Need a little décor inspiration for your kids’ bedrooms? Take a cue from these TV shows!
Sitcoms often boast enviable designs that seem way out of reach for the average weekend warrior. But the set designers from Nicky, Ricky Dicky and Dawn, This Is Us and Raven’s Home are here to share their pro secrets for getting the look in your own house. The first tip you need to know? It’s easier (and cheaper!) than you think.
Related: See Inside the Farmhouse That Inspired Charlotte’s Web, Now for Sale for $3.7 Million
Nickelodeon’s Dawn Harper (Lizzy Greene...
Sitcoms often boast enviable designs that seem way out of reach for the average weekend warrior. But the set designers from Nicky, Ricky Dicky and Dawn, This Is Us and Raven’s Home are here to share their pro secrets for getting the look in your own house. The first tip you need to know? It’s easier (and cheaper!) than you think.
Related: See Inside the Farmhouse That Inspired Charlotte’s Web, Now for Sale for $3.7 Million
Nickelodeon’s Dawn Harper (Lizzy Greene...
- 8/18/2017
- by Megan Stein
- PEOPLE.com
“From the get-go, Dan Fogelman wanted a blue collar look,” reveals “This Is Us” production designer Gary Frutkoff during our recent webcam chat (watch above). Fogelman created this NBC series about a large, diverse family through several generations, including Milo Ventimiglia and Mandy Moore as parents raising three children in 1980s Pittsburgh and Sterling K. Brown, Chrissy Metz, and Justin Hartley as adult versions […]...
- 4/19/2017
- by Zach Laws
- Gold Derby
Carl Franklin scored with this exciting adapation of Walter Mosley's first 'Easy' Rawlins detective tale, starring a terrific Denzel Washington as the South Central resident who takes up snoop work to pay the mortgage. Don Cheadle steals the show as Easy's loose-cannon pal from Texas, Mouse Alexander; this really should have been the beginning of a franchise. Devil in a Blue Dress Blu-ray Twilight Time Limited Edition 1995 / Color / 1:85 widescreen / 101 min. / Ship Date October 13, 2015 / available through Twilight Time Movies / 29.95 Starring Denzel Washington, Tom Sizemore, Jennifer Beals, Don Cheadle, Maury Chaykin, Terry Kinney, Lisa Nicole Carson, Albert Hall, Mel Winkler. Cinematography Tak Fujimoto Production Designer Gary Frutkoff Costumes Sharen Davis Film Editor Carole Kravetz Original Music Elmer Bernstein From the book by Walter Mosley Produced by Jesse Beaton, Gary Goetzman Written and Directed by Carl Franklin
Reviewed by Glenn Erickson
Carl Franklin was cheated, Easy Rawlins was cheated and We...
Reviewed by Glenn Erickson
Carl Franklin was cheated, Easy Rawlins was cheated and We...
- 11/10/2015
- by Glenn Erickson
- Trailers from Hell
Film review: 'Out of Sight'
"Out of Sight" is Elmore Leonard lite, a breezy, doozy of a mismatched-lovers story that spins all over the place narratively but eventually glides into a recognizable place.
Based on the pleasing lead performances of George Clooney and Jennifer Lopez and Steven Soderbergh's cheeky direction, this Jersey Films production is snap-happy entertainment that should please summer moviegoers and heist a solid haul at the boxoffice for Universal.
Down to skivvies, "Out of Sight" is a romantic comedy blocked into Leonard land, namely the sleazy crime environs of Florida and Detroit. The mismatched lovers are career bank robber Jack Foley (Clooney) and U.S. Marshal Karen Sisco (Lopez), and the meet-cute situation comes during his escape from a Florida prison.
In short, don't expect the traditional big wedding march at the end, given the story's seedy circumstances, but "Out of Sight" percolates with the same kind of wacky comedic thrust of more standard-backed romantic comedies that involve lovers from across class lines.
In this caper case, "Out of Sight" doesn't necessarily mean out of mind -- unless you're talking about the mental set of the two leads. Against both their better judgments, they have fallen for someone across class -- in this case, criminal -- lines. Jack's a bad guy with decent urges, while Karen's a straight shooter with, well, that smart-female affliction: rotten taste in men. She always falls for the smooth-talking wife cheater or some other loser, much to the chagrin of her lawman father (Dennis Farina), but this time Karen has topped herself: She's charmed by a three-times-convicted bank robber, falling head over badge for Jack's jumpy charms.
Narratively, "Out of Sight" bounds around the geography enough to be classified as a road comedy, as Jack returns to Detroit for one last score, while it darts back and forth between present and past enough to mark it as a psychological thriller. It's a little of both as screenwriter Scott Frank distills the inner natures of both characters from these plot meanderings and cutbacks. Although their lives have taken drastically different courses, we come to realize that their urges, inspirations and outlooks are very much in sync.
Admittedly, there isn't much intricacy in the plotting itself, and "Out of Sight" sometimes seems slightly out of sync in its frequent flashbacks and cross-cuttings -- a tendency that will leave some viewers in the dark in its earlier stages. Fortunately, Soderbergh augments the film's narrative thinness with some deft comedic touches and canny cuttings.
"Out of Sight" is sharpest and, appropriately, most clear around the edges. It's all the small-picture stuff, the character quirks and circumstance oddities, rather than the big-picture plottings, such as the big score itself, that clue us to "Out of Sight"'s real nature. Overall, it's an appealing glimpse into human contradictions and foibles, of passions and dreams that are confounded by events and the characters' inability to overcome their own behavior and deeds.
Leads Clooney and Lopez sparkle. He is salt-and-pepper engaging, once again evincing a Cary Grant-ish charm and fast-of-foot manner that makes one warm to his otherwise criminal character. As the intrepid but loony-in-love marshal, Lopez's girl-in-a-whirl performance is altogether credible and appealing.
Special praise to casting director Francine Maisler. The colorful supporting performances are perhaps the film's highlight. Farina is superb as Karen's worrisome, cagey father, while Ving Rhames is both daunting and sympathetic as Jack's partner who is trying to go straight. Don Cheadle is terrific as a punk boxer with attitude, and Albert Brooks is cannily cast as a Milken-ish con who has a yen for diamonds. Steve Zahn's squirrely performance as a dumbbell con is consistently hilarious but never ridiculous -- a certain audience pleaser.
"Out of Sight"'s tech contributions are well-scoped: Costume designer Betsy Heimann's aptly slick-and-cheap duds and production designer Gary Frutkoff's smartly off-kilter backdrop bring perfect perspective to everything that is "Out of Sight".
OUT OF SIGHT
Universal Pictures
A Jersey Films production
Producers: Danny DeVito,
Michael Shamberg, Stacey Sher
Director: Steven Soderbergh
Screenwriter: Scott Frank
Based on the novel by: Elmore Leonard
Executive producers: Barry Sonnenfeld,
John Hardy
Director of photography: Elliot Davis
Production designer: Gary Frutkoff
Editor: Anne V. Coates
Music: Cliff Martinez
Music supervisor: Anita Camarata
Costume designer: Betsy Heimann
Casting: Francine Maisler
Sound mixer: Paul Ledford
Color/stereo
Cast:
Jack Foley: George Clooney
Marshal Karen Sisco: Jennifer Lopez
Buddy Bragg: Ving Rhames
Maurice "Snoopy" Miller: Don Cheadle
Marshall Sisco: Dennis Farina
Richard Ripley: Albert Brooks
Midge: Nancy Allen
Adele: Catherine Keener
Kenneth: Isaiah Washington
Glenn Michaels: Steve Zahn
Running time -- 123 minutes
MPAA rating: R...
Based on the pleasing lead performances of George Clooney and Jennifer Lopez and Steven Soderbergh's cheeky direction, this Jersey Films production is snap-happy entertainment that should please summer moviegoers and heist a solid haul at the boxoffice for Universal.
Down to skivvies, "Out of Sight" is a romantic comedy blocked into Leonard land, namely the sleazy crime environs of Florida and Detroit. The mismatched lovers are career bank robber Jack Foley (Clooney) and U.S. Marshal Karen Sisco (Lopez), and the meet-cute situation comes during his escape from a Florida prison.
In short, don't expect the traditional big wedding march at the end, given the story's seedy circumstances, but "Out of Sight" percolates with the same kind of wacky comedic thrust of more standard-backed romantic comedies that involve lovers from across class lines.
In this caper case, "Out of Sight" doesn't necessarily mean out of mind -- unless you're talking about the mental set of the two leads. Against both their better judgments, they have fallen for someone across class -- in this case, criminal -- lines. Jack's a bad guy with decent urges, while Karen's a straight shooter with, well, that smart-female affliction: rotten taste in men. She always falls for the smooth-talking wife cheater or some other loser, much to the chagrin of her lawman father (Dennis Farina), but this time Karen has topped herself: She's charmed by a three-times-convicted bank robber, falling head over badge for Jack's jumpy charms.
Narratively, "Out of Sight" bounds around the geography enough to be classified as a road comedy, as Jack returns to Detroit for one last score, while it darts back and forth between present and past enough to mark it as a psychological thriller. It's a little of both as screenwriter Scott Frank distills the inner natures of both characters from these plot meanderings and cutbacks. Although their lives have taken drastically different courses, we come to realize that their urges, inspirations and outlooks are very much in sync.
Admittedly, there isn't much intricacy in the plotting itself, and "Out of Sight" sometimes seems slightly out of sync in its frequent flashbacks and cross-cuttings -- a tendency that will leave some viewers in the dark in its earlier stages. Fortunately, Soderbergh augments the film's narrative thinness with some deft comedic touches and canny cuttings.
"Out of Sight" is sharpest and, appropriately, most clear around the edges. It's all the small-picture stuff, the character quirks and circumstance oddities, rather than the big-picture plottings, such as the big score itself, that clue us to "Out of Sight"'s real nature. Overall, it's an appealing glimpse into human contradictions and foibles, of passions and dreams that are confounded by events and the characters' inability to overcome their own behavior and deeds.
Leads Clooney and Lopez sparkle. He is salt-and-pepper engaging, once again evincing a Cary Grant-ish charm and fast-of-foot manner that makes one warm to his otherwise criminal character. As the intrepid but loony-in-love marshal, Lopez's girl-in-a-whirl performance is altogether credible and appealing.
Special praise to casting director Francine Maisler. The colorful supporting performances are perhaps the film's highlight. Farina is superb as Karen's worrisome, cagey father, while Ving Rhames is both daunting and sympathetic as Jack's partner who is trying to go straight. Don Cheadle is terrific as a punk boxer with attitude, and Albert Brooks is cannily cast as a Milken-ish con who has a yen for diamonds. Steve Zahn's squirrely performance as a dumbbell con is consistently hilarious but never ridiculous -- a certain audience pleaser.
"Out of Sight"'s tech contributions are well-scoped: Costume designer Betsy Heimann's aptly slick-and-cheap duds and production designer Gary Frutkoff's smartly off-kilter backdrop bring perfect perspective to everything that is "Out of Sight".
OUT OF SIGHT
Universal Pictures
A Jersey Films production
Producers: Danny DeVito,
Michael Shamberg, Stacey Sher
Director: Steven Soderbergh
Screenwriter: Scott Frank
Based on the novel by: Elmore Leonard
Executive producers: Barry Sonnenfeld,
John Hardy
Director of photography: Elliot Davis
Production designer: Gary Frutkoff
Editor: Anne V. Coates
Music: Cliff Martinez
Music supervisor: Anita Camarata
Costume designer: Betsy Heimann
Casting: Francine Maisler
Sound mixer: Paul Ledford
Color/stereo
Cast:
Jack Foley: George Clooney
Marshal Karen Sisco: Jennifer Lopez
Buddy Bragg: Ving Rhames
Maurice "Snoopy" Miller: Don Cheadle
Marshall Sisco: Dennis Farina
Richard Ripley: Albert Brooks
Midge: Nancy Allen
Adele: Catherine Keener
Kenneth: Isaiah Washington
Glenn Michaels: Steve Zahn
Running time -- 123 minutes
MPAA rating: R...
- 6/22/1998
- The Hollywood Reporter - Movie News
Film review: 'Inventing the Abbotts'
The Land of Lincoln in the Age of Eisenhower is the place and setting for this Americana period piece about the cracks behind the imposing facade of everyday middle-class life.
Stylized both as a late-teen romance as well as a coming-of-age story, this 20th Century Fox production boasts an appealing young cast -- Jennifer Connelly, Liv Tyler, Joanna Going, Billy Crudup, Joaquin Phoenix -- but, other than a quick spin around the boxoffice floor, this ever-thoughtful release never generates enough narrative bounce to kick up its heels and will find itself quickly cut in on.
Admittedly, this Imagine Entertainment production will win some curiosity as a period piece among us geezers who actually grew up there and then, but younger viewers are likely to be deadened by the film's subdued and, ultimately, detached intellectualizing. Worst, the most interesting character -- bad-girl Eleanor (Connelly) -- is dramatically excised after a brief tease appearance. Exit pollsters: Brace for major male displeasure.
Essentially, "Abbotts" is the age-old yarn about the separation of classes in classless United States. In this case, middle-class teenage brothers Jacey (Crudup) and Doug (Phoenix) are alternately bedazzled and baffled by the three rich girls, the Abbotts, who flounce around behind the wealthy facade that their father's file-cabinet-drawer invention has provided them. There's the good girl, Alice (Going), who is engaged to a wealthy guy; baddie Eleanor, who upsets convention; and the third wheel, Pamela (Tyler), who gets off the hook. Throughout, it is Jacey's obsessed musings on the Abbotts that make up both the dramatic and thematic content of the film. A diligent lad who toils summers as a service-station attendant to pay for attending the University of Pennsylvania, Jacey's obsessed with the Abbott family and more than a little conflicted. He both idealizes and loathes them. And, through his first-person voice, we also see both the topside and the underside to the Abbott clan.
What ultimately emerges in this somewhat listless movie is a swept-wing, Tide-y thematic washout as screenwriter Ken Hixon numbingly educates us to the cracks in the family character of our small-town royalty -- namely, the self-made rich folk who live across the tracks. Admittedly, there are some snappy flourishes and wonderfully apt encapsulations of the era, but under Pat O'Connor's direction, the dramatics never really come to life. As Lawrence Welk may have said on his hit Saturday night band show of the time, this one could use some Geritol.
Ultimately, Jacey's dronings lull us down to 16 rpm as the film's drama and theme start to scratch in repetition. The story's lack of iron is due in part to the fact that often Jacey's most incendiary observations have to do with the past (thus, they are only grumbled about) and, as noted, the fact that the Abbott clan's most cataclysmic daughter, Eleanor, is sent off to the sanitarium before she can really stir things up. It's like going to the dance and finding only your English teacher is there, and he's giving his Sinclair Lewis speech on midtown America.
Among the players, Crudup, as the teen obsessed with the Abbotts, is strong. He's a maelstrom of conflicted teen anxieties, while Tyler is particularly engaging as the third Abbott sister. It's Kathy Baker as the boys' stoic, long-suffering mother who gives the film's most layered performance, evincing regret, strength and compassion all at once.
Hats off to the technical team, especially costume designer Aggie Guerard Rodgers and production designer Gary Frutkoff, for the careful evocation of the '50s. Filmed partially in Petaluma, Calif., with its gorgeous sycamores and eucalyptuses, the film brings a special Mediterranean-ish quality to the Midwest, as do the rolling hills that, perhaps for director O'Connor's benefit, add a special Irish roll to the plains of Illinois. Anyway, it's a far different look than those of us who grew up within a couple of hours of Chicago at the time certainly remember.
INVENTING THE ABBOTTS
20th Century Fox
An Imagine Entertainment production
A Pat O'Connor film
Producers Ron Howard, Brian Grazer,
Janet Meyers
Director Pat O'Connor
Screenwriter Ken Hixon
Based on the story by Sue Miller
Executive producers Karen Kehela,
Jack Cummins
Director of photography Kenneth MacMillan
Production designer Gary Frutkoff
Editor Ray Lovejoy
Music Michael Kamen
Costume designer Aggie Guerard Rodgers
Sound mixer John Patrick Pritchett
Color/stereo
Cast:
Doug Holt Joaquin Phoenix
Jacey Holt Billy Crudup
Lloyd Abbott Will Patton
Helen Holt Kathy Baker
Eleanor Abbott Jennifer Connelly
Steve Michael Sutton
Pamela Abbott Liv Tyler
Alice Abbott Joanna Going
Joan Abbott Barbara Williams
Peter Vanlaningham Alessandro Nivola
Running time -- 107 minutes
MPAA rating: R...
Stylized both as a late-teen romance as well as a coming-of-age story, this 20th Century Fox production boasts an appealing young cast -- Jennifer Connelly, Liv Tyler, Joanna Going, Billy Crudup, Joaquin Phoenix -- but, other than a quick spin around the boxoffice floor, this ever-thoughtful release never generates enough narrative bounce to kick up its heels and will find itself quickly cut in on.
Admittedly, this Imagine Entertainment production will win some curiosity as a period piece among us geezers who actually grew up there and then, but younger viewers are likely to be deadened by the film's subdued and, ultimately, detached intellectualizing. Worst, the most interesting character -- bad-girl Eleanor (Connelly) -- is dramatically excised after a brief tease appearance. Exit pollsters: Brace for major male displeasure.
Essentially, "Abbotts" is the age-old yarn about the separation of classes in classless United States. In this case, middle-class teenage brothers Jacey (Crudup) and Doug (Phoenix) are alternately bedazzled and baffled by the three rich girls, the Abbotts, who flounce around behind the wealthy facade that their father's file-cabinet-drawer invention has provided them. There's the good girl, Alice (Going), who is engaged to a wealthy guy; baddie Eleanor, who upsets convention; and the third wheel, Pamela (Tyler), who gets off the hook. Throughout, it is Jacey's obsessed musings on the Abbotts that make up both the dramatic and thematic content of the film. A diligent lad who toils summers as a service-station attendant to pay for attending the University of Pennsylvania, Jacey's obsessed with the Abbott family and more than a little conflicted. He both idealizes and loathes them. And, through his first-person voice, we also see both the topside and the underside to the Abbott clan.
What ultimately emerges in this somewhat listless movie is a swept-wing, Tide-y thematic washout as screenwriter Ken Hixon numbingly educates us to the cracks in the family character of our small-town royalty -- namely, the self-made rich folk who live across the tracks. Admittedly, there are some snappy flourishes and wonderfully apt encapsulations of the era, but under Pat O'Connor's direction, the dramatics never really come to life. As Lawrence Welk may have said on his hit Saturday night band show of the time, this one could use some Geritol.
Ultimately, Jacey's dronings lull us down to 16 rpm as the film's drama and theme start to scratch in repetition. The story's lack of iron is due in part to the fact that often Jacey's most incendiary observations have to do with the past (thus, they are only grumbled about) and, as noted, the fact that the Abbott clan's most cataclysmic daughter, Eleanor, is sent off to the sanitarium before she can really stir things up. It's like going to the dance and finding only your English teacher is there, and he's giving his Sinclair Lewis speech on midtown America.
Among the players, Crudup, as the teen obsessed with the Abbotts, is strong. He's a maelstrom of conflicted teen anxieties, while Tyler is particularly engaging as the third Abbott sister. It's Kathy Baker as the boys' stoic, long-suffering mother who gives the film's most layered performance, evincing regret, strength and compassion all at once.
Hats off to the technical team, especially costume designer Aggie Guerard Rodgers and production designer Gary Frutkoff, for the careful evocation of the '50s. Filmed partially in Petaluma, Calif., with its gorgeous sycamores and eucalyptuses, the film brings a special Mediterranean-ish quality to the Midwest, as do the rolling hills that, perhaps for director O'Connor's benefit, add a special Irish roll to the plains of Illinois. Anyway, it's a far different look than those of us who grew up within a couple of hours of Chicago at the time certainly remember.
INVENTING THE ABBOTTS
20th Century Fox
An Imagine Entertainment production
A Pat O'Connor film
Producers Ron Howard, Brian Grazer,
Janet Meyers
Director Pat O'Connor
Screenwriter Ken Hixon
Based on the story by Sue Miller
Executive producers Karen Kehela,
Jack Cummins
Director of photography Kenneth MacMillan
Production designer Gary Frutkoff
Editor Ray Lovejoy
Music Michael Kamen
Costume designer Aggie Guerard Rodgers
Sound mixer John Patrick Pritchett
Color/stereo
Cast:
Doug Holt Joaquin Phoenix
Jacey Holt Billy Crudup
Lloyd Abbott Will Patton
Helen Holt Kathy Baker
Eleanor Abbott Jennifer Connelly
Steve Michael Sutton
Pamela Abbott Liv Tyler
Alice Abbott Joanna Going
Joan Abbott Barbara Williams
Peter Vanlaningham Alessandro Nivola
Running time -- 107 minutes
MPAA rating: R...
- 3/14/1997
- The Hollywood Reporter - Movie News
Film review: 'Zero Effect'
Following in the footsteps of writer-director dad Lawrence, 22-year-old Jake Kasdan makes his feature bow with "Zero Effect", a loopy but languorous detective yarn starring Bill Pullman as a paranoid recluse of a private dick.
Owing about as much to Maxwell Smart as Philip Marlowe, young Kasdan's characterizations are certainly quirky to a fault, but the vehicle that contains them is numbingly inert. It's all (mumbled) talk and no action.
Expect "Zero Effect" to have a likewise influence over paying audiences, who generally prefer their movies to move.
When not solving such baffling mysteries as "The Case of the Hired Gun Who Made Too Many Mistakes" or "The Case of the Man With Mismatched Shoelaces," Daryl Zero cocoons himself in a vaulted L.A. hideaway.
All initial business contacts are made by loyal front man/assistant Steve Arlo (Ben Stiller), who has a love-hate relationship with his brilliant but dysfunctional boss. Their latest case involves blackmailed lumber tycoon Gregory Stark (Ryan O'Neal), which leads them (or, at least, Zero) to a quietly intriguing paramedic (Kim Dickens), who manages to do a number on Daryl's previously inaccessible heart.
Sum this one up as "The Case of the Novice Writer-Director Who Sort of Let the Former Overpower the Latter." Kasdan's script has its share of witty touches, but too often all the wordplay and irreverent voice-overs take precedence over a visual sense or much-needed forward momentum.
It's a problem that also stifles his usually effective leads, who could have benefited from stronger directorial guidance.
From the behind-the-camera perspective, DP Bill Pope ("Bound", "Gridlock'd") gets some atmospheric mileage out of the Maine backdrop; while production designer Gary Frutkoff ("Devil in a Blue Dress", "King of the Hill") adroitly manages to build a sense of period timelessness into the contemporary setting.
That also goes for the light, jazzy soundtrack, scored and performed by The Greyboy Allstars and juxtaposed against classic and recent tracks by the likes of Elvis Costello, Jamiroquai and Nick Cave & the Bad Seeds.
ZERO EFFECT
Columbia Pictures
Castle Rock Entertainment presents
A Manifest Film production
A Jake Kasdan film
Director-screenwriter: Jake Kasdan
Producers: Lisa Henson,
Janet Yang and Jake Kasdan
Executive producer: Jim Behnke
Director of photography: Bill Pope
Production designer: Gary Frutkoff
Editor: Tara Timpone
Costume designer: Kym Barrett
Music: The Greyboy Allstars
Music supervisors: Happy Walters and Manish Raval
Casting: Mary Vernieu
Color/stereo
Cast:
Daryl Zero: Bill Pullman
Steve Arlo: Ben Stiller
Gregory Stark: Ryan O'Neal
Gloria Sullivan: Kim Dickens
Jess: Angela Featherstone
Bill: Hugh Ross
Running time -- 117 minutes
MPAA rating: R...
Owing about as much to Maxwell Smart as Philip Marlowe, young Kasdan's characterizations are certainly quirky to a fault, but the vehicle that contains them is numbingly inert. It's all (mumbled) talk and no action.
Expect "Zero Effect" to have a likewise influence over paying audiences, who generally prefer their movies to move.
When not solving such baffling mysteries as "The Case of the Hired Gun Who Made Too Many Mistakes" or "The Case of the Man With Mismatched Shoelaces," Daryl Zero cocoons himself in a vaulted L.A. hideaway.
All initial business contacts are made by loyal front man/assistant Steve Arlo (Ben Stiller), who has a love-hate relationship with his brilliant but dysfunctional boss. Their latest case involves blackmailed lumber tycoon Gregory Stark (Ryan O'Neal), which leads them (or, at least, Zero) to a quietly intriguing paramedic (Kim Dickens), who manages to do a number on Daryl's previously inaccessible heart.
Sum this one up as "The Case of the Novice Writer-Director Who Sort of Let the Former Overpower the Latter." Kasdan's script has its share of witty touches, but too often all the wordplay and irreverent voice-overs take precedence over a visual sense or much-needed forward momentum.
It's a problem that also stifles his usually effective leads, who could have benefited from stronger directorial guidance.
From the behind-the-camera perspective, DP Bill Pope ("Bound", "Gridlock'd") gets some atmospheric mileage out of the Maine backdrop; while production designer Gary Frutkoff ("Devil in a Blue Dress", "King of the Hill") adroitly manages to build a sense of period timelessness into the contemporary setting.
That also goes for the light, jazzy soundtrack, scored and performed by The Greyboy Allstars and juxtaposed against classic and recent tracks by the likes of Elvis Costello, Jamiroquai and Nick Cave & the Bad Seeds.
ZERO EFFECT
Columbia Pictures
Castle Rock Entertainment presents
A Manifest Film production
A Jake Kasdan film
Director-screenwriter: Jake Kasdan
Producers: Lisa Henson,
Janet Yang and Jake Kasdan
Executive producer: Jim Behnke
Director of photography: Bill Pope
Production designer: Gary Frutkoff
Editor: Tara Timpone
Costume designer: Kym Barrett
Music: The Greyboy Allstars
Music supervisors: Happy Walters and Manish Raval
Casting: Mary Vernieu
Color/stereo
Cast:
Daryl Zero: Bill Pullman
Steve Arlo: Ben Stiller
Gregory Stark: Ryan O'Neal
Gloria Sullivan: Kim Dickens
Jess: Angela Featherstone
Bill: Hugh Ross
Running time -- 117 minutes
MPAA rating: R...
- 1/26/1997
- The Hollywood Reporter - Movie News
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