I didn’t see Wonder Woman in an all-female screening. In fact, I was with Keets, and we were sitting near at least two groups of men who had come with no women at all. Which was a good thing, from my perspective; it’s nice to live in a city where people’s appetite for cliché-ridden action movies seems to depend more on their quality than the gender of the top-billed actor.
Romy and Michele’s High School Reunion, the movie that changed the way we all think about Post-Its, came out twenty years ago this April. Which makes two whole decades that I have been quoting this movie at every possible opportunity.
In honor of this important milestone, here are the top 20 times that Romy and Michele had the perfect thing to say for any occasion you can possibly think of:
Before I get started, a few things to clarify. First, I’m going to spoil absolutely everything; personally, I think I’m doing people who haven’t yet subjected themselves to this movie a favor, but make responsible choices. Second, this is definitely a case of trying-and-failing being worse than not-trying-at-all. Arrival does definitely try, but it’s hard to name anything that it succeeds at.
Let’s dive in.
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I was very sad to learn today that Curtis Hanson had died. He is known for LA Confidential and 8 Mile much better than this little-known gem, which grossed $33 million at the box office (with a budget of $55 million… ouch).
In Wonder Boys, Michael Douglas plays Grady Tripp, a writing professor with a never-ending novel manuscript, a pregnant mistress, and a suspicious editor. It’s in that category of intellectual indie-style movies that don’t seem to have a plot and yet are chock-full of events (this one has a murder and a car chase, among others, that have very little to do with the actual meat of the story). And it’s based on a novel—Michael Chabon’s of the same name, also extremely good—which means that it was always inherently in danger of plotlessness.
Am I not making it sound great? Trust me, it is. Yeah, it’s quirky; yeah, it’s got Tobey Maguire in it and he’s kind of annoying sometimes; yeah, a lot of us are kind of over that quirky-indie-movie-that-goes-nowhere genre. But—especially if you’re a writer, but even if you’re not—you should Totally. Watch. This.
Here are eight reasons why.
In a disappointing summer for movies, and especially genre movies, Don’t Breathe is a refreshing change of pace (I refuse to say “breath of fresh air”). It’s innovative, elegant, pleasingly nasty, and most of all subversive, when too many recent horror movies are all-too-familiar.
Critics have agreed that one of the film’s biggest selling points is its ability to subvert horror tropes in simple yet effective ways. It’s a home invasion movie in which the invaders are terrorized rather than the other way around. It stars a blind man who isn’t a victim or a wise sage, but a bad-ass ninja. It defies expectations at every turn–with one notable exception.
HUMONGOUS SPOILERS FOLLOW!
Time for another roundtable – we’ve published one of these before, right? In preparation for the DVD release next week, Janes and I talked through the differences between the comic book series and the MCU movie, and how we felt the movie stood on its own.
In the opening sequence of the new Ghostbusters movie, the inimitably funny and awkward Zach Woods plays a haunted house tour guide who cynically trips a secret mechanism to make it look like the ghost in the basement has knocked something to the floor. But one night when he locks up, he finds out the ghost in the basement might not just be an invention to sell tour tickets. Near the end of the (admittedly kind of scary) sequence, he realizes he’s run to the exact wrong place and says to himself what we all want to say to the characters in every scary movie at least once: You’re Such an Idiot.
Emily Nussbaum wrote a fantastic piece about Braindead and Mr. Robot. Her analysis of why Braindead succeeds despite its insane-sounding premise is spot on. (via The New Yorker)
Matt Damon did a Reddit AMA in honor of the new Bourne movie. His answers are great — or as one poster amusingly put it, “my boy’s wicked smaht.”
How well do you know Anne of Green Gables? This is a pretty basic quiz, but it should whet your appetite for the planned 2017 revival (and if you get less than 100%, you should probably just go rewatch. Actually, we probably all should).
Center Stage: On Pointe is a straight-to-Lifetime sequel to the cult hit dance movie of 2000, which is probably most famous for its unhinged final dance sequence, which involved, among other things, Michael Jackson, awkward sex, and an EPIC costume change. So if you expected that it would be an even more absurd movie than the original, with gloriously nonsensical plot devices, inexplicable directing choices, and satisfying shoutouts to the original, you’re in luck: it was. And here are 21 reasons why.
(Fair warning: if you aren’t a fan of the original, you probably won’t get much out of this post. Or out of the movie itself, to be honest.)
Nicolas Winding Refn’s The Neon Demon is an irreproachably beautiful movie, which is problematic when making a movie about beauty. Ostensibly the movie decries objectification of beautiful women, while the cinematography enhances it, to the point that any feminist critique is rendered inert at best and hypocritical at worst. Continue reading →