Showbiz History: Trainspotting's 25th and a one-time-only Globe happening

8 random things that happened on this day, February 23rd, in showbiz history

1939 The 11th Academy Awards are held with zany family comedy You Can't Take It With You winning the top prize and Jezebel pulling down both Lead and Supporting Actress. This past summer we spent a lot of time discussing the 1938 film year. What's more, I even ranked all ten Best Picture nominees and guest starred on the "And the Runner Up Is..." podcast about it (icymi). Honestly these viewing projects, but especially 1938, got us through the first few months of the COVID lockdown. 

1950 The 7th Golden Globes are held honoring the best of 1949. All the King's Men wins Best Picture (as it also would at the Oscars later). It was the last year of the Globes before they begin to separate their categories into Drama and Comedy but the next piece of Globes trivia is even more unusual...

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Weekend box office: Croods is a rare pandemic hit and Nomadland just opened

by Nathaniel R

so sad we'll never get to see this one on the big screen!

We haven't been checking in with the box office regularly because it's so uneventful. But it's good to glance on occassion. Here's the US box office top ten (links go to reviews). There's a few thoughts after the jump as well.

1. The Croods New Age $1.7 (cum. $50.8)
2. The Little Things $1.2 (cum. $11.8)
3. Judas and the Black Messiah $905k (cum. $3.3)
4. Wonder Woman 1984 $805k (cum. $42.6)
5. The Marksman $781k (cum. $11.4)...

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Giulietta Masina @ 100: Cabiria's perfect ending

by Cláudio Alves

Born 100 years ago in San Giorno di Piano, Giulietta Masina is one of the most indelible faces of Italian cinema. She started her career as a theatre and radio actress but, by the time her husband Federico Fellini made the transition from screenwriter to film director, Masina was ready to follow him on the journey to the big screen. Despite having worked for other such notable auteurs as Rossellini and Wertmüller, Masina's legacy is defined by her husband's pictures. He immortalized her in more ways than one, both creating film monuments to her humanity, and using their marital strife to create many a celluloid drama...

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Gay Best Friend: Calla Mackie in "Rachel, Rachel" (1968)

a series by Christopher James looking at the 'Gay Best Friend' trope

Who wouldn't risk it all for Estelle Parsons in those Edna Mode glasses?

We’re continuing our retro streak of the Gay Best Friend series this week, though we’re moving a bit forward in time (and to the subject of a Smackdown). In our Rebel Without a Cause entry, we discussed how director Nicholas Ray, actor Sal Mineo and writer Stewart Stern all coded Plato as gay, even though the Hays Code wouldn’t let homosexuality be openly discussed on film. This week, we’re looking at another Stewart Stern script, Rachel, Rachel. That film premiered thirteen years later (1968) and with the dissolution of the code we see less of a need to rely on coding. Estelle Parsons’ gregarious teacher Calla Mackie is established as a lesbian within the film. However, it reinforces tropes in gay representation that would continue for decades later. Calla may be a burst of energy early on, but her story moves into the “sad lesbian” and “tragic gay” frameworks we’ve become all too familiar with.

Before delving into Calla, we have to set up the object of her affection, the titular Rachel (Joanne Woodward)...

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Lunchtime Poll: When was the last time a movie or show gave you whiplash?

by Nathaniel R

- Tell me who you are!
- I'm the worst mistake you'll ever mistake.

Watching I Don't Care (reviewed by Christopher) was a whiplash experience. I was absolutely loving it until I suddenly wasn't. Thirty-six minutes into the movie Dean (Chris Messina) arrives into Marla's (Rosamund Pike) office, to start what is essentially act two of a three act. Two sharks begin speaking in human voices, their teeth gleaming imagining fleshy bites and blood in the water. It's a superb scene. A few minutes later another violent verbal duet with Dianne Wiest.  All three actors are on absolute fire with impeccably judged reaction shots, expressive body language, and nastily imaginative line-readings. I Care A Lot felt, in that ten minute stretch, like it was taking off into the stratosphere. This is an "A" grade pitch-black comedy! The movie throws everything at you thereafter -- incidents, twists, more verbal duels, violence, and a score so aggressively present you want to remind it that Rosamund Pike has top billing-- but it's a case of either too much or rapidly dimishing returns.  I was actively annoyed and disappointed for the entire third act. 

When was the last time this happened to you? Love and hate in almost equal measure while watching a movie?