Months of Meryl: It's Complicated (2009)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 

#42 —Jane Adler, a successful bakery owner caught in a love triangle with her ex-husband and her architect.

JOHN: Quick: name a recent American movie starring a 60-year-old woman who, in attempting to enliven her long-deferred sex life, is pursued by not one but two enamored men. Additionally: name a film like this that grossed over $200 million worldwide. Perhaps the only correct answer is Nancy Meyers’ It’s Complicated, which is itself a testament to both the rarified and barrier-breaking career of its leading lady, the one and only Meryl Streep. “Only” because, well, who else but Streep could get a movie like this off the ground and steward it toward a box office tier reserved almost exclusively for inane, teenager-courting blockbusters? In her 2011 Vogue cover story, Streep remarked that “in the period of Silkwood, [It’s Complicated] could never have been made, with a 60-year-old actress deciding between her ex-husband and another man. With a 40-year-old actress it would never have been made.” It’s Complicated is a star vehicle that is in some ways completely uncomplicated, but in other ways downright revolutionary, showcasing the effervescent charisma of its beloved star while also demanding that audiences consider a woman who undoubtedly exists in the real world but hardly ever graces the big screen... 

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YNMS: "Home Again"

Chris here. Big Little Lies may have been the kicked off a seemingly endless lineup of projects to obsess over for both Nicole Kidman and Laura Dern (welcome, new fans of both - it's nice here), but what about those of us craving more Reese-surgence?

Fear not because Reese Witherspoon will be return to the big screen very shortly and she's back in the warm fuzzy mode this time for Home Again. Those warm fuzzies will come from the cashmere sweater universe of producer Nancy Meyers and her first-time writer/director daughter Hallie Meyers-Shyer. Witherspoon stars as a single mother who invites three young men to live with her before they all promptly fall in love with her. How could they not, right? Call it Big Little Guys.

Can you believe it's been since This Means War (eek, remember that one?) since we've had her in a romantic comedy? Take a look at the super fun trailer and we'll break down the Yes No Maybe So after the jump...

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Links in the Shell

Apartment Therapy Nancy Meyers movie kitchens ranked (somehow The Intern only makes it to 5th. I just saw that and it was surprisingly warm and adorable... and yes still filled with real estate porn)
The New Yorker looks back at the Cassavates classic Faces (1968)
/Film Ghost in the Shell producers are finally responding to whitewashing casting controversies. They promise they've been 'very very careful' with the beloved material even though they cast a white actress (Scarlett Johansson) in the iconic Japanese role. We love Scarlett so so much but this type of thing continues to be a huge problem.

 

/Film There's going to be an actual Captain America statue in Brooklyn's Prospect Park
Cinematic Corner celebrates Margot Robbie (there will be a lot of that going around soon)
Variety Animation Awards for Europe soon -- their version of the Annies
Screen Crush Thor: Ragnarok officially began production in Australia yesterday
Awards Daily Why not give Roger Deakins the Oscar he has long deserved this year for Hail Caesar! 

Off Cinema
Theater Mania Lin-Manuel Miranda and JLo are collaborating on a song to benefit the victims of the recent Orlando shooting
EW American Horror Story Season 6 has a new logo (which looks like a devilish 6) a premiere date (9/14) and most of the cast from Hotel will be back though Lady Gaga is rumored to have a supporting role this time around which begs the question of who the lead will be? Let's hope it's Sarah Paulson. Why keep searching for new leads when your MVP is right there all the time.
AV Club CW seasons will now be available  just 8 days after their season finale on Netflix
Towleroad new behind the scenes photos from season 2 of Sense8
MNPP on the broken promise of Rick Yune's nude scene in Marco Polo Season 2
Comics Alliance the Harvey Award nominees for comics in 2016.  Valiant Entertainment thoroughly dominated the nominations. Here's one category you can investigate if you're interested

• BEST ONLINE COMICS
• Albert the Alien Trevor Mueller & Gabriel Bautista
• Battlepug Mike Norton
• Bloom County 2015 Berkeley Breathed
• Oh Joy Sex Toy *NSFW* Erika Moen & Matthew Nolan
• Zombie Boy Mark Stokes

Two Controversial Pieces on Actresses
Variety's Owen Gleiberman is looking forward to Bridget Jones's baby, sort of, in the piece "Renée Zellweger: If She No Longer Looks Like Herself, Has She Become a Different Actress?." It's prompted lots of calls of sexism but it's an interesting article that wonders what we're supposed to do when actors who play characters we love who no longer look like the characters they created (not from aging... though people who are offended by the article keep saying that. Sorry people but Colin Firth still totally looks like D'Arcy. Just an older D'Arcy). I myself always wish actresses wouldn't mess with their faces (if they must, temporary measures are best since the effects wear off if they don't look right!). Their faces are their brand and actors are famous partially because they're so beautiful just as they are. Why mess with perfection? I don't think it's true -- and I keep reading it -- that if actresses don't mess with their faces they don't get work. From what I've seen actresses who mess with their faces in any noticeable permanent way actually STOP getting much work. It distracts audiences too much. Note how Kate Winslet, Annette Bening, Helen Mirren, Meryl Streep, and so on keep aging and keep working. 

Wesley Morris' piece for the New York Times "How I Learned to Tolerate Blake Lively" is ostensibly about her performance in The Shallows and Hollywood's ever rotating it girls. People are offended by this one too - partially due to the interchangeability notion of blonde actresses. But it's also interesting because it gets at something that I think anyone can relate to: the experience of loving an actor that Hollywood has moved on from. 'Wait, I wasn't done with _____! " that Wesley says this about Kate Hudson is bizarre but to each their own.

Something Link-ed This Way Comes

The Movies
• How does The Intern stack up to previous Nancy Meyers releases at the box office? It's a bit too early to tell but I totally didn't know and was a bit surprised to realize that they were nearly all bigger hits overseas than in the US [Box Office Mojo]
• Sasha Stone comes up with a new sneaky way to define leading roles as supporting. She's calling them "anchors" as in "anchors to the lead," not "the other lead." Hee. Of course she doesn't mean Anchor as Category Fraud but a rose by any other name... [Awards Daily]
• Singing the praises of the Film Society of Lincoln Center and their upcoming slate for cinema-voracious New Yorkers. And really, sing these praises at full volume. [MNPP]
• Not everyone loves the new Macbeth [Shadowplay] 
• "The people behind [Sicario] understand that what makes a great thriller is not the abundance of shootings, murders or jump scares and plot twists - it's the fear that something horrible can happen at any moment." [Cinematic Corner] 

Off Screen
• Oh god. File under totally depressing: If even Meryl Streep doesn't understand what feminism is, the earth is doomed. One of the most successful things conservative thinkers ever did is fooling progressives (and women of any political stripe) into thinking it was a bad word [Refinery 29]
• I mean... Keira Knightley is awesome but shouting marriage proposals at her while she's trying to make her Broadway debut last night. Not cool, drunk stalker! [Playbill]
• "Homophobia unites people of different Christian faiths" - Dan Savage, hero, on the Pope/Kim Davis mishegoss [MSNBC]
• I missed this report last week but The Tony Awards might be leaving their regular home - considering different theaters [NYT]
• "The last time I saw Madonna was on September 6th, 1989, during the live telecast of the MTV Video Music Awards. I was in my parents basement with my mother..."  Love these personal essays about stars when people can pull them off. Must Read. [The Hairpin]

Scream Queens
• Is Nick Jonas too into queerbaiting his fans? [Towleroad]
• Are any of you watching? It's such a mess, strains for laughs and (worst of all) revels in its misogyny (Murphy and his writers really need to stop putting words like "gash" into the girls mouths to demean other girls) to the point where you know it's not parody but just actual feeling disguised as parody. I'm only in it for Jamie Lee Curtis (fun but she's been better) and recent Emmy nominee Niecy Nash (making the very very very most of a small role - what a gift she is!). This quote from Towleroad's recap of the third episode made me LOL:

“Chainsaw” ...crammed in so many obvious red herrings, I think it qualifies as an aquarium.

Image of the Day
Michael Fassbender as MacBeth. I will never for the life of me understand what is taking so long with this movie (remember how long ago we saw the first images -- I swear it was 2013 -- or even why they're going to distribute it like a poor stepchild movie. (sigh).

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"Critics Choice" Ch-ch-changes
It's worth noting that the BFCA, of which I am a member -- yes, I'm still bragging about sitting with Jessica Chastain last year --  is making a major change. They're fusing their fairly new TV arm (which currently holds their ceremony in May each year) with their cinema body for one conjoined show starting in January that's 3 hours long. I don't understand what that will mean for current TV shows (two awards for their favorites in just a seven-month span?) but this will obviously make the Critics Choice Awards far more like their sworn enemy* the Golden Globes. Obviously to make this successful the BFCA will have to axe some of their odder categories from their ever-expanding roster but that was okay because things were getting seriously weird there in their attempts to cover everything but NOT officially categorize anything (resulting in weird 'it's an action movie but it's not... it's a comedy but it's not... it's a drama but... no, scratch that we don't say "drama" about anything --that's the default!') 

I have to admit that it seems odd to have two separate organizations do one event together. Just let us vote on both, and not have to be part of two organizations! Just change the name to Broadcast Critics Choice Awards, dropping the pesky film or tv separations. 

* I'm kidding though for all the heat the Golden Globe take from US journalists, it's perpetually hilarious that US journalists always want to be more like them. 

Beige & Slate Blue: Nancy Myer's "The Intern"

Kyle Stevens, author of Mike Nichols: Sex, Language and the Reinvention of Psychological Realism is here to review Anne Hathaway's latest.

 The Intern follows 70-year-old and retired Ben, played by Robert de Niro (who has never seemed more like a Bobby). Having enjoyed a happy and prosperous life, Ben now finds himself so uninspired by endless leisure activities that he decides he deserves another go on the merry-go-round. He lands the film’s titular position at a women’s clothing startup created and run by Anne Hathaway’s Jules, who, we are told, is a difficult woman to work for despite all evidence to the contrary. Ben and Jules become friends, as Jules realizes that even an old be-suited, briefcased, handkerchief carrying man—the icon of conservative, 1950s patriarchy—may have worth. Disturbing as this is, especially at first, The Intern gives us a real man-woman friendship—that rarest of on-screen sights, even if it is here rendered “safe” by Ben’s age.

De Niro and Hathaway shine, particularly in a hotel scene that gives them time to plumb the depth of writer and director Nancy Meyers’ characters. Meyers is one of our best character writers, but The Intern’s frenzied workplace setting doesn’t afford us time to fall in love with her creations as we did in, say, Something’s Gotta Give (2003), where Meyers simply put the camera in front of Diane Keaton and let her go. [more...]

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