Jason Reitman

Michael Fassbender Will Play The Dude in ‘The Big Lebowski’ Live-Read, Allegedly Quotes the Film Daily

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Michael Fassbender can, it seems, play anything: he’s made a convincing sex addict, hunger striker, rocker-with-paper-maché-head, German mutant and Rochester. But can he do The Dude? Such is the question you’ll surely be asking on hearing the news that Fassbender will, indeed, be playing The Big Lebowski‘s central character. Fortunately (and perhaps surprisingly) this is not news of a remake, but rather of another of Jason Reitman’s Live-Reads (he’s actually done the Coen Brothers classic before, more conventionally — almost too conventionally — starring Seth Rogen as The Dude). 
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A Brief History of Hollywood Being Totally Terrified of Computers

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“Our world interconnected. Our systems interconnected. Our identities vulnerable.” So goes the on-screen tagline in the trailer for Michael Mann’s new cyber-thriller Blackhat, and as the word “identities” is replaced by “security,” “homes,” “secrets,” “money,” “privacy,” “safety,” and the like — along with a giant close-up of a cable plugging in — it’s easy to chuckle along with Hollywood doing one more fear-mongering thriller about hackers taking down sacred cows and exposing private information, as if such a thing were actually plausible. (Oh, wait.) Yes, the Sony hack suddenly made Blackhat’s potentially worrisome January release suddenly timely and relevant, but it’s part of a long tradition of films that looked at the capabilities of computers, artificial intelligence, and the Internet — and shit their collective pants over it.
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Jason Reitman Is Here to Save All You ‘Men, Women & Children’ From Your Evil Screens

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The first important image of Jason Reitman’s Men, Women & Children is for his production company, Right of Way Films — a logo of a man with a rolling suitcase in front of a bank of windows. It recalls, of course, his 2009 Best Picture nominee Up in the Air,and I’m gonna go ahead and put this out there: reminding everyone of the greatness you’re capable of is probably not a great idea when you’re on a losing streak. Following last year’s bizarrely tone-deaf adaptation of Joyce Maynard’s Labor Day, Reitman’s latest is a peculiarly alarmist ensemble piece about how, in spite of our copious technology, we’re all just so disconnected, man. When Reitman burst on the scene with Thank You for Smoking back in 2005, he seemed bent on making another Dr. Strangelove; based on his new picture, he’s apparently spent those years harboring the desire to make another Crash.
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Jason Reitman’s ‘Labor Day’ is 2013’s Most Fascinating Film Failure

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Jason Reitman has had a pretty easy go of it so far. The progeny of Hollywood royalty, his four films to date — Thank You for Smoking, Juno, Up in the Air, and Young Adult — were met with mostly good reviews and decent box office, as well as two Academy Award nominations for Best Director. Sure, there’s been a backlash (there always is), but it was mostly a quiet one. Until now. Reitman’s latest, an adaptation of the Joyce Maynard novel Labor Day, premiered to decidedly mixed reviews (and worse buzz) at Telluride late last summer. Paramount had initially pegged it for a December, Oscar-friendly limited release — as they’d done with Up in the Air and Young Adult — but as that date approached, they quietly shuffled it off to January (leaving only a week-long Oscar-qualifying run in L.A. for December). In other words, Labor Day is likely to get ignored in the crush of December and presumed stinky in the graveyard of January. Both sentences are a shame, since it’s a risky and genuinely unusual piece of work.
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