By Ray Pride Pride@moviecitynews.com

Sundance Film MILKSHAKE Acquired For Kevin Smith Movie Club

Phase 4 Films acquires Sundance 2013 NEXT film, MILKSHAKE, the directorial debut of David Andalman and Mariko Munro, for its Kevin Smith Movie Club


New York, January 28, 2013 – Berry Meyerowitz, President & CEO of Phase 4 Films, announced today that the Company has acquired the dark comedy MILKSHAKE from Sundance’s NEXT program.  Starring Tyler Ross (Wise Kids), Shareeka Epps (Half Nelson), Georgia Ford and Eshan Bay, MILKSHAKE is the directorial debut for David Andalman and Mariko Munro.  The film was written and produced by David Andalman and Mariko Munro and executive produced by Vinay Singh and Jason Sosnoff.

Set in the mid-1990s, MILKSHAKE follows the tragic sex life of Jolie Jolson (Tyler Ross), a wannabe thug (and great-great-grandson of legendary vaudevillian Al Jolson) in suburban DC as he strives to become something he can never be – black.

MILKSHAKE will be released this summer in theaters and on VOD via the Company’s KEVIN SMITH MOVIE CLUB across all cable, telco and digital platforms.

Sundance Alum Kevin Smith says “I love Milkshake!  There: have fun at the fat guy’s expense. As a guy who shopped at Oak Tree for most of the 90’s, the yearnin’-to-be-urban main character brought so vividly to life by Tyler Ross really hit home with me.  Shareeka Epps dazzles as the long-suffering sorta-girlfriend, quietly commanding the screen like she did in Half Nelson.  Packed with laughs and the benefit of hindsight, this realistic high school indie reminded me of the best entries in that genre – a sort of Welcome to the Dollhouse for fly guys.  We’re hyped ’cause we’re amped to bring David Andalman and Mariko Munro’s Milkshake to the Kevin Smith Movie Club!”

“We are excited by the opportunity to share our movie with Kevin Smith – a writer-director who we deeply respect.  We now know our film will be seen by an audience that will enjoy the shenanigans that make up Milkshake,” says first time filmmaker Mariko Munro.

Fellow co-director and writer David Andalman says, “We are thrilled to be working with Phase 4 Films and Kevin Smith.  As first time Sundance filmmakers, who were inspired at a young age by “Clerks,” among other Kevin Smith movies, we feel there couldn’t be a better pairing for Milkshake.”

The deal was negotiated by Phase 4’s Katharyn Howe and Linzee Troubh of Cinetic Media on behalf of the filmmakers.

About Phase 4 Films
Phase 4 Films distributes feature films and special interest content across all traditional theatrical and new media platforms in North America.  The company’s previous releases include the provocatively sexy road movie HICK, starring Chloë Grace Moretz, Blake Lively, and Eddie Redmayne; 2011 Sundance award-winner ANOTHER HAPPY DAY, Sam Levinson’s dark comedy about a dysfunctional family, starring Ellen Barkin, Demi Moore, and Ezra Miller; the Canadian tour of Kevin Smith’s RED STATE, starring Michael Parks, Melissa Leo and John Goodman; and Carrie Preston’s Sundance 2012 hit comedy THAT’S WHAT SHE SAID starring Anne Heche, Marcia DeBonis, and Alia Shawkat. Upcoming releases for the company include Megan Griffith’s 2012 SXSW Audience Award Winner, EDEN, starring Jamie Chung and Beau Bridges, and Mark L Mann’s directorial debut GENERATION UM, starring Keanu Reeves (THE MATRIX, CONSTANTINE).  For more information, please visit  HYPERLINK “http://www.phase4films.com” www.phase4films.com.

 

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“The sad and painful truth is that pretty much everyone in this town knew who Harvey was. I have had long talks with my most liberal friends. Did we know he was a rapist? We didn’t. But did we know that for decades he has been offering actresses big careers in exchange for sexual favors? Yes, we did — and make no mistake, that is its own kind of rape. And did we all — or did any of us — refuse to do business with him on moral grounds? No. We ALL STAYED IN BUSINESS WITH HIM. I have never done business with Harvey but I can tell you with certainty that I would have — because I was recently approached by a film festival he sponsors. They asked me to submit my short film for their consideration and I did it without thinking twice. I am a dyed-in-the-wool feminist and a vocal one at that. So why didn’t I think twice? Because this entire town is built on the ugly principals that Harvey takes to an horrific extreme. If I didn’t work with people whose behavior I find reprehensible, I wouldn’t have a career.”
~ Showrunner Krista Vernoff

From AMPAS president John Bailey:

Dear Fellow Academy Members,

Danish director Carl Dreyer’s 1928 film “The Passion of Joan of Arc” is not only one of the visual landmarks of the silent era, but is a deeply disturbing portrait of a young woman’s persecution in the face of the male judges and priests of the ruling order. The actress Maria Falconetti gave one of the most profoundly affecting performances in the history of cinema as the Maid of Orleans.

Since the decision of the Academy’s Board of Governors on Saturday October 14 to expel producer Harvey Weinstein from its membership, I have been haunted not only by the recurring image of Falconetti and the sad arc of her career (dying in Argentina in 1946, reputedly from a crash diet) but of Joan’s refusal to submit to an auto de fe recantation of her beliefs.

Recent public testimonies by some of filmdom’s most recognized women regarding sexual intimidation, predation, and physical force is, clearly, a turning point in the film industry—and hopefully in our country, where what happens in the world of movies becomes a marker of societal Zeitgeist. Their decision to stand up against a powerful, abusive male not only parallels the cinema courage of Falconetti’s Joan but gives all women courage to speak up.

After Saturday’s Board of Governors meeting, the Academy issued a passionately worded statement, expressing not only our concern about harassment in the film industry, but our intention to be a strong voice in changing the culture of sexual exploitation in the movie business, already common well before the founding of the Academy 90 years ago. It is up to all of us Academy members to more clearly define for ourselves the parameters of proper conduct, of sexual equality, and respect for our fellow artists throughout our industry. The Academy cannot, and will not, be an inquisitorial court, but we can be part of a larger initiative to define standards of behavior, and to support the vulnerable women and men who may be at personal and career risk because of violations of ethical standards by their peers.

Yours,
John