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Roadside Sees Nothing Fake with 'The Joneses'

Posted by Eric Lavallee on Nov 05, 2009
Source: The Hollywood Reporter

Roadside Attractions are grabbing some AFM headlines with a post-TIFF sale pick-up (which are trickling in about a one sale per week rate). Never going overboard with the film inventory (they have Happy Tears and The Good Guy prepped for next year), the distributor are getting ready for Spring with Derrick Borte's The Joneses. The pic which received its world premiere at TIFF and I was too tired to see at the scheduled crack of dawn screening I had pegged it for, should logically should receive an April or May play date. Borte pulled from his own experiences working in the advertising industry to come up with the original idea. The TIFF description below gives us an idea of what to expect.

Borte begins the film by showing us ourselves – or at least who we often aspire to be. We meet Steve Jones (David Duchovny), his wife, Kate (Demi Moore), and their children Jenn (Amber Heard) and Mick (Ben Hollingsworth) as they move into their monster home in an affluent suburb of a city somewhere in America. Friendly, confident and very good-looking, they are also loaded with the coolest, newest stuff. The Joneses are much more than just the new neighbours. Within days, all four family members have insinuated their way into the community. Their most dedicated fans are their next-door neighbours Larry (Gary Cole) and Summer (Glenne Headly), a couple devoted to each other yet prone to keeping secrets as well. Despite the Joneses' success integrating into the community, soon the fissures in their family begin to spew. But it's not until an outright catastrophe occurs next door that they are forced to make choices about their priorities.



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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Review: Wrong

"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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