that, he’s also moved into writing and producing, working on the likes of ‘You People’ (in which he also starred). And he’s been keeping his acting career going with movies such as ‘Don’t Look Up’ and ‘The Beach Bum’.
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Who is backing ‘Outcome’?
‘Killers of the Flower Moon’ director Martin Scorsese.
Apple Original Films has picked up the rights to finance and distribute the movie, but there’s no word yet on whether it’ll see the inside of theaters (as with ‘Napoleon’ and ‘Killers of the Flower Moon’) or debut on Apple TV+ (joining the likes of ‘Fingernails’ and ‘The Beanie Bubble’.)
And it marks the latest collaboration between the company and Hill, who is executive producing a Grateful Dead movie that ‘Flower Moon’ filmmaker Martin Scorsese will direct.
What’s next for Diaz and Reeves?
Cameron Diaz in ‘In Her Shoes.’ Photo: 20th Century Fox.
As mentioned, Diaz will be seen in ‘Back in Action’, which is still awaiting a schedule date from Netflix.
Reeves, meanwhile, was most recently seen in successful fourth ‘John Wick’ outing and has several titles upcoming or in development, including ‘Wick’ spin-off ‘Ballerina’ (which recently got pushed back to 2025), action comedy ‘Good Fortune’ and the still nebulous ‘Constantine’ sequel, which would see him return as occult detective John Constantine.
Keanu Reeves as John Constantine in 2005’s ‘Constantine.’
Hiccup and Toothless from ‘How to Train Your Dragon: The Hidden World.’
Disney had been getting a lot of mileage out of turning its animated classic canon into live-action (and usually live-action/CG mixes) with the likes of ‘Beauty and the Beast’, ‘The Lion King’ and this year’s ‘The Little Mermaid’, it was perhaps only a matter of time before other studios decided to give it a try.
The first to step up are Universal and DreamWorks Animation, who have started work on a live-action adaptation of the ‘How to Train Your Dragon’ stories.
Dean DeBlois, who wrote all three films, co-directed the first with Chris Sanders and took on the other two alone, is aboard to write, direct and produce this new film, where he’ll face the unenviable task of bringing central dragon Toothless to life in live-action, and somehow making him as charming as the beloved animated version.
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What’s the story of ‘How to Train Your Dragon?
Adapted from Cressida Cowell’s novel series, which saw its first book hit shelves in 2003, the ‘How to Train Your Dragon’ movies focused on the special friendship between a young and unheroic Viking boy named Hiccup and Toothless, an injured dragon he nurses back to health.
Set in a Viking island-based village called Berk, the story is set in a world where humans see dragons as a problem––either a sheep-stealing nuisance or deadly threat, depending on the type of beast. We followed Hiccup and Toothless’ quest to combat humanity’s prejudice against dragons, the ache of overcoming the loss of a parent, and first love. And uniquely, the films did so by consistently aging the protagonists commensurately with the story, becoming a true coming-of-age story.
The ‘Dragon’ movies have been successful enough to spawn a wealth of merchandise (including a Build-A-Bear Toothless tie-in, clothes, games, toys and more).
And it has also generated several TV spin-offs featuring other dragon riders, which have screened on Cartoon Network, Netflix and Hulu.
Universal clearly believes this is a franchise that can make the leap, and has already planted a flag in March 14th, 2025 for the movie’s theatrical release.
2014’s ‘How to Train Your Dragon 2.’
Other Movies Similar to ‘How to Train Your Dragon:’
Exploring race and culture, love, and family divides is perhaps not what you’d expect from a film that is also trying to be a romantic comedy. Yet ‘You People’, co-written by/starring Jonah Hill and co-written/directed by ‘Black-ish’ creator Kenya Barris, pulls off the trick with just a couple of spinning plates dropped.
At its core, this is the story of Ezra (Hill), working in finance but dreaming of putting more of his energy into the podcast he hosts with Mo (Sam Joy). Unlucky in love despite his pushy Jewish mother Shelley’s (Julia Louis-Dreyfus) attempts to set him up with likely women from synagogue, he’s looking for more out of life.
One day, Ezra gets into Amira’s (Lauren London) car, thinking she’s his rideshare driver (in his defense, the woman looks awfully like Amira and drives a similar car). Despite the shock on both sides, the pair spark some chemistry and, six months later, end up engaged.
Which is where the culture clash comes in. Amira’s proudly Nation Of Islam parents, Akbar (Eddie Murphy) and Fatima (Nia Long) are far from thrilled that their daughter is marrying a white man, and despite his best efforts to win them over, Ezra keeps putting his foot (and practically the rest of his leg) in his mouth. “Do you just come here for our food and our women?” grumps Akbar at his first meeting with Ezra at Roscoe’s Chicken and Waffles, which the latter claims is one of his regular haunts.
Amira doesn’t fare much better, Ezra’s parents Shelley and Arnold (David Duchovny) practically falling over themselves to prove how down with Black culture they truly are, despite being possibly the whitest people in Los Angeles.
Ezra and Amira plough on, trying to navigate the tricky waters of mixed-race relationships while their parents singularly fail to follow suite. A dinner party turns chaotic when Louis Farrakhan is brought up. And Akbar’s cherished headwear is accidentally set alight.
Eventually, after some disastrous rehearsal dinner speeches, emotions boil over and the couple decide that neither of them is quite equipped to handle the pressure that their families are putting on them. Which is, of course, not quite the end of the story.
Like Barris’ ‘Black-ish’ before it, ‘You People’ comments and satirizes race relations with a knowing wit. And, blended with the sort of awkward comedy Hill has honed working with the likes of Judd Apatow, it’s a marriage that works without ever forcing the issues. “For Black people in this country, white people are the cheater,” says Mo at one point, “and Black people are the girl who can’t move on.” All sorts of topics are covered and skewered with a knowing eye and neither side is painted as perfect.
Hill makes for an appealing lead, Ezra being more put together than some of the actor’s previous characters, and you can certainly sense the chemistry between the actor and London. She doesn’t quite get as much to do as she might, but the film works to give her a sense of personality outside of being a daughter and a partner.
Murphy, though some might be frustrated that he’s buttoning down his usually wilder persona, plays the hell out of Akbar, and just because he’s more of a quiet, intense presence, that doesn’t stop him being funny. This is a man who will do anything to make his daughter happy, but he’s also a rounded human being who, later in the film, is reminded that perhaps he shouldn’t judge his potential future son-in-law so harshly.
Louis-Dreyfus, meanwhile, is perfectly cast as Shelley, working whether she’s tying herself in knots to seem cool and accepting in front of Amira or fussing over Ezra. Duchovny gets shorter shrift, reduced to a couple of scenes and a running gag about how much he’s obsessed with Xzibit. But it’s worth remembering how funny he can be when he’s allowed to be.
Long, meanwhile, is also not used as fully as she might, though she does get a few moments to shine away from Murphy and the rest.
Around this core cast is built an impressively stacked supporting group, some drawn from the ‘Black-ish’ ensemble (Anthony Anderson cameos in a funny barbershop scene, while Deon Cole and Nelson Franklin are among those popping up). And then there are the one or two-line wonders, such as Elliot Gould and Rhea Perlman––the latter playing Ezra’s opinionated grandmother––who always add value.
Yet ‘You People’ can’t quite escape the TV background of its co-creator, feeling static and basic in its visual style. Though it makes use of some beautiful Los Angeles settings, mostly the scenes are flat and focused more on the funny people delivering dialogue than anything else. Which is fine given the quality of the written material and the performances but doesn’t help the feeling that you’re watching a sitcom or a collection of sketches. The fizzy transitions between certain scenes likewise make this feel more like ‘The Fresh Prince of Bel Air’ and less like a big screen experience (which it was for a week in Netflix’s current release model).
That doesn’t, however, affect the entertainment value much. Largely the pleasure here is seeing the talented likes of Murphy, Hill and Louis-Dreyfus making Barris and Hill’s script sing.
As a comic mix of ‘Guess Who’s Coming to Dinner’ and ‘Meet The Parents’, ‘You People’ proves to be a fresh, funny and one of the better comedies to happen along in recent years. As a rom com, it has just enough of the romance, but the comedy side is certainly better served.
Cate Blanchett, Tyler Perry, Leonardo DiCaprio, and Jennifer Lawrence in ‘Don’t Look Up’
Currently in theaters before streaming on Netflix on December 24th is the new comedy from director Adam McKay (‘The Big Short,’ ‘Vice’) called ‘Don’t Look Up.’ The film is a political satire that follows two scientists as they desperately try to convince the media, the President, and a politically divided United States that an asteroid scheduled to collide with Earth in six-months will destroy all life on the planet.
The new movie features a very impressive cast that includes Oscar winners Leonardo DiCaprio (‘The Revenant’), Jennifer Lawrence (‘Silver Linings Playbook’), Mark Rylance (‘Bridge of Spies’), Cate Blanchett (‘Blue Jasmine’), and Meryl Streep (‘The Iron Lady’), as well as Jonah Hill (‘Moneyball’), Tyler Perry (‘Gone Girl’), Timothée Chalamet (‘Dune’), Ron Perlman (‘Drive’), and pop singer Ariana Grande. The result is a clever comedic satire that has something important to say about the world we live in and presents it in an entertaining way with fantastic over-the-top performances from the entire cast.
The film begins when astronomers Kate Dibiasky (Lawrence) and Dr. Randall Mindy (DiCaprio) discover an asteroid larger than the one that wiped out the dinosaurs will crash into Earth, destroying all life in approximately six months. They immediately notify NASA and are sent to Washington to debrief President Orlean (Streep) and her son and Chief of Staff, Jason Orlean (Jonah Hill). However, preoccupied with getting her Supreme Court nominee passed by the Senate and a personal scandal of her own, President Orlean dismisses the scientists and declares that they will “sit on this,’’ and not report it to the media.
Frightened for the future of mankind and not trusting that the President will do the right thing, Mindy and Dibiasky contact a newspaper and agree to go on a popular political morning show hosted by Brie Evantee (Blanchett) and Jack Bremmer (Perry). But when the talk show hosts don’t take the scientists seriously, Kate loses her composer and blurts out on TV that “everyone is going to die.” In the aftermath, Kate becomes a national laughingstock and Dr. Mindy becomes a hero for being the “handsome scientist.” He eventually gets caught-up in his own celebrity and leaves his wife and family for a relationship with Brie. But, when the President’s approval ratings begin to go down, she starts to take the crisis seriously, realizing that saving the planet is the only way she will be reelected.
Working with the scientists, the President enacts a plan to send Colonel Ben Drask (Perlman) into space to blow up the asteroid. However, just as the plan is about to work, tech billionaire Peter Isherwell (Rylance) contacts the President asking her to abort the mission, and she agrees, much to the dismay of Randall and Kate. Isherwell has discovered that the precious minerals required to make cell phones and computers will soon be depleted on Earth, and that the asteroid possesses an endless supply of the needed materials, which will make them billions of dollars in the process. Their plan is to allow the asteroid to get into our orbit, then send tiny drones to land on it and begin drilling so that pieces fall to Earth but are small enough that it does not destroy it. This news divides the country, with those against it trending on Twitter with #JustLookUp, and its supporters chanting at rallies, “Don’t Look Up.” As the world debates and waits to see if Isherwell and the President’s plan will work, Kate and Randall try to pick up the pieces of their own personal lives, which have been devastated by their new-found celebrity.
Writer and director Adam McKay, who began his career helming Will Ferrell comedies like ‘Anchorman’ and ‘Talladega Nights,’ made a stark turn to political satire with 2015’s brilliant ‘The Big Short,’ which earned him an Academy Award for Best Adapted Screenplay. He followed it up with the 2018 biopic ‘Vice,’ which also earned him Oscar nominations for Best Director and Best Adapted Screenplay. ‘Don’t Look Up’ is not quite as good as ‘The Big Short,’ which in my opinion is a recent classic. But it is a much stronger film than ‘Vice,’ which was a slow movie that was really only carried by Christian Bale’s commanding performance as former Vice President Dick Cheney. Basically, using the plot of ‘Armageddon’ as a mirror to the pandemic and how our divided country became more divided because of a worldwide health crisis, was a stroke of brilliance and creates the poignant comedy of the film.
McKay’s script also spoofs several real-life people, as Streep and Hill are clearly playing Donald Trump and Jared Kushner, respectively, Cate Blanchett is a version of cable news hosts Megan Kelly and Mika Brzezinski, and DiCaprio’s Dr. Mindy is a substitute for Anthony Fauci. But while the world of ‘Don’t Look Up’ clearly mirrors our own, McKay makes it clear that this is a fictional universe as comedian Sarah Silverman and journalist Ashleigh Banfield play characters similar to whom they really are, a podcast host and a reporter, respectively, but are given fictional names to demonstrate that this is not happening in “our” world yet, but it certainly could.
While I loved almost all of the performances, let me start with the one I liked the least, and that was Mark Rylance. The Oscar winner is playing Peter Isherwell as a Steve Jobs/Jeff Bezos/Elon Musk type of character, and he does it quite well, except he’s basically playing the same role he did in ‘Ready Player One.’ Since the characters are so similar, I would have appreciated another casting for Isherwell, or at the very least having Rylance portray the character in a different way.
Jennifer Lawrence and Leonardo DiCaprio give very strong comedic performances and have a nice chemistry together in the film. They both balance the comedy and drama well, but it’s DiCaprio who is surprisingly hilarious as a decent family man who gets wrapped up in his own celebrity. Lawrence’s character is a little one-note for the first half of the film but reaches a new level when paired with Timothée Chalamet in the third act. Rob Morgan (Mudbound) is also worth mentioning and is very good as a scientist who helps Randall and Kate.
Tyler Perry and Cate Blanchett steal every scene they are in as a mock-version of MSNBC’s ‘Morning Joe,’ but it’s Blanchett who is truly wonderful as a news anchor more obsessed with power and celebrity than the truth. She is the character that tries to corrupt Dr. Mindy and challenges his values, and the actress is great opposite DiCaprio. I think Blanchett’s performance is so good that she would definitely be nominated for a Best Supporting Actress Oscar if it wasn’t for one thing … and that one thing is Meryl Streep!
Meryl Streep’s brilliant and commanding performance as essentially a female version of Donald Trump is all anyone is going to talk about after seeing this film and unfortunately, it will take the oxygen out of any conversation that might have taken place about nominating Blanchett. In some ways, correctly so, as Streep is certainly the comedic centerpiece of this film and gives a completely believable over-the-top performance. Streep will probably get a Best Supporting Actress nomination for her role, as she usually gets nominated for just about every film she makes. But this time it will be well deserved as the movie only works if you buy into her ridiculous character, which thanks to her performance, you do.
I also have to mention Jonah Hill, who as the President’s son and Chief of Staff, gives one of the most sarcastic, funny yet mean-spirited performances of his career. The actor creates a pathetic and outrageously obnoxious character that you absolutely hate but still look forward to seeing in every scene he’s in because you know he’ll have the funniest lines. In the end, Adam McKay has delivered another funny, smart, and poignant political satire, the kind of movie that is not made much anymore, that features strong performances and an important story that reflects our own society.
A movie so committed to accurately portraying the lifestyle and community that it depicts that you wouldn’t be surprised if the crew wore Airwalks and skinned their knees in solidarity with the cast, “Mid90s” oozes not just with period accuracy, but authenticity.
Jonah Hill wrote and directed this portrait, and tribute, to skateboarders of a certain age and the families they worried (and perhaps exasperated), and he pours everything into getting that cultural moment correct. But what resonates most in this coming of age story is not the “Teenage Mutant Ninja Turtles” bed sheets, or the Golden Era hip-hop songs punctuating each attempted ollie, but the uncomfortable — and inescapably powerful — truth that bad-influence kids you fall in with can sometimes do as much good in your formative years as harm.
Sunny Suljic (“The Killing of a Sacred Deer”) plays Stevie, a quiet, curious 13-year-old punching bag to his younger brother Ian (Lucas Hedges) who is, by virtue of his age and innocence, the favorite of their mother, Dabney (Katherine Waterston). Negotiating a trade for Ian’s skateboard, Stevie starts visiting a nearby skate shop where he befriends Ruben (Gio Galicia), and quickly enough, Ruben’s buddies, led by Ray (Na-kel Smith), a promising skater who is attracting the attention of local pros. Charmed by his accommodating demeanor and willingness to follow them anywhere, no matter how dangerous, they soon indoctrinate him into their world, much to the chagrin of Dabney — especially after he gets a concussion after falling off a roof.
But as Stevie battles with his mom over spending time with his new friends, divisions between him and Ruben, and Ray and another member of the group, F**ks**t (Olan Prenatt), threaten to dissolve these newly forged friendships and eject the 13-year-old from a community — and an adult world — that he’s just barely discovered.
A24
Chronologically, I’m a few years ahead of the kids in this movie in terms of their entry into the world of skateboarding, but Hill’s film nevertheless feels like one of the most faithful portraits of that culture and that time period that isn’t a documentary, or an actual skate video from the era. It’s not just the baggy pants and “Beavis and Butthead” T-shirts, but the way that kids had a different kind of freedom than they seem to now; parents were a little less controlling, or maybe just less worried, when their children didn’t show up on time, or started exploring a new trend or hobby with which they were not familiar. Certainly, the fact that Dabney is a single mother offers Stevie and Ian a wider berth, but even late in the movie, after she’s embarrassed him in front of his friends, an argument seems to erupt mostly because she has waited too long to impose some boundaries on his extra academic activities.
Meanwhile, the skating in the movie feels suitably carefree, and on occasion, delightfully irresponsible, the byproduct of authority figures in Southern California (and everywhere, trust me) trying to regain control of a sport that exploded in popularity at the expense of park fixtures and concrete landscapes across the country. It also feels wonderfully visceral, the perfect encapsulation if sometimes dangerous outlet for teenagers to test the boundaries of what they can or should do with their bodies, especially with Stevie as the audience’s stand-in. No matter what happens to him, Stevie seems so small and vulnerable in comparison to the more physically mature teens he rides with, and it turns their adventures (and injuries) into moments of understated but palpable drama.
But perhaps most important is the way the movie showcases how important, even vital, “bad” kids can be to “good” ones in their adolescence, and often, as their legitimate friends. In spite of the film’s indulgence in a variety of politically incorrect observations and insults — “retard” is thrown around liberally by these immature dunderheads — Ray offers a strong counterpoint to Stevie’s spongelike absorption of everything he sees and thinks is right.
He further reminds Stevie that even in their own group, there are kids who are dirt poor; each of them has experienced depressing setbacks and losses. Most of all, he recognizes the influence that the older kids have on the younger ones, even if they’re not always careful enough with how they wield it.
Hill, who’s clearly paid attention to filmmakers like Judd Apatow, Bennett Miller, and Martin Scorsese, has proven himself an eminently capable director in his own right, as astute in his character observations as his combinations of image and sound. His loving attitudes about hip-hop luminaries The Pharcyde and Tribe Called Quest, not to mention Nirvana and Herbie Hancock, dovetail into his clear affection for, and understanding of, the perspectives of all of these characters he’s so vividly created.
Ultimately, “Mid90s” is such a specific slice of life that it’s maybe understandable that it won’t resonate with everyone. Viewers who were drawn to skate culture during its proto-“extreme sports” heyday, or just struggled to find their niche as they moved through adolescence — choosing friends whose importance outweighed their negative influence — may identify with, and find an unexpected authenticity (an emotional one) in the recognizable click-clack of its streetwise rhythms.
MANIAC tells the stories of Annie Landsberg (Emma Stone) and Owen Milgrim (Jonah Hill), two strangers drawn to the late stages of a mysterious pharmaceutical trial. Things do not go as planned.
Here’s the trailer:
Yes, Jonah Hill looks different again. He does that.
A bunch of cool photos were released a while back. Netflix tends to be great at series, not so great at movies. So since this is a series, we’re very excited and intrigued.
“Maniac” will be ready for streaming on Netflix September 21.
Netflix did not chill on Sunday. Instead, we got several updates on new series announcements, and anticipated arrival premiere dates, from the TCA summer press tour.
“Maniac” follows Annie Landsberg and Owen Milgrim, “two strangers drawn to the late stages of a mysterious pharmaceutical trial, each for their own reasons. Annie’s disaffected and aimless, fixated on broken relationships with her mother and her sister; Owen, the fifth son of wealthy New York industrialists, has struggled his whole life with a disputed diagnosis of schizophrenia.”
“CHILLING ADVENTURES OF SABRINA” Netflix broke out its own witchy lineup of Sabrinas to reveal the October 26 premiere date for this “Riverdale” spinoff series:
— Chilling Adventures of Sabrina (@sabrinanetflix) July 29, 2018
Kiernan Shipka has the lead role in this much darker take on Sabrina the Teenage Witch. The rest of the cast includes Miranda Otto, Lucy Davis, Ross Lynch, Michelle Gomez, Chance Perdomo, Jaz Sinclair, Richard Coyle, Tati Gabrielle, Adeline Rudolph, Abigail Cowen, Lachlan Watson, and even Bronson Pinchot.
OCTAVIA SPENCER’S MADAM C.J. WALKER Netflix just announced it has picked up this series executive produced by Octavia Spencer and LeBron James — yes! Oscar winner Spencer will star in the eight-episode series, based on the book “On Our Own Ground,” telling the story of entrepreneur Madam C.J. Walker, America’s first black self-made female millionaire. The series is meant to be a “highly irreverent” look at the turn-of-the-century black-beauty-and-hair-care mogul’s success, with Walker overcoming “epic rivalries, tumultuous marriages and some trifling family.”
“WHITE LINES”
Netflix also announced it ordered the mystery drama series “White Lines” from the producers of “The Crown” and “Money Heist.” In the series, “when the body of a legendary Manchester DJ is discovered 20 years after his mysterious disappearance from Ibiza, his sister returns to the beautiful Spanish island to find out what happened. Her investigation will lead her through a thrilling world of dance music, super yachts, lies and cover-ups, forcing her to confront the darker sides of her own character in a place where people live life on the edge.”
The Oscar-nominated actor is making his directorial debut with this coming-of-age film. A24 released the first trailer, which introduces a 13-year-old teen named Stevie (Sunny Suljic) who makes friends with skater kids in Los Angeles during the titular time period.
While Hill often blends comedy and drama in his work, “Mid90s” seems to lean more in the latter direction. This isn’t a simple tale of happy-go-lucky skater kids — though there is some of that laconic, loose hanging-around vibe — but also a sensitive, serious look at Stevie’s troubled home life. The movie also stars Lucas Hedges as his older brother, and Katherine Waterston as his mother.
It certainly appears that Hill has learned a lot from the great directors he’s worked with, including Martin Scorsese, Quentin Tarantino, Judd Apatow, and the Coen Brothers.
