Adam Sandler vaulted into the US$20-million-salary stratosphere with this, his second US$100-million hit in 1998--a movie that further shows just how deeply embedded he is in the Jerry Lewis tradition of idiot comedy. He plays Bobby Boucher, a backwoods Cajun and a mentally challenged individual with a fixation on water: specifically, on serving the coolest, most refreshing H2O available to the college football team he has served since he was an adolescent. But when he's fired from his position, he takes up a similar job with a lowlier college team coached by neurotic Henry Winkler. One day at practice, Bobby loses his temper and delivers a bone-shaking tackle to the starting quarterback; before he can say, "blackened crawdads", he's the star of the team and leading it to a bowl game. But it's all against the wishes of his overprotective mother (Kathy Bates), who wants to keep her Bobby to herself--and that includes keeping him away from the floozy girlfriend (Fairuza Balk) who's sweet on him. There are two kinds of people in this world: People who find Sandler funny and people who view him as a neon-lit symbol of the decline of popular taste. You know who you are and, based on that, you can decide whether this is a movie for you. --Marshall Fine
Featuring an acclaimed ensemble cast led by James Franco and Maggie Gyllenhaal, and executive produced by David Simon, George Pelecanos, Nina K. Noble and Franco, Season 2 of The Deuce finds its protagonists living at the apex of the Golden Age of Porn: when the dream of a mainstream X-rated film business is a credible reality, and the free-for-all sex trade of Times Square is at its gaudy, unrestrained height. Picking up in late 1977 (five years after S1), the Deuce's backroom massage parlors and SRO hotels have exploded into sprawling sex emporiums featuring nude girls, live sex shows and peep booths for every imaginable fetish. The NY Mafia's grip on the porn business is beginning to slip as talent migrates to the West Coast but for now, the city is flush with movies, music and art as the drug-fueled party rages around the clock. Season 2 of The Deuce captures the disco era in all its excesses before developers, crack cocaine, AIDS and videotapes conspire to end the debauched glory of Times Square.
The Deuce chronicles the rise of the porn industry that began in New York City in 1971-72, driven by the gradual legalization of porn and a politically motivated effort to clean up Times Square. Seizing the chance to cash in on the nascent porn business (and sometimes being consumed by it) are a vivid assortment of characters, including: Vincent Martino (James Franco), a bartender with vision and connections; Frankie Martino, Vincent's identical twin, a dangerously freewheeling counterpart to his entrepreneurial brother; Candy (Maggie Gyllenhaal), a self-made, on-the-street sex worker eying a new career in porn filmmaking; pimps C.C. (Gary Carr) and Larry Brown (Gbenga Akinnagbe); young prostitutes Darlene (Dominique Fishback) and Lori (Emily Meade); midtown cop Chris Alston (Lawrence Gilliard, Jr.); newspaper reporter Sandra Washington (Natalie Paul); mob capo Rudy Pipilo (Michael Rispoli); disillusioned college student Abby Parker (Margarita Levieva); and others. Over the course of eight S1 episodes, viewers will get an up-close look at a gritty world of sex, crime, high times and sudden violence, as the porn business begins its climb to legitimacy, cultural permanence and billion-dollar profitability.
The Deuce chronicles the rise of the porn industry that began in New York City in 1971-72, driven by the gradual legalization of porn and a politically motivated effort to clean up Times Square. Seizing the chance to cash in on the nascent porn business (and sometimes being consumed by it) are a vivid assortment of characters, including: Vincent Martino (James Franco), a bartender with vision and connections; Frankie Martino, Vincent's identical twin, a dangerously freewheeling counterpart to his entrepreneurial brother; Candy (Maggie Gyllenhaal), a self-made, on-the-street sex worker eying a new career in porn filmmaking; pimps C.C. (Gary Carr) and Larry Brown (Gbenga Akinnagbe); young prostitutes Darlene (Dominique Fishback) and Lori (Emily Meade); midtown cop Chris Alston (Lawrence Gilliard, Jr.); newspaper reporter Sandra Washington (Natalie Paul); mob capo Rudy Pipilo (Michael Rispoli); disillusioned college student Abby Parker (Margarita Levieva); and others. Over the course of eight S1 episodes, viewers will get an up-close look at a gritty world of sex, crime, high times and sudden violence, as the porn business begins its climb to legitimacy, cultural permanence and billion-dollar profitability.
Adapted by Kemp Powers (Soul) from his acclaimed play, the feature directorial debut of Academy Awardwinning actor Regina King (If Beale Street Could Talk) puts viewers in a room with four icons at the forefront of Black American culture as they carouse, clash, bare their souls, and grapple with their places within the sweeping change of the civil rights movement. February 25, 1964, has gone down in history as the day that the brash young boxer Muhammad Ali (then known as Cassius Clay) defeated Sonny Liston, but what happened after the fight was perhaps even more incredible: Ali (Race's Eli Goree), civil rights leader Malcolm X (High Fidelity's Kingsley Ben-Adir), NFL great Jim Brown (Hidden Figures' Aldis Hodge), and King of Soul Sam Cooke (Hamilton's Leslie Odom Jr.) all came together at a Miami motel. Electric with big ideas and activist spirit, One Night in Miami plunges us into the midst of an intimate, ongoing conversation - and a defining moment in American history. Special Edition Features: New 4K digital transfer, approved by director Regina King, with 5.1 surround DTS-HD Master Audio New conversation between King and filmmaker Kasi Lemmons New conversation among King, screenwriter Kemp Powers, and critic Gil Robertson Conversation between King and filmmaker Barry Jenkins from a 2021 episode of The Director's Cut A DGA Podcast New program featuring King and actors Kingsley BenAdir, Eli Goree, Aldis Hodge, and Leslie Odom Jr. New program on the making of the film, featuring King, Powers, director of photography Tami Reiker, editor Tariq Anwar, producer Jody Klein, costume designer Francine Jamison-Tanchuck, and set decorator Janessa Hitsman New program on the film's sound design, featuring sound editor and mixer Andy Hay, sound mixer Paul Ledford, and music producer Nick Baxter English subtitles for the deaf and hard of hearing English descriptive audio PLUS: An essay by critic Gene Seymour
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