In Appreciation of Regina King

Kieran here to take a moment to praise the talents of the great underappreciated, enduring and (as of Sunday evening) Emmy-winning actress, Regina King. It was truly a wonderful moment when Taraji P. Henson, still reeling from that moment of Terrence Howard creepery, excitedly announced Regina King as the winner. The Emmys can often feel like a yearly recitation of the same list of names, but wins like Regina King's are what make awards shows that honor acting great. Like Melissa Leo or Octavia Spencer, it's always heartening to see hard working, talented and enduring character actresses finally get recognition.

My earliest memory of King was in Boyz N the Hood (227 is a little before my time) where she brought a welcome side-eye skepticism and levity to that male-centric outing, great as it was. I haven't seen the film in a couple of years, but her lines easily remain the most memorable and quotable. I feel similarly about her performance in Ray, a film that suffers from its trite biopic structure but comes to life most when King's Margie is on screen. She's consistently great, shoring up projects and roles that often don't deserve her, frankly.

King has worked steadily for the past three decades but prior to her nod for American Crime, she had never been nominated for an Emmy. Or a Golden Globe. Or a solo Screen Actors Guild Award (she was nominated with the cast of Ray in 2004). Or an Oscar. Given the breadth and longevity of King's career, this is a little shocking. She's clearly under-appreciated, even by me. I failed to cite her as one of my ten favorite Emmy nominees, though she was great on American Crime and wholly deserving of the win.

Hopefully seeing Regina King win an Emmy will prompt directors and producers, many of whom I'm sure she's already worked with (seriously...check out her IMDb. The woman never stops working) to unlock their imaginations about what she's capable of. She's shown her versatility in a wide range of genres and in roles of all sizes. The time has long passed for King to have her moment in a great leading role worthy of her talents.

What's your favorite Regina King performance? What director would you like to see her paired with? Discuss in the comments.

HBO’s LGBT History: Bernard and Doris (2008)

Manuel is working his way through all the LGBT-themed HBO productions.

Last week we looked at the provocatively titled but rather limp documentary Middle Sexes - Redefining He and She. This week, we turn our attention to Bernard and Doris, a rather enjoyable little film about billionairess Doris Duke and her gay butler Bernard Lafferty. It’s an otherwise lightweight exercise for actors and director alike but it does allow us to talk about that ubiquitous “gay guy/straight gal” pairing we’re all too familiar with.

Bernard and Doris (DVD)
Directed by: Bob Balaban
Written by: Hugh Costello
Starring: Susan Sarandon, Ralph Fiennes, James Rebhorn.

At one point in Bob Balaban’s HBO film, Doris Duke, “the richest girl in the world” as she was known ever since her father left his entire fortune to her, demands that Bernard - the increasingly flamboyant Irish butler she’s grown quite fond of - step aside from driving and let her take the wheel. She’s much too drunk to bear his slow pace and much too bossy to let herself be convinced otherwise. Inevitably, the unlikely couple are stopped by a cop and Doris is asked to step outside the car and told she’ll have to be breathalized. More...

Click to read more ...

Beauty Break: W Magazine October Issue

Behold an Inez & Vinoodh celeb-filled photoshoot they're dubbing "The New Royals" in the latest issue of W. Kicking it off with Scream Queen Jamie Lee Curtis below -- wasn't it great to see her again in Scream Queens? Ryan Murphy has his foibles -- I get that he's always trying to be "outrageous" rather than serious but there is an odd whiff of misogyny strung through everything -- but bless him for giving so many actresses of a certain age big parts.

More photogenic divas including Claire Danes and Academy Award Winner Julianne Moore* after the jump...

Click to read more ...

Hot Rumor Alert: The Return of Doris Day?

Doris Day a year ago when she was turning 90Clint Eastwood has supposedly convinced Doris Day to return to the movies. She hasn't been in one since... (gulp)... the summer of 1968 when the romantic comedy With Six You Get Eggroll premiered. It had a plot not entirely unlike The Brady Bunch which premiered the following year.  Day's character even had three sons she was bringing along into the new blended family.

This rumor seems suspect. If they can't convince the legend to spend even one night at an industry event honoring her, which is often the rumor in regards to the sore subject of the annual Honorary Oscar selections -- why would she be willing to spend weeks in front of a movie camera and all the promotion that that would then entail, including surely, more events than just one honoring her to promote it when it premiered!

I'm not sure I believe this rumor at all though it's cute to think of Octogenarian Eastwood strolling across the street or the lawn or what have you in Carmel to hand the 91 year old legend a movie script. Does she even remember what they look like? There's no word yet on what the movie or the role is but Clint Eastwood always has a lot of projects simmering so it could be anything. I suddenly pictured her in the cast of that probably aborted Eastwood-helmed A Star is Born remake with Beyoncé. Heh.

UPDATE: Doris Day has since denied this but then she would. 

Related Post: 200 Oldest Living Screen Stars of Note

TIFF's Most F***ed Up Families

The everyday bloody evil of a clan in Argentina or public event provocations via a performance art brood in New England? Here are two more TIFF films for your consideration that focus on deviant nuclear families.

The Clan (Argentina, Pablo Trapero)
This true story thriller is based on an infamous series of crimes in Argentina in which a seemingly respectable but cruel upper middle class family who kidnapped members of even wealthier families (some of whom they were actually friends with) for huge ransoms. The central characters are the patriach and his eldest son, a soccer star, who feels increasing guilt about their paterfamilias activities. As a result of the grim crimes, and the sick complicity of all the characters, this is often an unpleasant and chilling watch, but the performances are strong (particularly the father who is cooly sociopathic in his entitlement and manipulations) and it builds to a strong and shocking 'how did they film that?' finale. Unfortunately, for non-Argentine audiences,  the storytelling often assumes that you'll understand particulars which aren't well layed out such as dates, political environments and sidelined characters that are all clearly more significant to the happenings if you already know the story. B

Oscar Trivia Note: Argentina has not yet selected their Oscar submission for 2015 though this one seems likely since it's a big hit at home. They've been nominated at least once a decade since the 1970s winning for The Official Story (1985) and Secret in Their Eyes (2009, which gets an English language remake this next month with Julia Roberts and Chiwetel Ejiofor in the leading roles.) The Clan's popular director Pablo Trapero has been submitted twice before for Lion's Den (2008) and Carancho (2010) but neither were nominated. 

Release Note: According to IMDb, Twentieth Century Fox has US distribution rights though no US release date has been named.

Christopher Walken, Maryann Pluckett, Jason Bateman and Nicole Kidman are The Family Fang

THE FAMILY FANG (US, Jason Bateman)
Some stories are not universal. This extremely specific dramedy is about two adult siblings Child A (Nicole Kidman) and Child B (Jason Bateman) who were raised by performance artists (Christopher Walken in a great bit of 'OF COURSE' casting and Maryann Plunkett who is the film's MVP as the mother who is always trying to pacify her excitable husband and excite her reluctant children). The children grew up in this mandatory performance environment as the stars of most of their parent's most famous pieces. We see them as children in elaborate flashbacks of their "art" which generally involved pranking the public somehow sometimes with mock arguments in public parks other times with more elaborate scarier setups like a faux bank robbery.  Naturally the kids are fucked up as adults, when the story begins but both are artists: Child A is an alcoholic movie star whose career is on the skids and Child B a novelist and the most "normal" of the family member though he has his own problems, like the inability to say no to really foolish dares and offers. [SORTA  SPOILER] It's a difficult film to describe as the tone shifts from oddly funny to darkly satiric and then just sad and dramatic as the sudden bloody disappearance of the parents has the actress angrily convinced that it's another performance piece and the novelist sadly convinced that their parents are gone for good. [/SORTA SPOILER] What sells the film through its tonal shifts and logical loopholes are smart and tetchy performances from both Kidman and Bateman, who read as both too close and not close enough in a weird act of sibling chemistry, and the film's strange sense of humor. It doesn't always nail it's more ambitious attempts to be about the emotional cost of art for artists but it's highly watchable and interesting. B

A Note for Kidmaniacs: I'll never figure out why they de-glam Kidman with a bad frumpy wig when she's actually playing a movie star and it's really disconcerting to see her take off a wig that looks like her normal Nicole Kidman hair in her first scene to reveal the characters real hair (also a wig) for the remainder of the film.

Release Note: The Family Fang has no distribution as of yet but it's only a matter of time with famouis actors in three of the four key roles and solid if unspectacular reviews. That said the topic makes this a rough sell so a smaller indie who relies on VOD if they get nervous about marketability seems more likely.