Months of Meryl: The Devil Wears Prada (2006)

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

Meryl talking to director David Frankel during shooting

#34 —Miranda Priestly, ferocious editor-in-chief of Runway magazine.

JOHN: How do you solve a problem like Miranda Priestly? Or, more specifically, The Devil in Prada? How do you make walking into a room a distinct and indelible character trait? How do you continue assembling a mannequin’s outfit while simultaneously delivering a brutal lecture about the color cerulean? How do you not only resist but upend the misogyny inherent in your role? How do you grip the audience by their necks while still having them root for your victory? When your name is Meryl Streep, such issues are not problems or challenges, but more like Smith & Wollensky porterhouses, plump, juicy, bloody gifts, presented to you on a plate...

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Beauty vs Beast: No Doubt

Jason from MNPP here ready to label this place "The Amy Adams Experience" for the day, because not only are we discussing the latest episodes of Sharp Objects but we're wishing her a happy 44th birthday while we're at it with this week's edition of "Beauty vs Beast." Specifically we're looking back at her Oscar-nominated role as the watchful Sister James opposite her Oscar-nominated co-star some-Meryl-lady in John Patrick Shanley's 2008 film Doubt. Can you believe this movie's turning 10 in December? It doesn't seem that long ago, does it? Does the movie hold up, you think? (I mean besides Viola Davis, obviously.) But even besides that I need you to, heaven forbid, brush away your doubts long enough to come down with a vote on...

online polls

PREVIOUSLY My favorite Fassbinder was the subject of last week's poll and my favorite Fassbinder performance therein won - Margit Carstensen's TITULAR ROLE in The Bitter Tears of Perta von Kant sashayed off with about 3/4s of the vote over Hanna Schygulla's user-loser Karin. Said Jordan:

"Just caught this film for the first time recently thanks to a mention about it on this site and had one of those WHERE HAS THIS MOVIE BEEN ALL MY LIFE??!! moments. Stunning across the board. What Fassbinder, Ballhaus, and these women accomplished in a single room is really movie magic."

Oscar Myth-Busting: The Academy Doesn't Like Popular Films

by Nathaniel R

The 10 biggest hits of all time when adjusted for inflation. All but one of them was nominated for Best Picture and three of them won.

We hear it every year: "The Oscars only nominate films that no one has heard of!" Every year this untruth is spread by people who a) don't pay attention to movies and are thus not the target audience of the Oscars anyway and b) don't think things through before proclaiming them and c) haven't worked out that in our increasingly niche world MANY people haven't heard of tv shows, albums, movies, or plays that are of utmost importance to a whole other group of people.

Somehow this myth of "obscure taste" has sunk deep into the Academy's own mindset and they've bought in to it. This week's catastrophic announcement suggests that they've bought into this myth that they don't like popular things to the point of self-loathing. So, here's a quick bit of factual history to bust this myth once again. Our work is never done!

Box office history is harder to suss out prior to 1980 when box office reporting became a more regular occurrence. But most historical indications suggest that the nominees for Best Picture before then were often sizeable hits. Part of the divide that's happened in the past 38 years, which people are never honest about when they complain about Oscar's "relevancy," is that audiences became progressively less interested in human drama (Oscar's bread and butter from 1928 onward), which they mostly sought out on TV, and more interested in visual effects spectacle, cartoons, and mega-sequels. The former is an Oscar interest, the second one has its own category so they mostly ignore it, and the third is not an Oscar interest for which we are grateful because if you want the same things to win prizes every year, look to the Emmys!

So is there any kind of truth to the notion that Oscar doesn't like popular films and only embraces obscure ones? Let's look at the evidence from 1980 onwards...

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Netflix in August: The Aviator, Her, Silverado

Time to play Streaming Roulette. Each month, to survey new streaming titles we freeze frame the films at random places with the scroll bar and whatever comes up first, that's what we share!

Remember when Netflix used to get recent movies and classics? Now they seem to be exclusively in the business of streaming things that are between 5-20 years old only... with the obvious exception of their original programming, cheap foreign tv series, and straight to streaming indie stuff that wasn't cut out for theatrical.

LYRA!

The Golden Compass (2007)
Have you ever read this book? It's fantastic and bold. The movie is sadly a compromised rendition but it's still a bit tragic that they didn't finish filming the trilogy. Nicole Kidman was a sensaysh "Mrs Coulter" at least. Whatever happened to Dakota Blue Richards? Remember what a surprise it was when this one beat the first Transformers movie to the Visual FX Oscar?!

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Months of Meryl: The Hours (2002)

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

#29 —Clarissa Vaughan, a higher-up and hostess of the New York literary scene attempting to throw a party for her dying friend.

MATTHEW:  Even before Meryl Streep stepped before the cameras as the unraveling hostess Clarissa Vaughan on Stephen Daldry’s The Hours, the actress already possessed a role in Michael Cunningham’s Pulitzer-winning, tripartite meditation on love, loss, and Virginia Woolf. Early on in Cunningham’s 1999 novel, Clarissa, while shopping for flower, catches sight of a movie star who may be Streep or Vanessa Redgrave or, much less excitingly for Clarissa, Susan Sarandon emerging from her trailer with an “aura of regal assurance.” Streep’s ephemeral appearance in what will prove to be one of the most pivotal days of Clarissa’s life signifies, quite literally, the sublime; her quasi-cameo is a perfect encapsulation of one of those chance, indirect encounters with a famous face that we use, with varying levels of embarrassment, to distract us from the mundanities of our daily routine, a glimpse of the extraordinary amid the everyday. That Streep the Star, who was gifted a copy of "The Hours" by Redgrave’s late daughter Natasha Richardson, is removed from Daldry’s film speaks to the many, many excisions that occur within any page-to-screen transfer, but it also informs us that Streep’s cinematized Clarissa Vaughan is simply beyond distraction...

I will always appreciate Daldry’s version as a rare if principally partitioned meeting of three extraordinary screen stars...

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