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Joshua Leonard directed, produced, and edited Fully Realized Humans, a 2020 American comedy film based on a script by Leonard and Jess Weixler. Leonard, Weixler, Beth Grant, Michael Chieffo, Janicza Bravo, Erica Chidi Cohen, Zach Shields, Jennifer Lafleur, and Ross Partridge star in the film.

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The film had its world premiere at the Florida Film Festival in 2020. It was supposed to screen at the Tribeca Film Festival in 2020, however the event was postponed owing to the COVID-19 epidemic. Gravitas Ventures is planning to release it on July 30, 2021.

On August 8, 2020, the film was screened virtually at the Florida Film Festival. The film was supposed to make its international premiere on April 18, 2020 at the Tribeca Film Festival, but the festival was postponed due to the COVID-19 epidemic. Starting October 1, 2020, it will also be screened virtually at the Nashville Film Festival. Gravitas Ventures bought the film’s distribution rights in May 2021 and scheduled it for release on July 30, 2021.

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Fully Realized Humans

  • Genre: Drama, Comedy
  • Original Language: English
  • Director: Joshua Leonard
  • Producer: Chelsea Bo, Sean Drummond, Joshua Leonard
  • Writer: Joshua Leonard, Jess Weixler
  • Release Date (Theaters): Jul 30, 2021
  • Runtime: 1h 16m
  • Cast: Jess Weixler, Joshua Leonard, Tom Bower, Beth Grant

Premise: With less than a month until the birth of their first child, Jackie and Elliot embark on a wild journey of self-discovery in an attempt to overcome the inherited dysfunction of their upbringings.

Shooting under the gun, to say the least. When Joshua Leonard and Jess Weixler teamed up to make their latest film, “Fully Realized Humans,” there was one important problem to consider: Weixler was eight months pregnant at the time. Fortunately, the two were able to finish their work on time, and Weixler gave birth to her first child only a few weeks later.

Weixler’s pregnancy, of course, plays a huge role in the duo’s latest film, in which they play a couple of well-intentioned parents-to-be who realize they aren’t quite ready to welcome a bouncing bundle of joy into their life, at least not yet.

The couple decides to spend the month leading up to their baby girl’s birth evolving become “completely developed people,” in order to shake off any of their own neuroses (including, of course, those instilled in them by their own parents; hello, foreshadowing). That includes everything from the banal (can they finish all of the hummus in their fridge before it spoils?) to the profound (can they finish all of the hummus in their fridge before it spoils?) to the profound (can they finish all of the hummus in (making peace with the fraught parental relationships already in their lives).

The two worked on “The Lie,” a humorous dissection of the demands of motherhood, over a decade ago. Weixler and co-star Mark Webber shared writing credits on the fully improvised adaptation of T.C. Boyle’s short story, which Leonard directed. Now, Leonard and Weixler are back with “Fully Realized Humans,” a more mature and zany take on the ideas that fueled their previous film, with similarly brilliant results.

Tom Bower, Beth Grant, Michael Chieffo, Janicza Bravo, Erica Chidi Cohen, Zach Shields, Jennifer Lafleur, and Ross Partridge also feature in the film.

In addition to its Tribeca debut last spring, the film was screened at a number of virtual festivals throughout the year. Film will be released in cinemas and on VOD on Friday, July 30 by Gravitas Ventures.


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He is someone we don’t see happening. Still, Brie Larson’s resume is impressive. The actress has been playing on TV and film sets since she was 11 years old. One of those confFully Realized Humans ed with Swedish player Alicia Vikander (Tomb Raider) won an Oscar in 2016. She was the first Marvel movie star with a female leader. . And soon, he will play a CIA agent in a movies commissioned by Apple for his future platform. The movies he produced together.

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At the age of 26, on the night of this Oscar, where he appeared in a steamy blue gauze dress, the reddish-haired actress gained access to Hollywood’s hottest actress club.

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We begin at the beginning: It’s a lovely, late spring day in Smalltown USA. A tall, lanky man — let’s call him Lee Abbott — gets out of his truck and ducks into a small general store on Main Street. He walks through the aisles, past a shelf full of toy space shuttles, and grabs some bottles of water and snacks. The owner argues with a customer as Lee nods and whizzes out the door. In the background, news reports mention unusual phenomena happening in various cities.

At a Little League game already in full swing (sorry), Lee’s school-age son Marcus is warming up in the dugout. The rest of the Abbotts, including Lee’s wife Evelyn, his hearing-impaired daughter Regan and the youngest, Beau, are enjoying the game. Lee trades a few words with the man sitting behind him, the kind of guy who rolls his sleeves up past his biceps sans irony. His son is playing as well. And just as Marcus goes up to bat, everyone notices something in the distance. Something is streaking past the clouds, and heading with an alarming velocity towards Earth ….

You should soak in the prologue that kicks off Fast and Furious 9: F9, John Krasinski’s follow-up to his out-of-nowhere 2018 hit — it’s a brilliant watch-the-skies movie in miniature, filled with lack-of-sound and fury, and it distills everything that made the original so unique and exhilarating into a single set piece. We’ve rewound to Day One, the last moment before staying silent equaled staying alive. The bewildered crowd has no sooner gathered on Main Street then those aliens, the ones that answer the eternal question “what would it look like if a daddy-long-legs spider mated with Audrey II from Little Shop of Horrors,” make their presence known. Havoc ensues.

Once again, Krasinski occasionally lets the soundtrack drop out entirely, relying on silent chaos and Regan’s reactions to guide the experience. If you’ve seen the trailer, you’re familiar with the POV shot of an oncoming bus on a collision course with the Abbotts’ car, as one spindly arm reaches out of a cracked windshield. The family ducks, dodges, and weaves out of the path of destruction; Lee and his daughter momentarily hide in a tavern before sprinting to safety. Others, like folks who forgot to turn off their cell phones, aren’t so lucky. Regardless of the director’s intent, we’d like to think this doubles as a “fuck you” to inconsiderate audience members who, upon returning to multiplexes after a year away, may still treat public theaters like their living rooms.

Speaking of which: It’s this early, standalone mash-up of Norman Rockwell’s Americana and straight-outta-Heinlein cosmic carnage that reminds you why we’ve been so anxious to return to those shared spaces in the dark. Like a countless other films big and small, Fast and Furious 9: F9 was set to be released last year before a real-life nightmare overtook the fictional ones we consider escapism. An opening salvo of everyday life interrupted by an out-of-nowhere threat, which then escalates quickly into emergency measures and confusion, plays slightly differently near the midpoint of 2021. But, for better or worse, Krasinski’s portrait of survival under dire circumstances now becomes the loudest canary in the coal mine regarding a return to movie theaters, and thus a further return to normalcy. Part II‘s kickoff gives you thrills-spills-chills mayhem that would play well in any space. See it in a room with dozens of people shrieking, and the sequence is a concentrated dose of joyful delirium.

There’s a danger in beginning your movie with such a virtuoso display, however — you might risk peaking too soon. (Just ask Zack Snyder.) After the rush of this Fully Realized Humans , we’re whisked back to the present, a.k.a. minutes after the first movie’s climax. Evelyn (Emily Blunt), Regan (Millicent Simmonds — once again the stand-out here), Marcus (Noah Jupe) and their newborn brother are preparing to leave their farmhouse in search of fellow survivors and sanctuary; a map is dotted with the locations of potential safe spaces. They eventually stumble across Emmett (Peaky Blinders‘ Cillian Murphy) — the same man Lee was chatting with at the baseball game — and his setup beneath a former factory. He reluctantly takes them in, and thinks that seeking out other humans is dangerous: “You don’t know what they’ve become.” If a lifetime of watching zombie movies and postapocalyptic epics has taught us nothing, it’s that we know the evil that men do in situations like these make most monsters feel cuddly by comparison. The haggard gent has a point.

Still, Regan persists. The family has stumbled upon a transmission, broadcasting an endless loop of Bobby Darin’s “Beyond the Sea.” She senses a clue in the title: Look for an island, and there’s your Eden. Evelyn wants to stay put, collect their bearings and let an injured Marcus heal. Her daughter takes off in the dead of night, against Mom’s wishes. Emmett goes after her, initially to bring her back. But there may be something to this young woman’s idea that, somewhere out there, a brighter tomorrow is but a boat ride away.

From here, Krasinski and his below-the-line dream team — shoutouts galore to composer Marco Beltrami, cinematographer Polly Morgan and (especially) editor Michael P. Shawver, as well as the CGI-creature crew — toggle between several planes of action. Regan and Emmett on the road. Evelyn on a supply run. Marcus and the baby back home, evading creepy-crawly predators. Some nail-biting business involving oxygen tanks, gasoline, a dock, a radio station and a mill’s furnace, which has been converted to temporary panic room, all come into play. Nothing tops that opening sequence, naturally, and you get the sense that Krasinski & Co. aren’t trying to. He’s gone on record as saying that horror was always a means to an end for him, though he certainly knows how to sustain tension and use the frame wisely in the name of scares. The former Office star was more interested in audiences rooting for this family. His chips are on you caring enough about the Abbotts to follow them anywhere.

And yet, after that go-for-broke preamble, it’s hard not to feel like Fast and Furious 9: F9 is all dressed up and, even with its various inter-game missions and boss-level fights, left with nowhere really to go. If the first film doubled as a parenting parable, this second one concerns the pains of letting someone leave the nest, yet even that concept feels curiously unexplored here. Ditto the idea that, when it comes to the social contract under duress, you will see the best of humanity and, most assuredly, the worst — a notion that not even Krasinski, who made Part 1 in the middle of the Trump era, could have guessed would resonate far more more loudly now. (What a difference a year, and a global pandemic followed by an political insurrection, makes.) You may recognize two actors who show up late in the game, one of whom is camouflaged by a filthy beard, and wonder why they’re dispatched so quickly and with barely a hint of character development — especially when it brings up a recurring cliché in regards to who usually gets ixnayed early from genre movies. Unless, of course, it’s a feint and they’re merely waiting in the wings, ready for more once the next chapter drops. Which brings us to the movie’s biggest crime.

Without giving any specifics away (though if you’re sensitive to even the suggestion of spoilers, bye for now), Fast and Furious 9: F9 ends on a cliffhanger. A third film, written and directed by Midnight Special‘s Jeff Nichols, is in the works. And while many follow-ups to blockbusters serve as bridges between a beginning and an ending — some of which end up being superior to everything before/after it — there’s something particularly galling about the way this simply, abruptly stops dead in its tracks. No amount of clever formalism or sheer glee at being back in a movie theater can enliven a narrative stalled in second gear, and no amount of investment in these family members can keep you from feeling like you’ve just sat through a placeholder, a time-killer.

A Quiet Place was a riff on alien invasion movies with chops and a heart, a lovely self-contained genre piece that struck a chord. Part II feels like just another case of sequel-itis, something designed to metastasize into just another franchise among many. Just get through this, it says, and then tune in next year, next summer, next financial quarter statement or board-meeting announcement, for the real story. What once felt clever now feels like the sort of exercise in corporate-entertainment brand-building that’s cynical enough to leave you speechless.

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