Podcast Xtra: Best Actress. The Runners Up?

We just delivered a podcast on Interstellar and The Imitation Game yesterday. But because we love you here's a brief "extra" conversation on the Best Actress race for your Thanksgiving weekend.

While most pundits think Reese & Juli & Felicity are locked up, there's more disagreement about the fourth and fifth Best Actress slots. We chat Hilary, Amy, Marion, Gugu, Shailene, Scarlett et al.

You can listen at the bottom of the post or download on iTunes. Continue the conversation in the comments! 

Who gets the fifth slot?

Nathaniel's Thanks, Given.

The world is a tough place and the movies are our collective great escape. For your host here at TFE there's an awful lot to be thankful for. So as I prepare to stuff my face tomorrow with my best friends I will be especially thankful...

For the orange tabby in Gone Girl
For Julianne Moore getting her groove back on yoga mats and at beach houses
For Ava DuVernay and Jennifer Kent's vivid reminders that women can and do direct movies and we need those fresh voices.
For David Fincher's consistency at turning mainstream audiences on while never pandering

For Shia Labeouf because every film decade needs its defining crazy
For the blooming of Keira Knightley, from an always memorable but uneven actress, to a completely confident movie star, relaxed, nuanced and magnetic in two fine performances
For that shot of the paratroopers in Godzilla
For Finn Wittrock's arrival, sympathetic (Masters of Sex) then terrorizing (Freakshow) outcast beauty
For every single march scene in Selma
For "the world is round, people!" 

This scene, people. This scene. It's everything.

For Melanie Lynskey onscreen (Instant-watch Happy Christmas now - it's delightful!) and off
For memorable physicality: Chastain's scolding fingers, Krysten Ritter's Big (Side)Eyes, Luke Pasqualino's battering-ram run, Ralph Fiennes cartoon dashes, and Billy Magnussen's horseback riding (or, rather, his mounting and dismounting)
For the single best crop of LGBT films in one calendar year that we've had in ages and ages (Love is Strange, Pride, The Way He Looks, Stranger by the Lake, The Circle, and so on)
For everything that happens in the elevator in Captain America: Winter Soldier
For "Bob's Burgers"... particularly Tina Belcher. I'm late to the party but that show makes me laugh harder than any show since 30 Rock. 

For Jonathan Glazer's return to the movie camera after 10 long years away - his gaze still deliciously alien
For that pop-up Babadook book I just ordered (my advanced thanks)
For the singing voices of almost the full cast of Into the Woods - but especially Streep & Kendrick
For a film year so good I'm already struggling (before screenings are even complete) with too many options for the Film Bitch Awards rosters. I could go on and on... but...

Finally, I'm hugely thankful to my Film Experience team (who delight me so frequently) and to all of you, the readers. Especially if you donate monthly, visit frequently, share articles, and otherwise really engage with what we do here. You help keep the fires burning as we try year in and year out -- against bigger odds than you'd think -- to approach each film year and awards season from  lightly different angles than you'll see elsewhere and with more genuine all-eras all-genres movie love.

Abundance to you all! xoxo,

Nathaniel

P.S. What are you thankful for this holiday weekend? Onscreen and off. 

'And for all these reasons, I have decided to scalp you...

...and burn your village to the ground.'

(Great Moments in Screen Bitchery #906: Christina Ricci in Addams Family Values)

A Year with Kate: Laura Lansing Slept Here (1988)

Episode 48 of 52: In which Katharine Hepburn makes a truly awful houseguest.

Stars! They’re just like us! Except that they aren’t. An entire media industry has been built around bringing our cultural idols closer to us--Twitter alone delivers the illusion of intimacy 140 characters at a time--but at the end of the day, would you actually want to live with one? When George S. Kaufman had to host Radio Personality and Famous Critic Alexander Woollcott for a week, the experience was so aggravating that the playwright and his partner Moss Hart wrote a scathingly funny satire about Woollcott called The Man Who Came To Dinner. I bring this up for two reasons: 1) It’s a great Christmas comedy starring Bette Davis so go watch it right now if you haven’t and 2) This seems to have been more or less James Prideaux’s motivation when he wrote Laura Lansing Slept Here. If Prideaux is to be believed, Katharine Hepburn was witty, charming, and a gigantic pain in the ass.

Kate has played a lot of characters inspired by or based on her in some way, but Laura Lansing may be the most bluntly biographical since Tracy Lord. Laura is no actress, but a different kind of star: a celebrated author with a decades-long career. As Laura’s agent explains in a convenient bit of exposition:

“You were a sensation in your 20s, a household name in your 40s, an institution in your 60s, and now…"

Sound like anyone we know? Now Laura’s publisher is dropping her because she’s too out of touch, living in her NYC penthouse and only emerging for interviews. Laura’s agent begs her to retire, but she brushes off his suggestion with the typical Hepburn handwave. Instead, Laura makes a wager with him, the point of which can only be to move the plot forward: She will stay with an “average” family in Long Island for a week. If she flees back to the city, she must give up writing. Laura appears on the doorstep of an overworked accountant and his stay-at-home wife and immediately starts making demands. The results--to nobody’s surprise but Laura’s--are a disaster.

Click to read more ...

Podcast: An Interstellar Imitation Game

Travel with us into the black hole that is odd hit-and-miss reactions to the ambitious emotional Interstellar. We also discuss The Imitation Game and the controversy over its presentation of its gay protagonist. Starring: Nick Davis, Joe Reid, Katey Rich, and your host Nathaniel R.

33 minutes
00:01 Chris Nolan's Interstellar with asides to Inception and 2001: A Space Odyssey and Contact and the ways in which it does or doesn't stretch Nolan's 
20:30 How does The Imitation Game machine work? Does its trifurcated structure work? And what of its collective performances?

You can listen at the bottom of the post or download on iTunes. The Imitation Game opens this weekend. Continue the conversation in the comments! 

Interstellar / Imitation Game