Jason Reitman

A Brief History of Hollywood Being Totally Terrified of Computers

“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. … Read More

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Jason Reitman to Direct Nick Hornby-Penned Film About A Family of Bank Robbers

Jason Reitman has not had a great time lately. Two of his last three films — schlock-fests Men, Women, and Children… Read More

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Hulu Orders Full Comedy Series, ‘Casual,’ From Jason Reitman

Hulu, the green-hued streaming service best used for hunting down clips of NBC shows, is broadening its original content. It… Read More

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Jason Reitman Is Here to Save All You ‘Men, Women & Children’ From Your Evil Screens

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. … Read More

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Watch: International Trailer for Jason Reitman’s Tech-Wary ‘Men, Women and Children’

Men, Women and Children‘s title is deceptively human: Jason Reitman’s newest film is not only about people, but the… Read More

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Staff Picks: Flavorwire’s Favorite Cultural Things This Week

Need a great book to read, album to listen to, or TV show to get hooked on? The Flavorwire team is here to help: in this weekly feature, our editorial staffers recommend the cultural object or experience they’ve enjoyed most in the past seven days. Click through for our picks, and tell us what you’ve been loving in the comments. … Read More

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Jason Reitman’s ‘Labor Day’ is 2013’s Most Fascinating Film Failure

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. … Read More

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Open Thread: Let’s Talk About the Ending of ‘Young Adult’

Young Adult, the dark comedy starring Charlize Theron that re-teams Juno director Jason Reitman and screenwriter Diablo Cody, went into wide release last weekend (after hitting a few screens the weekend before), and now that it’s out, we’re again in the odd position of wanting to talk explicitly about the film’s ending — specifically about its closing scenes, which are (for our money) where Young Adult stops being a good movie and becomes a great one. Of course, not everyone sees movies within the first three days, so we’ll wait to get into this further until after the jump — where you’ll find some thoughts on the closing scenes from us, and from director Jason Reitman. So, y’know, duly noted, spoiler warnings, etc., etc. … Read More

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Patton Oswalt and Jason Reitman Parody Anti-Texting PSA

For film geeks like us, one of the most exciting new releases of the past year wasn’t a movie at all — it was a wonderful anti-texting PSA created by the fine folks at the Alamo Drafthouse back in June in response to some really annoying behavior from one of their patrons. For some reason, Patton Oswalt and his Young Adult director Jason Reitman have decided to do their own version of the viral clip, with Oswalt taking on the juicy role of the Angry Texter. Put on some headphones (there’s quite a bit of swearing) and click through to check out their version now; be sure to let us know in the comments how you think it stacks up against the original. … Read More

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