Although Seth Rogen’s new comedy, The Studio, seems like a hyper-reality version of the film industry, there are times when people observe life imitating art. The show features many cameos of Hollywood names and seemingly showcases some inside baseball. Our Chris Bumbray observed in his review that “Rogen really does seem to be saying that Hollywood, as it once was, is over and that if good movies do get made anymore, it’s a bit of a miracle,” Bumbray wrote. “Given his place in the industry, he would know. God help us, loyal film fans.”
Rogen is usually candid about facets of the business and recently, he addressed the anxious feelings that actors get when reviews of their work are released. The comedic actor has appeared in movies that have been praised, as well as films that have been panned, but he has also been the subject of ridicule for journalists at certain points. In a clip posted by Yohan on social media, the Invite star says if critics knew how their reviews come across with actors, they’d be more careful with their words. Rogen explained,
I’m at the point in my career where not a lot of people are in a position to yell at me in my job, but the New York Times will publish an entire article saying I suck at my job.”sponsored content
He continues,
I worked my way up to not having to deal with that much personal conflict face to face, but I will have a cultural institution tell everyone that I suck.”
Then, he concluded,
If most critics knew how much it hurt the people that made the things they are writing about, they would second guess the way they write these things. It’s devastating.”
Critics are currently saying positive things about his new movie The Invite. The plot synopsis for reads,
“A bickering married couple (Seth Rogen and Olivia Wilde) invite their new neighbors (Edward Norton and Penelope Cruz) over for a low-key dinner, only for it to devolve into a night of revelations that may end their fragile union for good.”
In his review, Bumbray said, “The Invite is also genuinely hilarious, especially once the topic of sexuality is broached. Wilde gets a lot of comic mileage out of Joe and Angela’s curiosity and Hawk and Pina’s complete lack of filter. She keeps the laughs coming at a brisk pace, with the 107-minute running time flying by. Yet it’s not all bawdy humor—there’s real emotional catharsis here too. Given the standing ovation I witnessed after the screening, the film seems bound to walk away from the festival with a strong distribution deal, meaning a major release should be forthcoming. Hopefully, it plays in theaters, as Wilde is a vocal advocate of the theatrical experience and went to the trouble of shooting the film on 35mm. It deserves to be seen on the big screen.”