WHAT’S CONSIDERED CUTTING EDGE ON DEMAND: PART 2April 15, 2010
Who Made Your Favorite TIM AND ERIC’S BILLION DOLLAR MOVIE Pledge?February 01, 2012
Magnolia Pictures
If you haven't heard by now, Tim and Eric are taking their act from the small screen to the silver screen with their movie TIM AND ERIC'S BILLION DOLLAR MOVIE (Magnolia). It is available in theaters on March 2nd, but is available on demand now.
In an effort to make as many people know, Tim and Eric are asking people to take the following pledge.

They're asking people to:
- see the film with a family member or friend.
- in a theater within 50 miles of their location, or on demand if can't be seen in theater (BTW - it's not in theaters until 3/2/12, but on demand now!).
- tell a minimum of four people about B$M.
- not to Bit Torrent B$M
- and don't see THE LORAX.
Kudos to Tim and Eric for a clever way to spread word about the film and has resulted in positives pledges from some notable actors & personalities. Tweet or Facebook us which you like the most.
Ben Stiller
Paul Rudd
Natasha Leggero
Elijah Wood
Andy Samberg and Rashida Jones
Al Yankovic
Tim & Eric’s Tim Heidecker In THE COMEDY - On Demand TodayOctober 24, 2012
Tribeca Film
On Demand Weekly provides new movie reviews of hot movies on demand and from the POV of watching from the comfort of your home. Today’s review: THE COMEDY (Tribeca Film).
See the latest Independent Movie On Demand (IMOD) Trailers here...
THE COMEDY
Tim Heidecker (TIM AND ERIC AWESOME SHOW, GREAT JOB) plays Swanson, who makes vicious sport of everything from co-workers to foreign cab drivers to organized religion. Alverson doesn’t shy away from making his protagonist a loathsome layabout with virtually no redeeming characteristics, as Swanson seduces his sister-in-law, makes a mockery of the Catholic church, and taunts a bar full of presumably real patrons.

THE COMEDY recalls both the Dogme 95 films of Lars Von Trier and the mumblecore work of newbies like Joe Swanberg, and it deserves credit, I suppose, for it’s raw granularity and willingness to risk alienating its audience. But the film’s audacity does just that, sacrificing storytelling for shock. (In fact, as I researched what the thinking was behind the creation of THE COMEDY, I came to find out that it was the film that generated the most walkouts at this year’s Sundance Festival. Not surprising, based on the coarse and contemptuous tone of the film.)

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