Indie Box Office: ‘Journey’s End,’ ‘Flower’ Open to Solid Results

The art house scene saw two new films enter theaters in L.A. and New York: The Orchard’s dramedy “Flower” and Good Deed’s antiwar film “Journey’s End.”

“Flower” opened on three screens and had the highest per screen average of the weekend, earning $57,851 for a PSA of $19,284. The film will expand to 20 major markets next weekend, followed by a nationwide release on March 30.

Premiering at Tribeca last year and starring Zoey Deutch, “Flower” follows a young woman named Erica who decides to help her severely depressed stepbrother Luke (Joey Morgan) stalk and expose a man he thinks sexually assaulted him, only for the plan to completely disintegrate. Max Winkler directed the film and co-wrote it with Alex McAulay and Matt Spicer. The film has received positive reviews with a 67 percent Rotten Tomatoes score.

Also Read: ‘Journey’s End’ Film Review: Oft-Told WWI Tale Gets a Respectable Outing

“Journey’s End” premiered at the Toronto International Film Festival last year and is an adaptation of R.C. Sherriff’s famed 1928 play about British soldiers stuck in the trenches during World War I. Starring Asa Butterfield, Sam Claflin and Paul Bettany, the film had a solid start with $12,700 from its two screen opening. Adapted by Simon Reade and directed by Saul Dibb, the film has been a massive hit with critics with a 94 percent RT score.

Also releasing this weekend is Focus Features/Participant Media/Working Title’s “7 Days in Entebbe,” which stars Daniel Bruhl and Rosamund Pike in a retelling of the 1976 Air France flight from Tel Aviv to Paris that was hijacked and sent to Entebbe, Uganda, prompting a rescue by the Israeli military. The film received negative reviews with a 22 percent score and has gotten off to a weak start with $1.63 million from 838 screens, giving it a PSA of $1,962.

Elsewhere, IFC’s “The Death of Stalin” expanded to 30 screens this weekend, adding $580,000 for a PSA just behind that of “Flower” with $18,143 and a total of $844,000. Focus’ “Thoroughbreds” added $470,000 from 564 screens, bringing its total to $2.26 million.

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The art house scene saw two new films enter theaters in L.A. and New York: The Orchard’s dramedy “Flower” and Good Deed’s antiwar film “Journey’s End.”

“Flower” opened on three screens and had the highest per screen average of the weekend, earning $57,851 for a PSA of $19,284. The film will expand to 20 major markets next weekend, followed by a nationwide release on March 30.

Premiering at Tribeca last year and starring Zoey Deutch, “Flower” follows a young woman named Erica who decides to help her severely depressed stepbrother Luke (Joey Morgan) stalk and expose a man he thinks sexually assaulted him, only for the plan to completely disintegrate. Max Winkler directed the film and co-wrote it with Alex McAulay and Matt Spicer. The film has received positive reviews with a 67 percent Rotten Tomatoes score.

“Journey’s End” premiered at the Toronto International Film Festival last year and is an adaptation of R.C. Sherriff’s famed 1928 play about British soldiers stuck in the trenches during World War I. Starring Asa Butterfield, Sam Claflin and Paul Bettany, the film had a solid start with $12,700 from its two screen opening. Adapted by Simon Reade and directed by Saul Dibb, the film has been a massive hit with critics with a 94 percent RT score.

Also releasing this weekend is Focus Features/Participant Media/Working Title’s “7 Days in Entebbe,” which stars Daniel Bruhl and Rosamund Pike in a retelling of the 1976 Air France flight from Tel Aviv to Paris that was hijacked and sent to Entebbe, Uganda, prompting a rescue by the Israeli military. The film received negative reviews with a 22 percent score and has gotten off to a weak start with $1.63 million from 838 screens, giving it a PSA of $1,962.

Elsewhere, IFC’s “The Death of Stalin” expanded to 30 screens this weekend, adding $580,000 for a PSA just behind that of “Flower” with $18,143 and a total of $844,000. Focus’ “Thoroughbreds” added $470,000 from 564 screens, bringing its total to $2.26 million.

Related stories from TheWrap:

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‘Flower’ Blooms In Trio Of Pots; ‘Keep The Change’ Solid: Specialty Box Office

The Orchard sprouted a hit over the weekend, opening teen comedy Flower, starring Zoey Deutch, in just three theaters and grossing a rousing $57,851.
That tally yielded the highest per-theater average of the weekend, though right behind it was IFC Films’ The Death of Stalin, which came in with $18,143 per situation in its second frame even while expanding to 32 runs.
Focus Features’ 7 Days in Entebbe went out to over 800 theaters on Friday with a so-so $1.63M start, while…

The Orchard sprouted a hit over the weekend, opening teen comedy Flower, starring Zoey Deutch, in just three theaters and grossing a rousing $57,851. That tally yielded the highest per-theater average of the weekend, though right behind it was IFC Films' The Death of Stalin, which came in with $18,143 per situation in its second frame even while expanding to 32 runs. Focus Features' 7 Days in Entebbe went out to over 800 theaters on Friday with a so-so $1.63M start, while…

Daniel Brühl Takes ‘7 Days in Entebbe’; Zoey Deutch Rebels in ‘Flower’ – Specialty B.O. Preview

With Awards Season tucked away, Specialty newcomers have a chance to breathe. Focus Features, which had two films in the Oscar running, is heading out with political thriller 7 Days in Entebbe starring Rosamund Pike and Daniel Brühl. The company is taking a page out of its playbook from the box office success of The Zookeeper’s Wife, released in a similar pattern last March. The Orchard is opening teen comedy Flower with Zoey Deutch with limited runs ahead of a wider roll…

With Awards Season tucked away, Specialty newcomers have a chance to breathe. Focus Features, which had two films in the Oscar running, is heading out with political thriller 7 Days in Entebbe starring Rosamund Pike and Daniel Brühl. The company is taking a page out of its playbook from the box office success of The Zookeeper's Wife, released in a similar pattern last March. The Orchard is opening teen comedy Flower with Zoey Deutch with limited runs ahead of a wider roll…

‘Flower’ Film Review: Talented Cast Set Adrift in Disappointing Teen Satire

It’s hard to know whether Erica Vandross, the 17-year-old at the center of Max Winkler’s “Flower,” is meant to be an a-hole we unexpectedly like or a likeable person who sometimes behaves like an a-hole, but Zoey Deutch’s performance constitutes one of the most curious mis-applications of natural acting charisma I’ve ever seen.

Deutch, winning in a lot of films unworthy of her (“Why Him,” “Dirty Grandpa,” “Vampire Academy”), commands the screen as if the quandary doesn’t matter, while Winkler and co-screenwriters Alex McAulay and Matt Spicer construct a story that lurks somewhere between “Sixteen Candles,” “Palo Alto” and “Fish Tank” but without the humor, insight or poetry needed to match her fearless, irresistible talent.

Deutch plays Erica Vandross, a San Fernando Valley teenager trying to earn enough money to spring her estranged father from jail by seducing local sleazeballs and then shaking them down for cash. Though she’s stayed willfully oblivious to the relationship her frazzled bohemian mom Laurie (Kathryn Hahn) starts with a kind-hearted square named Bob (Tim Heidecker), Erica finds her life turned upside down after his troubled son Luke (Joey Morgan, “Scouts Guide to the Zombie Apocalypse”) arrives fresh and vulnerable from rehab.

Also Read: ‘Flower’ Tribeca Review: Zoey Deutch Stars in a Toxic ‘Juno’ Knock-Off

At Laurie’s urging, Erica and Luke form a tenuous bond largely built on the few semi-friendly exchanges they share when she isn’t being mercilessly blunt. But after learning that much of Luke’s pain comes from an unresolved claim that he was sexually assaulted by Will (Adam Scott), a former teacher who still lives in their community, Erica recruits high school cohorts Kala (Dylan Gelula, “Unbreakable Kimmy Schmidt”) and Claudine (Maya Eshet, “Teen Wolf”) to avenge her future step-brother, unleashing a chain of events that forces them to deal with the very adult consequences of their teenage games whether they’re ready to or not.

The reason that so much of “Flower” works as well as it does is because it’s anchored so deeply by Deutch’s performance, which effortlessly dances on that razor’s edge between sympathetic and insufferable. There’s something identifiable and occasionally even charming about Erica, who is savvier and more streetwise than any of her adult counterparts, but she’s driven by a desperate absence of guidance — an almost clichéd need for some kind of structure or limitations — that leads her to suitably misguided choices.

Also Read: ‘Big Little Lies’: Adam Scott to Return for Season 2

As a teen trying to navigate her way through not one but two fractured parental relationships, Deutch imbues Erica with an agency that feels at once wildly unseemly, perversely appealing and utterly believable, the precise sort of preternatural maturity that would ensnare susceptible men not just against their better judgment, but hers as well.

The remainder of the cast bring their characters to vivid, believable life, from Gelula and Eshet’s dopey, media-saturated teenage wokeness as Erica’s partners in crime to Hahn’s apologetic, perfectly scattered take on Laurie’s laissez-faire parenting. For a comedian exceptionally skilled at going broad, and weird, Tim Heidecker offers a skillfully understated take as the uncool suitor who wins Laurie’s heart (and shows her firebrand daughter uncommon, and largely undeserved, patience), while Adam Scott manages to be convincingly skeptical — if not quite heedless enough — in his dealings with Erica, particularly as a man living in the shadow of an appropriately insurmountable accusation.

Watch Video: Kathryn Hahn Hails the Female ‘Roar’ of Vulnerability in ‘I Love Dick’

Unfortunately, Winkler and his co-screenwriters further muddy the intriguing moral complexity of Erica’s cycle of seduction and exploitation, as well as Luke’s molestation claims, first by interjecting her burgeoning feelings for Will into their pursuit of “justice,” and then by turning the story upside down with a series of events that feel increasingly implausible and “movie-ish,” maybe unless John Hughes was writing them three or more decades ago.

The nuanced character development of early scenes is replaced with a cartoonish sort of escalation of stakes, not to mention some improbable choices, including a disastrously-timed confession of feelings, that would have been rightfully, perhaps satisfyingly called out by the characters had they maintained the wry self-awareness that initially made them so complex, unique and interesting.

Further, and even without conversations in the zeitgeist providing an unflattering context for the events in the film, there’s a reasonable question whether, even if only incidentally, “Flower” devalues the claims of real victims by suggesting they’re lying, enticing perpetrators or otherwise complicit in the power dynamics that lead to assault and molestation. Certainly, the movie sides with the teens, and Winkler’s portrayal of these awful acts offers little sympathy for those who seem to need little encouragement to take advantage of others.

But using these crimes as little more than a plot device ultimately feels like a distraction, and a sleazy one, from the pain and loneliness that drives the teens on screen to try and reclaim their power in such wrongheaded, and eventually, much more destructive ways — at least, if the movie didn’t try to wrap everything up in a shockingly tidy, counterintuitive bow.

“Flower” marks Winkler’s second feature after the 2010 comedy “Ceremony,” which felt to Noah Baumbach what this film does to Gia Coppola’s “Palo Alto,” or Sofia’s “Bling Ring”: a counterpart or alternative mining similar territory but trading substance for effervescence. With a different beginning, “Flower” could have paid cheerful tribute to the liberating powers of teenage romance; with a different ending, it could have captured the melancholy fragility of teen self-discovery.

Instead, audiences get a collection of great performances, led by a truly exceptional one, in search of a script that’s worthy of them in a movie with so much to offer that disappointingly, but bafflingly, seems determined to add up to less than the sum of its parts.



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It’s hard to know whether Erica Vandross, the 17-year-old at the center of Max Winkler’s “Flower,” is meant to be an a-hole we unexpectedly like or a likeable person who sometimes behaves like an a-hole, but Zoey Deutch’s performance constitutes one of the most curious mis-applications of natural acting charisma I’ve ever seen.

Deutch, winning in a lot of films unworthy of her (“Why Him,” “Dirty Grandpa,” “Vampire Academy”), commands the screen as if the quandary doesn’t matter, while Winkler and co-screenwriters Alex McAulay and Matt Spicer construct a story that lurks somewhere between “Sixteen Candles,” “Palo Alto” and “Fish Tank” but without the humor, insight or poetry needed to match her fearless, irresistible talent.

Deutch plays Erica Vandross, a San Fernando Valley teenager trying to earn enough money to spring her estranged father from jail by seducing local sleazeballs and then shaking them down for cash. Though she’s stayed willfully oblivious to the relationship her frazzled bohemian mom Laurie (Kathryn Hahn) starts with a kind-hearted square named Bob (Tim Heidecker), Erica finds her life turned upside down after his troubled son Luke (Joey Morgan, “Scouts Guide to the Zombie Apocalypse”) arrives fresh and vulnerable from rehab.

At Laurie’s urging, Erica and Luke form a tenuous bond largely built on the few semi-friendly exchanges they share when she isn’t being mercilessly blunt. But after learning that much of Luke’s pain comes from an unresolved claim that he was sexually assaulted by Will (Adam Scott), a former teacher who still lives in their community, Erica recruits high school cohorts Kala (Dylan Gelula, “Unbreakable Kimmy Schmidt”) and Claudine (Maya Eshet, “Teen Wolf”) to avenge her future step-brother, unleashing a chain of events that forces them to deal with the very adult consequences of their teenage games whether they’re ready to or not.

The reason that so much of “Flower” works as well as it does is because it’s anchored so deeply by Deutch’s performance, which effortlessly dances on that razor’s edge between sympathetic and insufferable. There’s something identifiable and occasionally even charming about Erica, who is savvier and more streetwise than any of her adult counterparts, but she’s driven by a desperate absence of guidance — an almost clichéd need for some kind of structure or limitations — that leads her to suitably misguided choices.

As a teen trying to navigate her way through not one but two fractured parental relationships, Deutch imbues Erica with an agency that feels at once wildly unseemly, perversely appealing and utterly believable, the precise sort of preternatural maturity that would ensnare susceptible men not just against their better judgment, but hers as well.

The remainder of the cast bring their characters to vivid, believable life, from Gelula and Eshet’s dopey, media-saturated teenage wokeness as Erica’s partners in crime to Hahn’s apologetic, perfectly scattered take on Laurie’s laissez-faire parenting. For a comedian exceptionally skilled at going broad, and weird, Tim Heidecker offers a skillfully understated take as the uncool suitor who wins Laurie’s heart (and shows her firebrand daughter uncommon, and largely undeserved, patience), while Adam Scott manages to be convincingly skeptical — if not quite heedless enough — in his dealings with Erica, particularly as a man living in the shadow of an appropriately insurmountable accusation.

Unfortunately, Winkler and his co-screenwriters further muddy the intriguing moral complexity of Erica’s cycle of seduction and exploitation, as well as Luke’s molestation claims, first by interjecting her burgeoning feelings for Will into their pursuit of “justice,” and then by turning the story upside down with a series of events that feel increasingly implausible and “movie-ish,” maybe unless John Hughes was writing them three or more decades ago.

The nuanced character development of early scenes is replaced with a cartoonish sort of escalation of stakes, not to mention some improbable choices, including a disastrously-timed confession of feelings, that would have been rightfully, perhaps satisfyingly called out by the characters had they maintained the wry self-awareness that initially made them so complex, unique and interesting.

Further, and even without conversations in the zeitgeist providing an unflattering context for the events in the film, there’s a reasonable question whether, even if only incidentally, “Flower” devalues the claims of real victims by suggesting they’re lying, enticing perpetrators or otherwise complicit in the power dynamics that lead to assault and molestation. Certainly, the movie sides with the teens, and Winkler’s portrayal of these awful acts offers little sympathy for those who seem to need little encouragement to take advantage of others.

But using these crimes as little more than a plot device ultimately feels like a distraction, and a sleazy one, from the pain and loneliness that drives the teens on screen to try and reclaim their power in such wrongheaded, and eventually, much more destructive ways — at least, if the movie didn’t try to wrap everything up in a shockingly tidy, counterintuitive bow.

“Flower” marks Winkler’s second feature after the 2010 comedy “Ceremony,” which felt to Noah Baumbach what this film does to Gia Coppola’s “Palo Alto,” or Sofia’s “Bling Ring”: a counterpart or alternative mining similar territory but trading substance for effervescence. With a different beginning, “Flower” could have paid cheerful tribute to the liberating powers of teenage romance; with a different ending, it could have captured the melancholy fragility of teen self-discovery.

Instead, audiences get a collection of great performances, led by a truly exceptional one, in search of a script that’s worthy of them in a movie with so much to offer that disappointingly, but bafflingly, seems determined to add up to less than the sum of its parts.

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‘Flower’ Trailer: Zoey Deutch Is a Teenage Vigilante In Wild and Raunchy Coming-of-Age Tale

What could possibly go wrong when four mismatched teenagers decide to trap a very, very bad man? (So much.)

When Alex McAuley’s screenplay “Flower” made the Black List of most liked unproduced screenplays back in 2012, its simple logline was eye-popping in its possibilities: “A coming of age story about the unlikely bond that forms between a sexually adventurous teenage girl and her obese, mentally unstable step-brother.” Though it took another five years to be made — thanks to the addition of director and co-screenwriter Max Winkler and his partner, Matt Spicer, who recently broke out with his “Ingrid Goes West” — the final product is a snappy combination of McAuley’s big ideas, Winkler and Spicer’s off-kilter wit, and the full-force charm of star Zoey Deutch.

As 17-year-old Erica Vandross, Deutch is a wild, funny, smart, and unique leading lady, tasked with carrying a coming-of-age tale of a different stripe. Erica spends her off-time hanging with her friends Kala (Dylan Gelula) and Claudine (Maya Eshet), and the trio are in deep on, as our own David Ehrlich termed it, “a simple grift, and one that’s never played for titillation: Erica uses her jailbait charms to seduce the pants off whatever skeezy men she can find in the San Fernando Valley, her friends pop up out of the bushes and capture footage of the statutory rape on their iPhones, and then they kindly escort their marks to the nearest ATM for a tidy payout.”

But things are about to change for the adventurous Erica, when her mom’s (Kathryn Hahn) new boyfriend (Tim Heidecker) brings his formerly rehab-bound son Luke (Joey Morgan) to live with this modern family. Soon, Erica and her pals are consumed with a new plan: using vigilante justice and some sneaky ideas to trap the high school teacher (Adam Scott) that Luke blames many of his problems on. What could possibly go wrong? (So much.)

When it debuted at Tribeca last April, our Ehrlich wrote, “there’s still no doubt that Deutch is the film’s life force and center of gravity. When ‘Flower’ blooms, it does so because she wills it to. At times, her performance is perhaps even too strong for the film that’s cobbled together around it, as the actress so convincingly indicates at Erica’s vibrant and complex inner life that she embarrasses the script’s feeble attempts to diagnose and solve her character.”

Check out the first trailer for “Flower” below.

“Flower” hits theaters on March 16.

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‘Flower’ Trailer: Hipster Teens Try To Take Down Predator In Dark Comedy

Max Winkler’s latest pic Flower addresses the very serious topic child predation with an irreverent hand — and the new trailer perfectly illustrates that.
Zoey Deutch stars as Erica, an R-rated fast-talking Juno-meets-Gilmore Girls-esque 17-year-old who is as feisty as she is quick-witted. In the video above, we see her and her mom (Kathryn Hahn) welcome her new boyfriend’s (Tim Heidecker) mentally unbalanced son Luke (Joey Morgan) from rehab to live with the family.
As a…

Max Winkler’s latest pic Flower addresses the very serious topic child predation with an irreverent hand — and the new trailer perfectly illustrates that. Zoey Deutch stars as Erica, an R-rated fast-talking Juno-meets-Gilmore Girls-esque 17-year-old who is as feisty as she is quick-witted. In the video above, we see her and her mom (Kathryn Hahn) welcome her new boyfriend’s (Tim Heidecker) mentally unbalanced son Luke (Joey Morgan) from rehab to live with the family. As a…

‘Flower’ Review: ‘Badlands’ Meets ‘The Bling Ring’ In Strange And Sexy Coming-Of-Age Story That Certifies Zoey Deutch As a Major Star — Tribeca 2017

Max Winkler’s second feature confirms that Zoey Deutch is a genuine star in the making.

Max Winkler’s “Flower” is nothing if not a coming-of-age story, but it’s explicitly clear from the very first scene that the film’s teen characters have already lost their innocence a long time ago. We open in the front seat of a cop car, as 17-year-old Erica (“Before I Fall” star Zoey Deutch, acing another tricky lead role) gives a dispassionate blowjob to a uniformed police officer. Not that she doesn’t enjoy giving head — Erica has a sketchbook filled with immaculate drawings of every penis that she’s ever put in her mouth — but, like just about all of her sexual encounters to date, this hook up is purely transactional. When the cop asks her where she learned to suck dick like that, Erica bluntly replies: “Middle school.”

It’s a simple grift, and one that’s never played for titillation: Erica uses her jailbait charms to seduce the pants off whatever skeezy men she can find in the San Fernando Valley, her friends pop up out of the bushes and capture footage of the statutory rape on their iPhones, and then they kindly escort their marks to the nearest ATM for a tidy payout. It sounds criminal, but Erica thinks of it more like vigilante justice that’s been seasoned with some light entrapment. And besides, it’s not like she’s blowing (er, spending) the money on good drugs or new clothes or anything so hedonistic. On the contrary, she’s putting the cash into a piggybank, accounting for it on a spreadsheet, and saving up to bail her low-rent father out of prison.

READ MORE: The 2017 Tribeca IndieWire Bible: Every Review, Interview, And News Story From The Fest

Like everything about the movie she defines, Erica is suspended somewhere between male fantasy and female power trip; she’s spirited and spunky enough to be a Manic Pixie Dream Girl, but scary enough to leave you for dead if the circumstances call for it. She’s in every scene of this shaggy (but occasionally sharp) black comedy, and she’s by far the most compelling thing about it — Deutch is as nuanced and humane as any actress of her generation, and she makes her character believable throughout a movie that gleefully tests the bounds of believability. For example, when Erica first meets her future stepbrother, Luke (Joey Morgan, playing a husky 18-year-old who’s fresh out of rehab), she tries to ease one of his panic attacks by offering him a blowjob.

Luke declines the quasi-incestuous opportunity, but “Flower” only grows more bizarre as it blossoms from there, the plot kicking into gear when Erica learns that the handsome older guy she likes to ogle at the local bowling alley (Adam Scott) happens to be the same person who molested her new sibling a few years back. Naturally, Erica decides to make him into her next target, but things get all complicated and violent when our deceptively confident teenage heroine finds herself split between her daddy issues and her family matters. A strange but slight cross between “The Bling Ring” and “Badlands” with a little vintage Mike White flavor thrown in their for good measure, Winkler’s second feature — his first since 2010’s “Ceremony” — is entertaining from start to finish, even if it fails to do do justice to its singular lead character.

The raggedy script is the biggest issue. A tonally uneven roller-coaster for which the director shares credit with Alex McAulay and “Ingrid Goes West” director Matt Spicer, it never quite figures out how to vivisect Erica’s vulnerabilities, but it’s full of memorable little moments (“He looks like he should smell bad, but he doesn’t,” Erica comments when pressed to say something nice about Luke), and Winkler’s cast holds this off-kilter exercise together. Dylan Gelula, so phenomenal in last year’s “First Girl I Loved,” is wasted in an underwritten role as one of Erica’s best friends, but Kathryn Hahn keeps things grounded as Erica’s frustrated mother, and Tim Heidecker’s characteristically post-ironic performance as her future stepfather helps make it difficult to pin the story down or predict where its sympathies might lie.

But, for all of the help that she gets, there’s still no doubt that Deutch is the film’s life force and center of gravity. When “Flower” blooms, it does so because she wills it to. At times, her performance is perhaps even too strong for the film that’s cobbled together around it, as the actress so convincingly indicates at Erica’s vibrant and complex inner life that she embarrasses the script’s feeble attempts to diagnose and solve her character.

All of the shame that Erica doesn’t feel, all of the hurt that she’s trying to fend off, they only feel real when Winkler backs off and gives the girl some space. The story, kooky as it gets, can’t help but try to put her in a box — we learn more about who Erica is and what she needs through the hazy soft lighting that filters into her bedroom, through the Angel Olsen song she chooses to play for Luke, and through the uneven handheld shots of her slightly nervous eyes than we do from anything that happens to her. Even when the movie ends, we feel like we’re only scratching the surface. Still, how refreshing to see a coming-of-age story that’s less concerned about a teen losing her innocence than it is in how she might earn some of it back.

Grade: B-

“Flower” premiered in the U.S. Narrative Competition of the 2017 Tribeca Film Festival. The Orchard will release it later this year.

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The Orchard Buys Max Winkler’s ‘Flower’ at Tribeca

The Orchard has made the first purchase of this year’s Tribeca Film Festival, picking up Max Winkler’s dark teenage comedy “Flower,” TheWrap has learned.

The film, which had its world premiere at Tribeca this past Thursday, stars Zoey Deutch as a 17-year-old girl in the San Fernando Valley who has to deal with her mother’s new boyfriend (Tim Heidecker) and his estranged son (Joey Morgan) while making money with her friends as a makeshift vigilante group. Max Winkler, who is the son of “Happy Days” star Henry Winkler, directed the film and co-wrote the script with Alex McAulay and Matt Spicer.

Also Read: ‘Flower’ Review: Zoey Deutch Stars in a Toxic ‘Juno’ Knock-Off

Spicer, Eric B. Fleischman, Brandon James, and Sean Tabibian are producers, with Danny McBride, Jody Hill and David Gordon Green of Rough House Pictures serving as executive producers with Andrew Levitas.

The sale continues the relationship between Rough House Pictures and The Orchard, who previously partnered on the film “Donald Cried.” The Orchard also released Rough House’s film “Hunter Gatherer,” which was nominated for an Independent Spirit Award.

Winkler is currently signed on by Disney to write the script for the upcoming reboot to the 1991 film “The Rocketeer.”

The deal for “Flower” was negotiated by Danielle DiGiacomo, VP of acquisitions for The Orchard, with CAA on behalf of the filmmakers.

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The Orchard has made the first purchase of this year’s Tribeca Film Festival, picking up Max Winkler’s dark teenage comedy “Flower,” TheWrap has learned.

The film, which had its world premiere at Tribeca this past Thursday, stars Zoey Deutch as a 17-year-old girl in the San Fernando Valley who has to deal with her mother’s new boyfriend (Tim Heidecker) and his estranged son (Joey Morgan) while making money with her friends as a makeshift vigilante group. Max Winkler, who is the son of “Happy Days” star Henry Winkler, directed the film and co-wrote the script with Alex McAulay and Matt Spicer.

Spicer, Eric B. Fleischman, Brandon James, and Sean Tabibian are producers, with Danny McBride, Jody Hill and David Gordon Green of Rough House Pictures serving as executive producers with Andrew Levitas.

The sale continues the relationship between Rough House Pictures and The Orchard, who previously partnered on the film “Donald Cried.” The Orchard also released Rough House’s film “Hunter Gatherer,” which was nominated for an Independent Spirit Award.

Winkler is currently signed on by Disney to write the script for the upcoming reboot to the 1991 film “The Rocketeer.”

The deal for “Flower” was negotiated by Danielle DiGiacomo, VP of acquisitions for The Orchard, with CAA on behalf of the filmmakers.

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Max Winkler’s Teenage Comedy ‘Flower’ Plants Itself At The Orchard – Tribeca

EXCLUSIVE: The Orchard has snapped up all North American rights to Max Winkler’s dark comedy Flower which had its world premiere Thursday at the Tribeca Film Festival.

The deal came together quickly, marking the first for this year’s fest, with buyers clamoring immediately following the film’s premiere.

Flower follows 17-year old Erica Vandross (Zoey Deutch) and her two friends as they spend their free time making money in unconventional ways, acting as self…

EXCLUSIVE: The Orchard has snapped up all North American rights to Max Winkler’s dark comedy Flower which had its world premiere Thursday at the Tribeca Film Festival. The deal came together quickly, marking the first for this year’s fest, with buyers clamoring immediately following the film’s premiere. Flower follows 17-year old Erica Vandross (Zoey Deutch) and her two friends as they spend their free time making money in unconventional ways, acting as self…

Zoey Deutch & Max Winkler On Their Subversive Teenage Comedy ‘Flower’ – Tribeca

Max Winkler has mastered both sides of TV and film as the director of such comedy series as Brooklyn Nine-Nine and New Girl as well as indie films like 2010 Ceremony starring Uma Thurman and Michael Angarano.
Winkler comes to the Tribeca Film Festival this year with a sexually-charged teenage comedy that not only is a nod to Paul Brickman’s earlier work, but also turns the 1980s teenage dramedy genre inside out.
Zoey Deutch plays Erica, a 17-year old who performs sexual…

Max Winkler has mastered both sides of TV and film as the director of such comedy series as Brooklyn Nine-Nine and New Girl as well as indie films like 2010 Ceremony starring Uma Thurman and Michael Angarano. Winkler comes to the Tribeca Film Festival this year with a sexually-charged teenage comedy that not only is a nod to Paul Brickman’s earlier work, but also turns the 1980s teenage dramedy genre inside out. Zoey Deutch plays Erica, a 17-year old who performs sexual…

‘Flower’ Review: Zoey Deutch Stars in a Toxic ‘Juno’ Knock-Off

Max Winkler’s crass and disgustingly amoral “Flower” is a mess of a movie that plays as if it were pitched as “Juno” meets “To Catch a Predator.” Zoey Deutch, who plays the film’s anti-heroine Erica, looks and behaves so much like a lightweight mini-me version of Ellen Page that the connection to “Juno” would be there even if Erica hadn’t been written as a foul-mouthed variant on Page’s wised-up teenaged character.

“Flower” opens with the sound of heavy breathing, and we eventually see that 17-year-old Erica is fellating a cop to sexual climax. He asks her where she learned her oral skills, and she gives him a heavy look and says, “Middle school.” This line is obviously supposed to be humorous and “edgy,” but Winkler (the son of Henry Winkler of “Happy Days” fame) goes for his would-be laughs in such a hard-sell way that they almost never land.

Erica’s father is in jail for trying to rob a casino, and she is trying to earn money to make his bail by blackmailing the older men she services. When Erica is done with the cop, we see two of her young female friends filming him and calling him a pervert and demanding money from him. Winkler presents their cruel behavior as rebellious and righteous.

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About 40 percent of Erica’s dialogue has her describing the male member or referring to it, and she enjoys drawing male penises in notebooks, but this obsession of hers just feels like a colorful character trait that has been hung on her, so to speak. Erica’s mother Laurie (Kathryn Hahn) has her hair pulled up in a ponytail with a cutesy scrunchie, and she wears bright red lipstick and hoop earrings, and this is supposed to signify that she’s trashy.

Laurie has invited her new boyfriend Bob (Tim Heidecker) to live with them, and Bob brings along his troubled son Luke (Joey Morgan, “Scouts Guide to the Zombie Apocalypse”), who is shy and overweight and has had an addiction to OxyContin pills. The extremely obnoxious Erica keeps offering oral sex to Luke, and he keeps brushing her off.

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Erica walks in on Luke trying to hang himself, and Bob confesses that Luke was never the same after he accused a teacher of molesting him as a kid. Erica and her friends have been regularly ogling a guy named Will (Adam Scott) at a bowling alley, and it turns out that Will is the accused teacher. And so Erica accosts Will in a grocery store and sets herself up to get revenge for her stepbrother. “I deal with these sleazebags on the reg,” she tells Luke.

There are some movies that are misguided in a simple way, and then there are those rare unrelentingly awful movies like “Flower” that decide to go wrong in as many ways as possible in as short a time as possible. Erica is supposed to be a charmingly frank character, but she is actually a thug and a bully who sets in motion a criminal series of events that the movie treats as no big deal.

It’s hard to pick just which is the worst scene here, but it is probably the one in which Erica finally lets down her guard and gets all teary-eyed when her mother says that she can never keep a man because Erica chases all of them away. There are lots of different kinds of bad taste on display in “Flower,” but Winkler hits a new low when he has the temerity to ask for sympathy for Erica in this moment.

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“Flower” starts out as a shrill and unfunny comedy and it progresses to being a morally repugnant social justice movie and then a road movie and then an unlikely romance, and none of these movies has even a trace of believability. In a way, “Flower” becomes slightly more bearable when it tries to be serious after failing so badly to be hip and funny, but embedded within the later dramatic scenes are desperately dumb plot decisions that lead us to a calamitous ending that beams with bent good will toward two characters who have done nothing at all to earn it.

Many movies are poor or poorly made, and they can be forgiven that. “Flower” is not forgivable because it is actively hateful and offensive, and not even the phrase “dark comedy” can begin to excuse that.

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Max Winkler’s crass and disgustingly amoral “Flower” is a mess of a movie that plays as if it were pitched as “Juno” meets “To Catch a Predator.” Zoey Deutch, who plays the film’s anti-heroine Erica, looks and behaves so much like a lightweight mini-me version of Ellen Page that the connection to “Juno” would be there even if Erica hadn’t been written as a foul-mouthed variant on Page’s wised-up teenaged character.

“Flower” opens with the sound of heavy breathing, and we eventually see that 17-year-old Erica is fellating a cop to sexual climax. He asks her where she learned her oral skills, and she gives him a heavy look and says, “Middle school.” This line is obviously supposed to be humorous and “edgy,” but Winkler (the son of Henry Winkler of “Happy Days” fame) goes for his would-be laughs in such a hard-sell way that they almost never land.

Erica’s father is in jail for trying to rob a casino, and she is trying to earn money to make his bail by blackmailing the older men she services. When Erica is done with the cop, we see two of her young female friends filming him and calling him a pervert and demanding money from him. Winkler presents their cruel behavior as rebellious and righteous.

About 40 percent of Erica’s dialogue has her describing the male member or referring to it, and she enjoys drawing male penises in notebooks, but this obsession of hers just feels like a colorful character trait that has been hung on her, so to speak. Erica’s mother Laurie (Kathryn Hahn) has her hair pulled up in a ponytail with a cutesy scrunchie, and she wears bright red lipstick and hoop earrings, and this is supposed to signify that she’s trashy.

Laurie has invited her new boyfriend Bob (Tim Heidecker) to live with them, and Bob brings along his troubled son Luke (Joey Morgan, “Scouts Guide to the Zombie Apocalypse”), who is shy and overweight and has had an addiction to OxyContin pills. The extremely obnoxious Erica keeps offering oral sex to Luke, and he keeps brushing her off.

Erica walks in on Luke trying to hang himself, and Bob confesses that Luke was never the same after he accused a teacher of molesting him as a kid. Erica and her friends have been regularly ogling a guy named Will (Adam Scott) at a bowling alley, and it turns out that Will is the accused teacher. And so Erica accosts Will in a grocery store and sets herself up to get revenge for her stepbrother. “I deal with these sleazebags on the reg,” she tells Luke.

There are some movies that are misguided in a simple way, and then there are those rare unrelentingly awful movies like “Flower” that decide to go wrong in as many ways as possible in as short a time as possible. Erica is supposed to be a charmingly frank character, but she is actually a thug and a bully who sets in motion a criminal series of events that the movie treats as no big deal.

It’s hard to pick just which is the worst scene here, but it is probably the one in which Erica finally lets down her guard and gets all teary-eyed when her mother says that she can never keep a man because Erica chases all of them away. There are lots of different kinds of bad taste on display in “Flower,” but Winkler hits a new low when he has the temerity to ask for sympathy for Erica in this moment.

“Flower” starts out as a shrill and unfunny comedy and it progresses to being a morally repugnant social justice movie and then a road movie and then an unlikely romance, and none of these movies has even a trace of believability. In a way, “Flower” becomes slightly more bearable when it tries to be serious after failing so badly to be hip and funny, but embedded within the later dramatic scenes are desperately dumb plot decisions that lead us to a calamitous ending that beams with bent good will toward two characters who have done nothing at all to earn it.

Many movies are poor or poorly made, and they can be forgiven that. “Flower” is not forgivable because it is actively hateful and offensive, and not even the phrase “dark comedy” can begin to excuse that.

Related stories from TheWrap:

Tribeca TV Lineup to Include 'The Handmaid's Tale,' 'Unbreakable Kimmy Schmidt' Premieres

Bruce Springsteen, Barbra Streisand, Kobe Bryant to Join Tribeca Film Festival Talks

Back-to-Back 'Godfather', 'Godfather 2' Screenings to Close Tribeca 2017

Jenny Slate, Evan Peters and Ed Helms Movies to Premiere at Tribeca Film Festival