Aziz Ansari & Jesse Eisenberg Serving Pizza in promotion for their upcoming 30 Minutes or Less | ONTD
Written by Wesley Yang, “The Terrorist Search Engine” details how the downy-cheeked-but-web-savvy Kohlmann — dubbed “the Doogie Howser of Terrorism” by an FBI agent when he was just 23 — has helped convict 23 defendants in federal courts and Guantánamo Bay tribunals with his expert witness testimony. Now 31, Kohlmann is a controversial figure who has made testifying at such trials his principal source of income and earned a reputation in some circles as “working in the ‘guilty-verdict industry.’”
Web savvy like Mark Zuckerberg? The Terrorist Search Engine is my second favorite website, after The Social Network.
Trailer: 30 Minutes or Less (Red Band teaser) - Aug 12
Directed by Ruben Fleischer, written by Michael Diliberti. Starring Jesse Eisenberg, Aziz Ansari, Danny McBride, and Nick Swardson.
It’s only a teaser but already it’s showing to be a promising comedy. The action aspect caught me completely off guard. In fact it’s kind of like Speed meets Pineapple Express, and I mean that in a good way. Aziz is translating nicely to the big screen, and you can’t go wrong comedically with the rest of the cast. I’m excited to see more from this movie.
Side note: completely wrong font to use for the film.
(via IGN)
New Hi-Res Images From ’30 Minutes Or Less’ | /Film
I keep forgetting this is a thing and then I remember and it’s like “oh yeahhh.”
If Aziz and Jesse Eisenberg weren’t enough here’s another shot from the movie with Danny McBride and Nick Swardson.
This Jesse Eisenberg Impression Is Way Too Good | FoD via BWE
Scott Gairdner as Eisenberg auditioning for 127 Hours.
Both are committing to star in the indie comedy Predisposed, a macabre look at the unhealthy relationship between a drug-addicted mother (Leo) and her college-bound son (Eisenberg), set on the day of both his interview at Julliard and her planned arrival in rehab.
Tracy Morgan will also appear in the film.
[Zuckerberg] stayed for the whole show, and was on the floor, which is to say he was just feet way, kind of appraising. And it was wonderful, I would look over to him and he’d smile. As strange as it was, it was kind of the best possible way for that to happen.
“
| — | Jesse Eisenberg re: Mark Zuckerberg to the NY Times |
SNL Promo - Jesse Eisenberg/Nicki Minaj with Bill Hader
(via -saturdaynightlive)
Jesse Eisenberg will host the January 29 episode of Saturday Night Live, with Nicki Minaj as the musical guest. It will be both Eisenberg’s and Minaj’s first time on the show. A little less exciting is that Dana Carvey and Linkin Park will appear on the February 5 episode, but, whatever, who cares, Jesse and Nicki! Fingers crossed SNLdoesn’t blow this opportunity to give us all Eisenberg’s neurotic Jersey Shore impersonation.
First look: 30 MINUTES OR LESS featuring Jesse Eisenberg and Aziz Ansari | Collider
Opens August 12th, in the action-comedy 30 Minutes or Less, Nick (Jesse Eisenberg) is a small town pizza delivery guy whose mundane life collides with the big plans of two wanna-be criminal masterminds (Danny McBride and Nick Swardson). The volatile duo kidnaps Nick and forces him to rob a bank. With mere hours to pull off the impossible task, Nick enlists the help of his ex-best friend, Chet (Aziz Ansari). As the clock ticks, the two must deal with the police, hired assassins, flamethrowers, and their own tumultuous relationship.
Review: The Social Network
“You better fucking pay attention cause this is happening.” -David Fincher
Those looking for a better summation of The Social Network, look no further than the above quote (from an interview with Peter Travers live at the Apple Store in Soho). Fincher’s concise, commanding statement regarding Aaron Sorkin’s words and pacing not only perfectly describes the experience of watching this film but also its thematic story line. How convenient. And yet it’s hard to disagree.
Sorkin’s masterful screenplay comes at you hard and fast with more blink-and-you’ll-miss-it lines, moments, and incidentals than anyone person could digest in a single sitting. Like a fine wine, The West Wing creator is only getting better with age - and The Social Network script sparks and cracks, easily becoming the best thing about this movie. The characters are increasingly three dimensional, the structure is artfully crafted, the pacing is swift and exciting, and the dialogue is appropriately theatrical (in the sense that it could live on stage, not that its over the top).
The marriage of Sorkin’s words and Fincher’s image is surprisingly harmonious. Fincher pulls breathtaking performances from his young actors, while carefully crafting weighted, talk heavy scenes. How exactly does one make a movie made up of almost entirely dialogue interesting? Small tactics. For example as the movie progresses Eduardo slowly spins in his chair going from facing the table at the beginning to having his back is to the table at the end. Or a club scene (pictured above) in which the actors have to shout over the loud music, simultaneously providing a realism not often seen in club scenes and a method for pulling the audience in, making them feel like a part of the intimate discussion, and - for lack of a better term - fucking pay attention.
Rounding out the trifecta is the collection of performances put forth by the young cast. Rooney Mara, though appearing only briefly, makes a lasting, emotional impact. Her first scene with Jesse Eisenberg sets up the movie on many levels. Andrew Garfield is charming and rounded giving even the staunchest Spider Man fan hope. But it’s Justin Timberlake and Jesse Eisenberg who come out on top. Timberlake proves he’s a serious acting threat displaying proper restraint and delirious paranoia on opposite sides of the same coin. Eisenberg reels it in to give one of the most complex, introverted performances in a long time. A huge hand should be given to the mop head for making Mark Zuckerberg just as sympathetic as he is unlikable.
On a thematic level, we arrive back at Fincher’s Apple store quote. The film moves just as fast as the occurrences it dramatizes, perfectly symbolizing the requirement to be ahead of the curve. As technology grows at an exponential rate, many would agree on the amount of attention that needs to paid to come out on top. At once there’s both a nostalgia for the recent past and an immediacy of the events it portrays.
As for this being “The Facebook Movie,” that might need to be reevaluated. Yes, the events herein detail the invention of Facebook, and explain its raison d’etre stemming from Zuckerberg’s deep need to connect, but to call it such would be generalizing. An unfair generalization at that. There’s just so much more. Calling The Social Network “the Facebook movie” would be like calling Titanic ”the Boat Movie.”
With so many singular talents collaborating on this vision, again we must heed Fincher’s words. Don’t ignore The Social Network’s event invitation and fucking pay attention.
(And to think I almost made it through the whole review without a lame Facebook joke).
