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Trailer here. (http://movies.yahoo.com/movies/feature/mrandmrssmithqt.html)
Release Date: June 10th, 2005 (wide)
Cast: Angelina Jolie (Jane Smith), Brad Pitt (John Smith), Adam Brody (Hector), Vince Vaughn (Eddie), Kerry Washington, William Fichtner, Angela Bassett, Keith David, Greg Ellis (Curtis), Elijah Alexander (Marco Racin), Theresa Barrera (Janet), Ron Bottitta (Charlie), Patrika Darbo, Matt Gallini (Algerian Assassin), Peter Lavin (Mickey), Stephanie March, Michelle Monaghan (Gwen), Jennifer Morrison (Jade)
Director: Doug Liman (Swingers, Go, The Bourne Identity)
Screenwriter: Simon Kinberg (XXX: State of the Union, Fantastic Four)
Premise: A married couple (Pitt and Jolie) are getting bored with their quiet domestic life. What they don't know, however, is that they're both assassins, secretly hopping the world and killing for hire. But their separate lives are about to collide when each finds out their next target is their own spouse.
spy kids meets true lies!
laura croft meets tyler durden meets s.w.a.t. !
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they look fiiiineee
Just saw the trailer for this.
Ya know, it actually does look like it could be good from what I saw.
New Trailer here. (http://playlist.yahoo.com/makeplaylist.dll?id=1358169&sdm=web&qtw=480&qth=300)
I like that trailer a lot... including Vince Vaughn who is simply the best (I just saw Swingers again last night). Problem is all this stupid publicity and the romance between Brad & Angelina... I hope they dont fuck it up like Beniffer
Quote from: NEON MERCURYlaura croft meets tyler durden meets s.w.a.t. !
Brad Pitt meets Angelina Jolie
i would do Angelina Jolie in a New York second. that's all i have to say right now.
Shes overrated.
ur crazy!
Quote from: StefenShes overrated.
I'm also quite certain that her body in that poster thing is photoshopped a lot/it's not even her real body.
Mad about him
"Mr. and Mrs. Smith" director Doug Liman's unorthodox ways can exasperate colleagues. All the way to the bank.
Source: Los Angeles Times
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The real-life exploits of Brad Pitt and Angelina Jolie may be drawing headlines, but for an equally fascinating Hollywood drama, consider what went on behind the cameras during the long and costly struggle to bring "Mr. and Mrs. Smith" to the screen.
The movie was delayed and rewritten numerous times and had its stars' entanglements splashed all over the tabloids — a high-stakes distraction for films from "Cleopatra" to "Gigli." It went so far over budget that "the studio said to us you have to stop the monetary hemorrhaging," according to one of its producers, Lucas Foster. Another says the picture required an unusual committee approach to guide it to completion. Yet for all that, 20th Century Fox, buoyed by mountains of pre-release publicity and a packet of high test-audience scores, thinks it will have a major hit on its hands when "Mr. and Mrs. Smith" opens June 10.
And if so, that will make another notch in the belt of director Doug Liman — a development that will amaze and confound a number of those who have worked with him and watched him emerge triumphant on films that at times appeared to be headed for disaster.
"The truth is, Doug is a madman," says Akiva Goldsman, the Oscar-winning writer ("A Beautiful Mind"), who also produced "Mr. and Mrs. Smith." "[But] I think he has the ability, which is not insignificant, to have a movie coalesce around him. Actors want to work with him and studios want the product that exists with his name on it."
During a break from last-minute work on the film, Liman winces when he hears that Goldsman has called him a madman. "I'm an unusual person," he acknowledges. But in every case, he says, "The movie I end up with is the movie I aspired to make."
Blue-eyed and rumpled, Liman is something of a filmmaking phenomenon. He remains affable — and consistently successful — even as he drives colleagues to distraction and his films run significantly over schedule and over budget.
Liman is the son of the late, powerful New York attorney Arthur Liman. His affect is unusual: Those who've worked with him talk about his "thousand-yard stare," a gaze that suggests Liman is sometimes not quite present. Several people who have worked with Liman say he suffers from indecision and lack of focus so profound that his films were finished more in spite of him than because of him.
"I stepped into territory I've never been in before in 30 years," says Frank Marshall, who produced Liman's previous film, "The Bourne Identity." "I've always had a respect for the line between a producer and a director. And I had to step over that line into something that I feel is the director's responsibility."
Even Marshall concedes that Liman has great ideas — including the notion to remake "The Bourne Identity" — and that his films all share a fresh, distinctive visual style. That started with the 1996 indie hit "Swingers," which introduced Jon Favreau and Vince Vaughn to the world. Liman then made "Go," a small but well-received 1999 picture about the aftermath of a drug deal. Reports of trouble surfaced on the next film, "The Bourne Identity," which nonetheless spawned a mighty franchise. "Mr. and Mrs. Smith" is a comedic action movie about two hired assassins who are married to each other.
Liman's defenders insist that lightning could not strike four times in a row. Yet they also acknowledge that they don't quite understand how he has managed to succeed.
"I think there's a method to his madness," says Favreau, who wrote and starred in "Swingers." "I don't know how it works, to be honest with you. I do know that the guy is able to pull it off every time." Favreau acknowledges that he complained about Liman's methods in the past and says Liman is easier to appreciate in hindsight.
Although many in Hollywood have speculated about the exact nature of Liman's process, Liman says he's never been told that there is anything unusual about the way his mind works. But he knows there was something out of the ordinary about the way he worked during a flight he took from New York to Los Angeles when he was preparing to pitch the idea for "The Bourne Identity." On that trip, he says, he wore two sets of headphones so he could simultaneously watch "The Horse Whisperer" (starring Robert Redford) and "The Wedding Singer" (starring Adam Sandler). At the same time, he reread the Robert Ludlum novel of "The Bourne Identity." From that cacophony, he says, he came up with what he saw as the key to making his film: telling it from the woman's point of view.
Help from others
Several writers and producers who have worked with Liman say that kind of chaos may inspire him but can be a hindrance when it comes to making a film. They contend that Liman owes a big debt on each of his films to others who were working alongside him: on "Swingers" to Favreau (whose credentials as a director are established) and editor Stephen Mirrione; on "Go" to writer-producer John August and, again, Mirrione; on "Bourne Identity" to Marshall and others; on "Mr. and Mrs. Smith" to Goldsman and others.
On "Swingers," Favreau says, Liman came up with the will and the way to get the film made on a tiny budget. He says he and Mirrione played crucial roles. "I think we both had a very strong hand in the outcome of 'Swingers' and there was no point that Doug was not present," he says. "Doug had final cut."
On the next film, "Go," August gives Liman credit for "good instincts" and talent as a director. But August also says he did far more than a writer-producer might normally do. "I was on the set for every frame," he says. But on such a small movie, August says, Liman's constantly shifting decisions about what to shoot and how to shoot it weren't so dire. "He has that scrappy 'Let's try it this way' quality," he says. "That's great when you're making 'Swingers' or 'Go,' but it's hard to scale it up to a big-studio film."
Liman's bitterest conflict, at least publicly, came on that first big-studio film, "Bourne Identity." Liman clashed with Marshall and several others on the set. While giving Liman credit for the idea of making the film and for creating its stylish look, Marshall says Liman failed to pull the film together.
Among the tasks that Marshall says fell to him was cutting the version of the film that was released. "I'm not saying I directed the movie," says Marshall. "But as the producer, it was my job to get the movie finished."
Liman disputes Marshall's account, in the process taking a swipe at a disappointing film that Marshall directed: "At the end of the day, look at 'Congo' and look at my movies and let an audience figure out where that movie came from."
After first saying that he, not Marshall, cut the film, Liman reflects and eventually allows that the cut represented a collaborative effort. "At a certain point we all came into agreement," he says. "It was my cut and it was Frank's cut, the same way 'Mr. and Mrs. Smith' is my cut and Akiva's cut and Lucas Foster's cut. We're all happy with it."
Like "Mr. and Mrs. Smith," "The Bourne Identity" was delayed. The film went about $10 million over its $55-million budget, the filmmakers said.
Several individuals who worked on "Bourne Identity" say it went off track in part because Liman constantly changed his mind about what he would do on any given day. He would set up to shoot something and then not shoot it. He frequently asked to reshoot scenes that had already been filmed. "He never knew what he wanted to do," says Marshall. "He would reshoot some scenes four or five times because he had a new idea. It was 'Let me see the footage and I'll decide whether I like it or not.' "
"He's created this personality where he doesn't have to do the planning or make decisions or be responsible," says the film's line producer, Patrick Crowley.
"I don't really analyze my process," Liman responds. "I do know that if it's not right, I won't move on. I'm tenacious to a fault about that."
Several people who worked on the film say the action became hard to follow. Liman would shoot a wide master shot of a scene and then direct changes in the actors' performance when he shot close-ups. The result was footage that, according to Crowley, couldn't be cut together properly. "He felt that he was hamstrung by having to conform to basic rules of visual perception," Crowley says.
Liman says he doesn't shoot according to convention. "Pat Crowley's the kind of person who would freak out about that," he says. But Liman maintains the scenes did cut together. He says he simply discarded rules of filmmaking that are no longer relevant. "There are people out there who are too old-fashioned to appreciate that in an age of MTV and video games, audiences have matured," he says.
There were other problems. At one point, while shooting in a forest near Prague, Liman kept some of the crew around after filming was done for the day to light the forest so that Liman could play paintball. "There were 15 or 20 people working in golden time so Doug could play paintball in the forest," marvels Marshall.
Liman first says only a couple of crew members stayed late, but later remembers it was a larger group. Still, he shrugs it off. "If I read that about a director, I'd be like, 'Yeah, I like that guy,' " he says.
When the film was finished, the studio expected the worst. Screenwriter Tony Gilroy, according to a source with firsthand knowledge, actually arbitrated against himself with the Writers Guild so that he wouldn't have to take sole credit for the film.
As it turned out, the picture was a huge hit. Liman says the film's success was due to a successful collaboration between him and star Matt Damon, who did not comment for this article. When it came to making the second film, Marshall, Crowley and screenwriter Gilroy refused to participate if Liman were to be involved. Liman appealed to Damon to support him. Damon said he'd work with Liman if Marshall and the others went along. They would not. Liman had no involvement with the second film, though he was contractually entitled to executive producer credit.
What surprises some who worked with Liman is that after the problems on "Bourne Identity," he was able to segue to an even bigger studio film. And on "Mr. and Mrs. Smith," history seemed to repeat itself. The film went over schedule in part, Liman says, because Pitt had to leave in the middle to meet his commitment to appear in "Ocean's Twelve." He was gone for three months.
It took nearly two years to get the film made. The picture started shooting in January 2004 and didn't wrap until this past April.
"Obviously that's not your conventional way of shooting a movie, and it's not a way I would recommend," Goldsman says.
According to a source involved in the production, the budget — originally set at just over $100 million — swelled to $126 million.
Although Fox is distributing the movie, it was fully financed by Regency Enterprises, which the studio partly owns. Sanford Panitch, president of the company's New Regency Productions, says those budget numbers are off but declines to elaborate. "There's a lot of movie for what this movie cost," he adds.
As for choosing Liman to direct, Panitch says, "He came in with the most original approach to the material." Pitt also was excited about working with Liman, Panitch adds. And Panitch was also impressed with Liman's work on "The Bourne Identity." "I think he sort of reinvented the James Bond genre," he says.
'Elliptical in his thinking'
According to Goldsman, Liman's approach made it necessary to form a sort of committee to steer the movie to completion — a committee that included Goldsman and Foster as well as second-unit director Simon Crane.
Pitt, who would not comment for this article, was said to have become exasperated with the drawn-out filming. According to one story making the rounds, when Liman at one point urged Pitt to deliver more emotion in his performance, the actor pointed out that Liman was shooting the back of his head. Liman says he doesn't remember that but adds, "I may have been wanting to get more emotion from the back of his head. I probably succeeded."
"Doug likes to be off-center, if you will," says Foster. "He's elliptical in his thinking. He'd cheerfully shoot an entire scene from the back of the head. Sometimes it works, by the way."
The picture was rewritten time and again. Sequences were shot with villains who were then dropped altogether; a comedic cameo by Vince Vaughn was considerably expanded. Vaughn says he was fine with his relatively brief experience on the film. Liman gave him a lot of freedom to improvise, he says, adding, "He's so bright when it comes to the camera. His movies always look really, really good."
In the midst of the project, second-unit director Crane — a veteran of the "Lara Croft" films as well as "Troy" — was brought in to handle action sequences. That led to reports that Crane had, in fact, taken on an unusually substantial role.
Liman says there was nothing unusual about bringing in a specialist to direct second-unit action sequences. (The second-unit director ordinarily shoots sequences that do not involve the stars, such as car chases.) By some accounts, Crane directed a number of scenes with Pitt and Jolie that normally would have been Liman's responsibility.
Goldsman says Liman was always present on the set but says, "The actors certainly are very comfortable with Simon Crane."
Under pressure from the studio to staunch the spending, Foster says, "one of the best ways was by having another person in there to pick up some of the workload." Foster confirms that Crane shot scenes with Pitt and Jolie but says they were action sequences that were properly Crane's province. "It's been a big thing going around — Simon Crane directed the movie," Foster says. "Simon Crane directed sequences in the movie, which is what he was hired to do."
In one regard, Liman was restricted, Foster continues. "Doug's desire to change things at the last minute is not OK when you're shooting a big stunt," he explains. "That was just a nonstarter.... Doug lost his right to comment on changes. Once we did the rigging of the set — that was it. He stood there with me and Akiva and watched Simon do his thing."
Foster says one problem they didn't have on "Mr. and Mrs. Smith" was mismatched shots. "We all did our homework before on Doug," says Foster. "There wasn't a situation where we didn't have coverage because I would stand on the set and get the coverage. I'd say, 'We're shooting that shot.' ... The good thing about Doug is he's OK with that."
At the end of the day, Foster says, Liman made key contributions despite the stress of dealing with some of his methods. "Akiva and I figured out how to reverse-engineer it and we dealt with it," Foster says. "We made it work. For all of Doug's stuff, he actually made the movie better. His special sauce that he adds — that weird, elliptical view of things — is the difference between movies like 'XXX' and ours. Even with all the Sturm und Drang, it led to a better movie."
Mr. and Mrs. Smith
Cast: Brad Pitt, Angelina Jolie, Adam Brody, Kerry Washington and Vince Vaughn
Directed by: Doug Liman
Screenplay by: Simon Kinberg
Distributor: 20th Century Fox
Runtime: 112 min
Rating: PG-13
Year: 2005
Doug Liman's Mr. and Mrs. Smith is not a remake of Alfred Hitchcock's 1941 comedy of the same name, but both films concern couples in failing marriages. Brad Pitt and Angelina Jolie (the Robert Montgomery and Carole Lombard of their time, perhaps?) star as a husband and wife in Scenes form a Marriage-style couple's therapy. They're not having sex anymore and their dirty little secrets are to blame: For five or six years one has been hiding from the other that they've been working for rival spy organizationsóthe kind whose employees get to play with what-the-fuck high-tech gizmos and identification systems that understand there can only be one woman in the world with a body like Jolie's. When their respective employers hire them to kill The O.C.'s Adam Brody, not-so-plain John and Jane go for each other's throats and Mr. and Mrs. Smith reveals itself as a fetish film for anyone who takes People magazine as a serious source of investigative journalism (or people who wear Lance Armstrong bracelets as badges of cool). The magazine's Most Beautiful Man and Woman of 2005 waste countless rounds of ammunition on each other, eroticize domestic violence, and before you can say "get a room," they do! No house, wine glass, freeway, discount department store, or Tony-Scott-lit third-world country is safe from this squabble, which reveals itself as foreplay for the reincarnation of the couple's marriage. You won't see another film this year that coasts as long as it does on the sex appeal and posturing of its actors, and while I can't imagine anyone besides Pitt and Jolie in these roles, it's a shame there's so little meat on the film's bones. Individual moments are fierce (Jolie flies off yet another skyscraper and, during an exciting car chase, two cars poetically reveal themselves from behind another), but it's as if Mr. and Mrs. Smith exists only for its own satisfaction. Like the condescending gurl-power Jolie is often forced to wear like a placard ("Why do I get the girl gun?" she asks at one point), the whole thing reeks of tabloid pandering.
Ed Gonzalez
© slant magazine, 2005.
Quote from: velveteenThe O.C.'s Adam Brody... Vince Vaughn
... Angelina Jolie... Brad Pitt
No one is going to be watching this film for cinematic merit! Look at the cast, it's called... YUMMY! It's the kind of movie you take your date to, and then screw in the car afterward. Wasted review... (cannot wait till Friday).
Don't forget your rubbers.
Quote from: velveteenDon't forget your rubbers.
I'm celebate.
Quote from: ThrindleQuote from: velveteenDon't forget your rubbers.
I'm celebate.
A lot of things are rubber.
Quote from: velveteenQuote from: ThrindleQuote from: velveteenDon't forget your rubbers.
I'm celebate.
A lot of things are rubber.
I was thinking pretty much the same thing.
so, like, are we all gonna like see this movie?
i am.
sure, what the hell.
Quote from: ©bradso, like, are we all gonna like see this movie?
Only if I can go with Thrindle.
Quote from: ThrindleIt's the kind of movie you take your date to, and then screw in the car afterward.
Quote from: MacGuffinQuote from: ©bradso, like, are we all gonna like see this movie?
Only if I can go with Thrindle.
Quote from: ThrindleIt's the kind of movie you take your date to, and then screw in the car afterward.
That was a hypothetical... remember:
Quote from: ThrindleI'm celebate.
but not celibate, so it's ok.
Quote from: ThrindleThat was a hypothetical...
Fernando, any plans this weekend? :kiss:
he's mine, get your own vato!
Quote from: ThrindleQuote from: velveteenQuote from: ThrindleQuote from: velveteenDon't forget your rubbers.
I'm celebate.
A lot of things are rubber.
I was thinking pretty much the same thing.
Ew, gross.
It took you that long eh?
Quote from: MacGuffinQuote from: ThrindleThat was a hypothetical...
Fernando, any plans this weekend? :kiss:
Quote from: cronopiohe's mine, get your own vato!
Easy easy, I have lots of love to give. :yabbse-wink: :kiss:
Quote from: ThrindleIt took you that long eh?
To decide that it was gross.
Dude, that was still too long. Come on now.
Quote from: ThrindleDude, that was still too long. Come on now.
maybe he doesnt visit this thread as often as you do. fuck sake
It feels like a treehouse in here. Who wants to play spin the bottle?
Quote from: ThrindleDude, that was still too long. Come on now.
Retracting statement (apparently I was drunk and feisty. But damn I type well while inebriated).
Has anyone seen the Hollywood Elsewhere website? Jeffrey Wells is on a GOP-like campaign to make sure critics call this movie a piece of shit, saying it's on the Xanadu level of bad movie.
Makes me wanna see Xanadu now.
Saw it. Ok, so not (nearly) as good as say... The Bourne Identity, but it was still alright. Sort of like violent foreplay for the soul.
It was entertaining and made myself and my company of particular interest laugh. And that's all I needed.
(well, not all, but nearly)
Quote from: TryskadekafobiaJeffrey Wells is a GOP-like piece of shit
Sorry, couldn't help reading that post that way. The truth always has a way of seeping out.
Anyway, I saw this tonight and it was amusing and cute and all, and I left with a smile; but towards the end I couldn't help but think how
totally great it would have been if Liman had pulled a Pekinpah and let the characters go out in a blaze of glory. It would still be a happy ending, even.
I'm really curious as to the hours of extra footage they shot - the movie feels pretty tight and complete, so they must have had a good editor. I know just last fall they cast Keith David and Angela Bassett (I think) as the rival agency bosses - and now David shows up (I think) in a digitally altered image for about thirty seconds, and that's it.
I saw this near midnight last night. It was really funny, the action was great, it does exactly what it's supposed to do. Brad Pitt's at his best when he's doing comedy, and he's used just right here. I have some complaints with some mild SPOILERS:
-Adam Brody, not so funny, and the Fight Club t-shirt was LAME. Plus, his importance in the scheme of things really didn't get explained, besides that he was bait for both of them.
-When Angelina Jolie is trying to figure out who the other agent is, does she just figure it out from Brad Pitt shaking his leg when he pisses? That wasn't very clear.
-The big plot shifts towards the end of why their getting killed, who's going after who, were explained but didn't seem as important as it should've.
-The five or six years later joke was used one time too many.
There were awesome parts, of course:
-Brad Pitt kicking Jolie while she's off screen....fucking hilarious!
-Vince Vaughn, "I almost killed you right then!"
-The entire running gag of sex/murder, like "I got lucky" or the ambiguous question towards the end...."How many have you...." "312" very funny writing, the plot just isn't very strong.
-Lots of other good stuff, every joke worked, mostly.
Quote from: Gamblor Posts DrunkI saw this near midnight last night. It was really funny, the action was great, it does exactly what it's supposed to do. Brad Pitt's at his best when he's doing comedy, and he's used just right here. I have some complaints with some mild SPOILERS:
-Adam Brody, not so funny, and the Fight Club t-shirt was LAME. Plus, his importance in the scheme of things really didn't get explained, besides that he was bait for both of them.
-When Angelina Jolie is trying to figure out who the other agent is, does she just figure it out from Brad Pitt shaking his leg when he pisses? That wasn't very clear.
-The big plot shifts towards the end of why their getting killed, who's going after who, were explained but didn't seem as important as it should've.
-The five or six years later joke was used one time too many.
There were awesome parts, of course:
-Brad Pitt kicking Jolie while she's off screen....fucking hilarious!
-Vince Vaughn, "I almost killed you right then!"
-The entire running gag of sex/murder, like "I got lucky" or the ambiguous question towards the end...."How many have you...." "312" very funny writing, the plot just isn't very strong.
-Lots of other good stuff, every joke worked, mostly.
I agree with you word for word
Quote from: TryskadekafobiaHas anyone seen the Hollywood Elsewhere website? Jeffrey Wells is on a GOP-like campaign to make sure critics call this movie a piece of shit, saying it's on the Xanadu level of bad movie.
Makes me wanna see Xanadu now.
I watched Xanadu recently. It wasn't that bad, if you can overlook the cheesy special effects.
Wow... it made 18.5 million on its first day... so it will do pretty good
So many spoilers it's uncanny.
A good first half. There were really clever lines of dialogue ("A happy ending is a story not finished." "I thought you looked like Christmas morning. [Beat]. I don't know how else to say it." "I guess in the end you start thinking about the beginning.") that turned into "What's her name and social security number?" "Honey, you're not going to kill her." In that car scene, after their big fight, is when the movie turned into S.W.A.T. or whatever other typical action movie. It's when Doug Liman forgot that he's capable of original action scenes and went for bozo bad guys and impossible scenarios.
Reading Ghostboy's post, I remember being in the theater, at that midway point, in which they have guns pointed at each other, and wanting a happy ending. By the end of the movie I wanted them to die, for something to happen other than for them to run out in their yellow sunglasses and kill everybody in the room. That's how my opinion of the characters changed. "There's no place I'd rather be right now than here with you." would have been a great last line.
I agree with Gamblor about Adam Brody's character not be fully explained, and would add that he was the most bozo bad guy of them all. So this guy's bait, but he knows he's bait, and he even knows who he's bait for. He carries a picture, even.
Could have been more.
Quote from: ThrindleSaw it. Ok, so not (nearly) as good as say... The Bourne Identity, but it was still alright. Sort of like violent foreplay for the soul.
So the review I posted was
not wasted after all?
Quote from: Losing the Horse:So many spoilers it's uncanny.
A good first half. There were really clever lines of dialogue ("A happy ending is a story not finished." "I thought you looked like Christmas morning. [Beat]. I don't know how else to say it." "I guess in the end you start thinking about the beginning.") that turned into "What's her name and social security number?" "Honey, you're not going to kill her." In that car scene, after their big fight, is when the movie turned into S.W.A.T. or whatever other typical action movie. It's when Doug Liman forgot that he's capable of original action scenes and went for bozo bad guys and impossible scenarios.
Reading Ghostboy's post, I remember being in the theater, at that midway point, in which they have guns pointed at each other, and wanting a happy ending. By the end of the movie I wanted them to die, for something to happen other than for them to run out in their yellow sunglasses and kill everybody in the room. That's how my opinion of the characters changed. "There's no place I'd rather be right now than here with you." would have been a great last line.
I agree with Gamblor about Adam Brody's character not be fully explained, and would add that he was the most bozo bad guy of them all. So this guy's bait, but he knows he's bait, and he even knows who he's bait for. He carries a picture, even.
Could have been more.
Agree completely. I was really disappointed with the film. I'm going to admit it, they were banking on close ups of the two most beautiful people in the world, to make up for lackluster dialogue.
Don't get me wrong, I'd watch it again, but purely for lustful reasons.
When are movies going to be thrilling again?
Quote from: KeanuMr. and Mrs. Smith
Cast: Brad Pitt, Angelina Jolie, Adam Brody, Kerry Washington and Vince Vaughn
Directed by: Doug Liman
Screenplay by: Simon Kinberg
Distributor: 20th Century Fox
Runtime: 112 min
Rating: PG-13
Year: 2005
Doug Liman's Mr. and Mrs. Smith is not a remake of Alfred Hitchcock's 1941 comedy of the same name, but both films concern couples in failing marriages. Brad Pitt and Angelina Jolie (the Robert Montgomery and Carole Lombard of their time, perhaps?) star as a husband and wife in Scenes form a Marriage-style couple's therapy. They're not having sex anymore and their dirty little secrets are to blame: For five or six years one has been hiding from the other that they've been working for rival spy organizationsóthe kind whose employees get to play with what-the-fuck high-tech gizmos and identification systems that understand there can only be one woman in the world with a body like Jolie's. When their respective employers hire them to kill The O.C.'s Adam Brody, not-so-plain John and Jane go for each other's throats and Mr. and Mrs. Smith reveals itself as a fetish film for anyone who takes People magazine as a serious source of investigative journalism (or people who wear Lance Armstrong bracelets as badges of cool). The magazine's Most Beautiful Man and Woman of 2005 waste countless rounds of ammunition on each other, eroticize domestic violence, and before you can say "get a room," they do! No house, wine glass, freeway, discount department store, or Tony-Scott-lit third-world country is safe from this squabble, which reveals itself as foreplay for the reincarnation of the couple's marriage. You won't see another film this year that coasts as long as it does on the sex appeal and posturing of its actors, and while I can't imagine anyone besides Pitt and Jolie in these roles, it's a shame there's so little meat on the film's bones. Individual moments are fierce (Jolie flies off yet another skyscraper and, during an exciting car chase, two cars poetically reveal themselves from behind another), but it's as if Mr. and Mrs. Smith exists only for its own satisfaction. Like the condescending gurl-power Jolie is often forced to wear like a placard ("Why do I get the girl gun?" she asks at one point), the whole thing reeks of tabloid pandering.
Ed Gonzalez
© slant magazine, 2005.
Quote from: KeanuQuote from: KeanuMr. and Mrs. Smith
Cast: Brad Pitt, Angelina Jolie, Adam Brody, Kerry Washington and Vince Vaughn
Directed by: Doug Liman
Screenplay by: Simon Kinberg
Distributor: 20th Century Fox
Runtime: 112 min
Rating: PG-13
Year: 2005
Doug Liman's Mr. and Mrs. Smith is not a remake of Alfred Hitchcock's 1941 comedy of the same name, but both films concern couples in failing marriages. Brad Pitt and Angelina Jolie (the Robert Montgomery and Carole Lombard of their time, perhaps?) star as a husband and wife in Scenes form a Marriage-style couple's therapy. They're not having sex anymore and their dirty little secrets are to blame: For five or six years one has been hiding from the other that they've been working for rival spy organizationsóthe kind whose employees get to play with what-the-fuck high-tech gizmos and identification systems that understand there can only be one woman in the world with a body like Jolie's. When their respective employers hire them to kill The O.C.'s Adam Brody, not-so-plain John and Jane go for each other's throats and Mr. and Mrs. Smith reveals itself as a fetish film for anyone who takes People magazine as a serious source of investigative journalism (or people who wear Lance Armstrong bracelets as badges of cool). The magazine's Most Beautiful Man and Woman of 2005 waste countless rounds of ammunition on each other, eroticize domestic violence, and before you can say "get a room," they do! No house, wine glass, freeway, discount department store, or Tony-Scott-lit third-world country is safe from this squabble, which reveals itself as foreplay for the reincarnation of the couple's marriage. You won't see another film this year that coasts as long as it does on the sex appeal and posturing of its actors, and while I can't imagine anyone besides Pitt and Jolie in these roles, it's a shame there's so little meat on the film's bones. Individual moments are fierce (Jolie flies off yet another skyscraper and, during an exciting car chase, two cars poetically reveal themselves from behind another), but it's as if Mr. and Mrs. Smith exists only for its own satisfaction. Like the condescending gurl-power Jolie is often forced to wear like a placard ("Why do I get the girl gun?" she asks at one point), the whole thing reeks of tabloid pandering.
Ed Gonzalez
© slant magazine, 2005.
No. Not in vain.
I found this movie to be ultrahip. The satire could've gone deeper and longer, the action shorter and later, and this wouldve been even more ultrahip. Pitt's dune buggy get-up rocked.
Quote from: KeanuQuote from: KeanuMr. and Mrs. Smith
Cast: Brad Pitt, Angelina Jolie, Adam Brody, Kerry Washington and Vince Vaughn
Directed by: Doug Liman
Screenplay by: Simon Kinberg
Distributor: 20th Century Fox
Runtime: 112 min
Rating: PG-13
Year: 2005
Doug Liman's Mr. and Mrs. Smith is not a remake of Alfred Hitchcock's 1941 comedy of the same name, but both films concern couples in failing marriages. Brad Pitt and Angelina Jolie (the Robert Montgomery and Carole Lombard of their time, perhaps?) star as a husband and wife in Scenes form a Marriage-style couple's therapy. They're not having sex anymore and their dirty little secrets are to blame: For five or six years one has been hiding from the other that they've been working for rival spy organizationsóthe kind whose employees get to play with what-the-fuck high-tech gizmos and identification systems that understand there can only be one woman in the world with a body like Jolie's. When their respective employers hire them to kill The O.C.'s Adam Brody, not-so-plain John and Jane go for each other's throats and Mr. and Mrs. Smith reveals itself as a fetish film for anyone who takes People magazine as a serious source of investigative journalism (or people who wear Lance Armstrong bracelets as badges of cool). The magazine's Most Beautiful Man and Woman of 2005 waste countless rounds of ammunition on each other, eroticize domestic violence, and before you can say "get a room," they do! No house, wine glass, freeway, discount department store, or Tony-Scott-lit third-world country is safe from this squabble, which reveals itself as foreplay for the reincarnation of the couple's marriage. You won't see another film this year that coasts as long as it does on the sex appeal and posturing of its actors, and while I can't imagine anyone besides Pitt and Jolie in these roles, it's a shame there's so little meat on the film's bones. Individual moments are fierce (Jolie flies off yet another skyscraper and, during an exciting car chase, two cars poetically reveal themselves from behind another), but it's as if Mr. and Mrs. Smith exists only for its own satisfaction. Like the condescending gurl-power Jolie is often forced to wear like a placard ("Why do I get the girl gun?" she asks at one point), the whole thing reeks of tabloid pandering.
Ed Gonzalez
© slant magazine, 2005.
SO
Saw this a couple of nights ago, a bit disapointed that they didn't heighten the satire and cool down on the action but overall I had fun watching it.
Minor Spoliers:
Did anyone notice the dialogue from the movie Made at one point where Brad and Vince's characters are talking about Jolie I believe at at one point.
The fight Club T-shirt on Adam Brody wasn't that great of a gag at all.
After the car scene it does get a little boring... but it was very entertaining and the fact that Brad Pitt is so cool help... and Angelina is so hot that I was just excited looking at her for two hours
Not bad for a rainy Saturday afternoon
I thought it was great. At it's best it reminded me of "To Catch a Thief" and the high brow comedy of Cary Grant. At it's worst it was still fun and there are worse things to look at for 2 hours.
One question...why are Jolie and Pitt the only two characters to wear bullet proof vest?
They have the most to protect.
I had a great time watching this. It really didn't bother me after they deconstructed the complexities to finish as a typical "action" movie. It was just a fun, funny, cool movie. The world needs more of them.
I was disappointed that my favorite shot from the trailer, that of Pitt on the tricycle, was absent from the movie. But great quips and just a fun time.
Quote from: ThrindleSaw it. Ok, so not (nearly) as good as say... The Bourne Identity, but it was still alright. Sort of like violent foreplay for the soul.
I think that, especially violent foreplay for the soul, sums it up for me. I have fears of Liman becoming a name attached to films rather than the creative FORCE behind them. I think above all though, whatever madness he might posess, he'll provide style. He seems to be consistant with that.
i'm behind. and i'm never behind on summer movies, but i saw this today finally. i agree with mostly everyone when i say it was totally entertaining but not great, while it could've been great. i will say there seemed to be many things not wrapped up though that must've been cut cause who gives a shit/its too fucking long. i actually thought the movie was going to end at the part where they try to kill each other in the house. the keith david character as gb mentioned, or how about vince vaughn? (who was great, btw). it looks like he gets the order to lead the hit on pitt/jolie and then they meet up with him and he looks all guilty and they must know it and then nothing. and they dont mention him again. clearly there was to be more there? and the shot we have as a banner of jolie in the yellow shades with the giant gun, i dont remember seeing. i also thought/hoped the movie might be a little darker/hipper and less actionpacked with liman at the helm, but the action was pretty cool anyways. all in all, pretty good but not great. C+
Mr & Mrs Smith series will be a sequel
Simon Kinberg, penner of "Mr and Mrs Smith", told CHUD a little bit about the new TV spin-off series, he's doing.
"It's going to be more of a Moonlighting or a Hart to Hart or a Remington Steele with some Alias. It's a show about a marriage – two people trying to balance their home life with their work lives, and their work lives happen to be international assassins. They go out from week to week on missions, and then try to balance with whatever the issue at home is. Frankly it works better as a TV show. We struggled with the movie narratively, as it loses its theme in the third act a little bit. The idea is better suited for a weekly series in some ways. The way we pitched it is Married With Children meets Alias."
The film will be set sometime after the movie, he says.
"They know what each other does for a living but they're not partners. There are some times they work together on missions, sometimes they work apart. Sometimes they work in the same cities, sometimes they compete".
Also, on June 6th:
(https://xixax.com/proxy.php?request=http%3A%2F%2Fimages.amazon.com%2Fimages%2FP%2FB000EYK4KI.01._SCLZZZZZZZ_V55544035_.jpg&hash=fb12fbf40c0b35c846b2230a8cdc676412f4f603)
Unrated editions of PG-13 movies make me go :roll:.
Quote from: MacGuffin on May 22, 2006, 11:22:34 AM
told CHUD a little bit about the new TV spin-off series, he's doing.
superfluous commas make me go :yabbse-rolleyes:.
ABC gets with 'Smith'
Network to adapt Pitt-Jolie film for TV
Source: Variety
ABC has greenlit production on "Mr. & Mrs. Smith," a small-screen take on the Brad Pitt-Angelina Jolie feature.
Doug Liman and Simon Kinberg are reprising their roles as helmer and scribe, respectively. Liman, Kinberg and Dave Bartis will exec produce.
Regency TV will produce the pilot in association with Bartis and Liman's Dutch Oven Prods.
The Alphabet has been developing its "Mr. & Mrs. Smith" for a while, ordering a script for the project nearly a year ago. Project had always been eyed as a fall 2007 contender, however.
Liman and Kinberg are working on New Regency pic "Jumper," and Kinberg delayed writing the TV script until just a few months ago, when he and Liman had a break in the production of that film.
"ABC has been amazing in terms of giving us time for development," Kinberg said, adding the plan is now to lense the pilot in March, once "Jumper" wraps.
As in the movie, ABC's "Mr. & Mrs. Smith" will revolve around two married assassins. Action will pick up about six months after the movie left off. "It's essentially 'Married ... With Children' with guns," Kinberg said. "The show takes all the marital issues a couple has and blows them up to action-genre size."
So rather than fight about who forgot to pack the toothpaste, "They'll bicker over someone forgetting to pack the detonator," he said.
Kinberg said the tone of the pilot is more comedic than the feature and possibly a bit darker as well.
Casting will be key, since Pitt and Jolie won't be reprising their roles. Kinberg said he, Liman and Bartis want to look at both known and unknown thesps. "We have to find two people who can make the show their own," he said.
This isn't the first time TV has done "Mr. & Mrs. Smith." In 1996, Scott Bakula and Maria Bello starred in a CBS skein of the same name with a similar plot; it lasted less than two months.
On the TV front, Liman and Bartis most recently exec produced the NBC drama "Heist." Liman helmed the pilot for "The OC."