Review: How to Build a Girl

by Chris Feil

Beanie Feldstein has spent her time in coming-of-age comedies sharing the screen, whether in a tandem spotlight in Booksmart or stealing scenes in smaller doses in Lady Bird. With Coky Giedroyc’s early-90s-rock infused How to Build a Girl, she gets her own showcase this time. While the actress makes good on her potential to carry her own vehicle, the film itself offers more modest results.

From Caitlin Moran’s popular and semi-autobiographical novel, Feldstein stars as Johanna Morrigan, a teenage music obsessive and writer with dreams outsized to her family’s low income. After an embarrassing public attempt at sharing her writing, she adopts a brash exterior as Dolly Wilde to pursue a journalism career and sexual liberation. As she is confronted by the ingrained sexism of a male dominated industry, Johanna develops Dolly’s voice into caustic extreme to establish herself, reaping success through persona. But the self-reinvention that was once an escape from her perceived weaknesses quickly becomes a wedge between her passion and her true self.

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National Pet Week: "Maggie" from The River Wild

Team Experience has been celebrating pets at the movies (and in our homes) all week. We'll wrap up Sunday. Here's Ginny O'Keefe... 

The best kind of pet in any movie is a loyal one. And it doesn’t hurt if the pet is cute. Also, a sprinkle of badassery is always welcome. All that is nicely packaged in a yellow Labrador retriever named Maggie in 1994’s rafting/crime adventure film The River Wild. For those who haven’t seen this Streep vs. Bacon gem, Meryl plays rafting expert Gail who is forced to take two criminals (John C. Reilly and Kevin Bacon) down a dangerous river all the while trying to protect her son, Rourke (Joseph Mazzello), and husband Tom (David Straithairn). Along for the trip is Maggie. From the get-go, Maggie is sweet, bubbly and you can tell she loves her humans deeply. She’s also good at digging up dead bodies in the woods (spoiler). Overall, she’s a good girl. But when s**t hits the fan, then we see how great of a girl she is...

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Ryan Murphy's "Hollywood" Episodes 3 and 4

by Eric Blume

I think we're getting ahead of ourselves, it's just a screen test.

We’ll wrap up our coverage of Ryan Murphy’s Hollywood very soon.  Before I turn it over to Claudio for a wrap on the last three episodes, let’s do our Good/Bad/Ugly look at Episodes 3 and "Outlaws" and four "(Screen) Tests" after the jump...

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National Pet Week: "Jiji" from Kiki's Delivery Service

Team Experience is celebrating pets at the movies (and in our homes) for a couple more days. Here's Cláudio Alves...

Me and Maggie

In my family, the history of our pets tends to be linked to a sense of loss. Through my early childhood, we had two dogs, a beautiful Cocker Spaniel called Gigi and an English Setter by the name of Minnie. Gigi had been my mother's dog and she, unfortunately, died while I was still very young, but Minnie was born the same year as me and we grew up together. That is until she got sick when I was nine, cancer quickly making the lively companion become lethargic and in constant pain. She was put down before the suffering continued and I was heartbroken. Seeing that, my mom, who had a lifelong distrust for cats due to some unfortunate experiences as a child, put her bad feelings aside and decided to adopt an adorable little kitten I had grown fond of in the weeks before Minnie's passing…

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1981: Modern Romance

Please welcome new contributor Nick Taylor who is providing us with extra Supporting Actress supplemental pleasure inbetween the Smackdown events...

Modern Romance (1981) begins with its main couple breaking up in a diner. Or rather, Robert Cole (actor/writer/director Albert Brooks) has decided to break up with his girlfriend Mary Harvard (Kathryn Harrold), because something in his life has felt off lately. He thinks it’s their relationship. She’s justifiably annoyed with this, particularly since they spend a lot of time breaking up and getting back together, and barely believes him when he says they’re not coming back from this. The only time Robert seems hesitant about ending it (this time) is when she says something that reignites his paranoia, making him think she won’t mind them splitting and is already having an affair. Mary leaves the building so quickly she doesn’t even have the chance to ask to get her order to go, then tells Robert to drop dead and gets in her car. 

This scene lays out their relationship pretty concisely, though it’s not immediately obvious how Kathryn Harrold’s performance is responsible for its effectiveness. Modern Romance never feels clearer or more insightful than when Mary and Robert are together, in no small part because it has more to say about toxic relationships than it does about shitty men...

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