Why do reporters ask vapid gendered questions about diets and clothes and “balancing work and family” of actresses over and over again — while they ask male movie stars about preparing for their roles and other weighty topics? Well, because whether these inane queries get slapped down or answered in earnest, it probably makes for a juicy headline. But it’s also simply lazy. That’s why one of the most heartening changes in the cultural sphere in the past few years is the way so many celebrities, male and female alike (Jeremy Renner being a notable exception), have simply refused to play this game — or, even better, called questioners on their… Read More
Cate Blanchett, who can do no wrong, has done a little more right, continuing the normalizing of notions of sexual fluidity in… Read More
Film press from around the world converged in Paris this morning, as director Thierry Frémaux and president Pierre Lescure announced… Read More
Cate Blanchett, queen of the Middle Earth elves, of the British Isles, and of Hollywood’s leading ladies, may have regal… Read More
The most interesting moment in Kenneth Branagh’s new Disney-owned remake of Cinderella occurs around the halfway mark, when Helena Bonham Carter shows up as the title character’s fairy godmother. Being Helena Bonham Carter, she has to first appear under pounds of hideous makeup, but once I realized who it was, I perked up — because she and the director have a history. They co-starred in his 1994 Frankenstein and reportedly had an affair that broke up Branagh’s marriage to Emma Thompson, and then they were together for like five years, and OMG this is the first time he’s directed her since. How interesting, I thought. Was it awkward on set? Did he cast her, or was she part of the package before he was? Did Ken’s current wife worry? The point is, I had a lot of time to think about the potentially charged atmosphere on set during this stretch of Cinderella. I had a lot of free thinking time during the movie in general, if we’re being honest, because it’s such a rote recitation of a story we’ve heard a thousand times that it’s hard to imagine why on earth they’re telling it to us again.
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This week, Olive Films is releasing, for the first time on Blu-ray, The Road to Hong Kong, the last of the seven “Road” buddy comedies starring Bob Hope and Bing Crosby. Hitting theaters a full decade after the penultimate entry, Hong Kong is an occasionally funny and occasionally wheezy bit of business, with one honest-to-God great sequence: an unbilled cameo by Peter Sellers, who strolls into the picture and steals the damn thing outright. Hope and Crosby were early adopters of the kind of inside-joke comedy that yielded such cameos, which became increasingly common in the years that followed; we’ve gathered up some of the funniest in movie… Read More
I really thought I was done being mad at Aaron Sorkin. This week marks the screenwriter’s promised retirement from his bully pulpit of choice, television, and with it his opportunity to journalismansplain the evils of clickbait and confessional blogging. But where there’s a will to give condescending sermons, there’s a way, and the past few days have seen both an op-ed begging journalists not to report on the Sony hacks (he’s a qualified judge of journalistic ethics because he wrote a show about journalists, you see) and a particularly infuriating revelation from said Sony hacks. Hopefully, the irony/general karmic vibe of the incident isn’t lost on him.
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Considering the kind of intervals he used to take between films—twenty between Days of Heaven and The Thin Red… Read More
You’ve gotta feel bad for Oscar bloggers. First of all, they’re Oscar bloggers. (Hahaha, I kid.) Second, due to the very definition of their job description, they have to spend something like the next six months basically twiddling their thumbs, waiting for awards season to begin anew at Toronto and Telluride. Some are coping by writing desperate “Wait, wait — what about next year” Oscar 2015 prediction posts. (Only a schmuck would attempt such a fool’s errand.) But at least one, Gold Derby’s Marcus James Dixon, decided the way to keep getting post-Oscar clicks was to pat Cate Blanchett on the head and assure her that no, sweetheart, people don’t want to see movies about ladies.
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