Neil LaBute directs this Hollywood remake of the 2007 British ensemble comedy farce. Comedian Chris Rock stars as Aaron, who is trying to get through his father's funeral in one piece despite the best efforts of his melodramatic mother (Loretta Devine), his baby-obsessed wife (Regina Hall) and his playboy brother (Martin Lawrence). Meanwhile, his father's secret gay lover (Peter Dinklage) turns up demanding money, and his beautiful cousin (Zoe Saldana) spends the day dodging her infatuated ex (Luke Wilson) while trying to look after her fiance (James Marsden) - who accidentally imbibed a hallucinogen while searching for a tranquiliser to calm his nerves.

It was so simple, just a few little bits in his diary, files that he kept in longhand with all his thoughts and wishes and dreams. Bobby thinks he's simply lending his sister a hand with clearing out her cottage in the forest. But it's a dark and stormy night and his sister has a secret. I know it can't be that bad, whatever was the reason this guy left here in such a hurry... In a Forest, Dark and Deep by Neil LaBute premiered at the Vaudeville Theatre, London, in March 2011.

Three years after a difficult breakup, Steph and Greg are wondering if they can start over again. The trouble is, she's married someone else and he's started a relationship with her best friend Carly. Meanwhile, Carly's ex-husband Kent wants her back, and even more so when he hears about her new romance with his best friend Greg. As emotions run high, all four find themselves entangled in a web of hidden agendas and half-truths in their pursuit of a happy life. A companion piece to the acclaimed Reasons to Be Pretty, Neil LaBute's Reasons to Be Happy received its UK premiere at Hampstead Theatre, London, in March 2016.

Belinda and Cody Phipps appear to be a typical Midwestern couple: teenage sweethearts, children, luxurious home. Typical, except that Cody is black - 'rich, black, and different', in the words of Belinda, who finds herself attracted to a former (white) classmate. As the battle for her affections is waged, Belinda and Cody frankly doubt the foundation of their initial attraction, opening the door wide to a swath of bigotry and betrayal. Staged on continually shifting moral ground that challenges our received notions about gender, ethnicity, and even love itself, This Is How It Goes unblinkingly explores the myriad ways in which the wild card of race is played by both black and white in America.

A movie that drew rave reviews for its fearless and razor-sharp humor, Your Friends and Neighbors is a searing display of today's war between the sexes. Everywhere in the film's screenplay, we encounter the kind of wit used by great Restoration playwrights to expose the hypocrisies in male/female relationships.

Neil LaBute's debut feature, in the company of men, was described by Variety as "a dark, probing, truly disturbing exploration of yuppie angst and male anxieties." In Your Friends and Neighbors, male anxiety is again on show, but this time in a much wider context, revealing the rabid desires of all people—regardless of sex—to serve their own interests at any cost.

How far would you go for love? For art? What concessions would you make? What price would you be willing to pay? Such are the painful questions explored by Neil LaBute in his play and film The Shape of Things—a modern-day telling of the fall of man. After a chance meeting in a museum, Evelyn, a sexy, aggressive artist, and Adam, a shy, insecure student, become embroiled in an intense affair. Before long, it veers into the kind if dangerous, seductive territory that LaBute does best, as Adam, under Evelyn's steady influence, goes to unimaginable lengths to improve his appearance and character. Only in the final and shocking exhibition, which challenges out most deeply entrenched ideas about art and love, does Evelyn reveal her true intentions. This volume contains the original stage script for the play, which was also the basis for the film.

Greg is overheard admitting that his girlfriend Steph is no beauty, but that he wouldn't change her for the world. She is devastated; he can't see what he's done wrong. Meanwhile, Greg's friend Kent alternates between boasting about how gorgeous his wife Carly is and chasing after a hot new colleague. The final part of Neil LaBute's 'beauty trilogy' (following The Shape of Things and Fat Pig) about society's obsession with looks, Reasons to Be Pretty premiered in the UK at the Almeida Theatre, London, in November 2011. The Shape of Things] is LaBute's thesis on extreme feminine wiles, as well as a disquisition on how far an artist can go in the name of art ...Like a chiropractor for the soul, LaBute is looking for realignment, listening for the crack. (Elle). A heart-warming tale from America's master misanthrope. (Independent on Fat Pig). An award-winning play from Neil LaBute that first staged on Broadway in 2009

In"Seconds of Pleasure," acclaimed award-winning director and playwright Neil LaBute, brings to the page his cutting humor and compelling take on the shadowy terrain of the human heart. Best known for his controversial plays and films, his short fiction has appeared in"The New Yorker"and"Playboy." Seductive and provocative, each potent and pithy tale in"Seconds of Pleasure"finds men and women exploiting -- or at the mercy of -- the hidden fault lines that separate them: In "Time Share," a woman leaves her family at their vacation home after discovering her husband in a compromising situation; a middle-aged man obsesses over a scab on the calf of a pretty young girl in "Boo-Boo"; and a vain Hollywood actor gets his comeuppance in "Soft Target." LaBute infuses"Seconds of Pleasure"with his trademark wit and black humor, and unleashes his imagination in stories that offer unflinching insight into our very human shortcomings and impure urges with shocking candor.

Cow. Slob. Pig. How many insults can you hear before you have to stand up and defend the woman you love? Tom faces just that question when he falls for Helen, a bright, funny, sexy young woman who happens to be plus sized-and then some. Forced to explain his new relationship to his shallow (although shockingly funny) friends, finally he comes to terms with his own preconceptions of the importance of conventional good looks. Neil LaBute's sharply drawn play not only critiques our slavish adherence to Hollywood ideals of beauty but boldy questions our own ability to change what we dislike about ourselves.

'LaBute takes us to shadowy places we don't like to talk about, sometimes even to think about.' Newsday Obsession with surface and secrets runs through this second collection of Neil LaBute's work. The Shape of Things peels back the skin of modern-day relationships to ask how far someone might change themselves for love, or for art. In Fat Pig, a man confronts his friends' - and his own - fixation with Hollywood ideals of beauty when he falls for a 'plus size' young woman. In a Dark Dark House and In a Forest, Dark and Deep are twin tales of sibling conflict. In the first, estranged brothers must reconcile conflicting memories, after one asks for corroboration of childhood abuse. In the second, a man's offer to help his sister clear out her cottage brings a terrible confession into the light. The Shape of Things 'What initially seems a touching study of student romance develops instead into a passionate discussion about the way art feeds on life.' Daily Telegraph Fat Pig 'As large as Helen is, the tender heart of the play is easily twice as big.' Variety In a Dark Dark House 'LaBute toys with expectations and takes pleasure in our discomfort... The play does lead to a pretty dark place - but the ending is not without hope.' Daily Mail In a Forest, Dark and Deep 'It is billed as being about sibling rivalry, but in fact majors on far deeper, dangerous things: the yearning to be understood, female manipulation, and fascinated male disgust at a sister's lurid sexuality.' The Times

Neil LaBute burst onto the American theater scene in 1989 with his controversial debut work Filthy Talk for Troubled Times. Set in a barroom in Anytown USA and populated by a series of everymen (and two beleaguered everywomen), this series of frank exchanges explores the innumerable varieties of American intolerance. A unique snapshot of the times, the play--seldom allowed production by the author since--provides a compelling look at the early thinking and evolution of one of our great theater artists. Also in this collection is a series of new, short works, some never before produced. They include "Helter Skelter," which the Los Angeles Times called an "indoor Zoo Story" full of "existential whiplash" and "awash with crackling dialogue"; "The New Testament," a showbiz satire with a "cutting edge" (Hollywood Reporter) that takes a close look at the perils of color-blind casting; and "The Furies," in which a woman helps navigate her brother's breakup with his out-and-then-, perhaps, in-the-closet-again lover.