99¢ Deals: Lady Bird, Body Heat, Farewell My Queen, etc...

It's a Public Service Announcement.

← It's also False Advertising. Lady Bird as "Movie of the Week"? Try "Movie of the Year"! Lady Bird is currently 99¢ on iTunes. And we thought you should know in case by some mad and totally embarrassing chance you have not yet seen 2017's best movie.

We should probably check in on iTunes deals more often. They're better quality images than Amazon or Netflix after all. The "movie of the week" changes...uh... weekly (you might have deduced that) but we're not sure how short the deal period is on their other 99¢ deals and there's quite a lot of goodies right now if you want to program your own mini-fest. Here are a few things that caught my eye from their rental bargain bin...

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Milos Forman (1932-2018)

by Nathaniel R

Milos Forman directing Thomas Hulce on the set of Amadeus (1984)

One of the world's most acclaimed directors has passed away at 86 years of age after a long full life and a pretty sturdy filmography. Milos Forman won two Oscars during his career for One Flew Over the Cuckoo's Nest (1975) and Amadeus (1984) began life as Jan Tomas Forman in Czechoslovakia. Like another two-time Best Director winner (Ang Lee), he was twice honored in the Foreign Language Film category before his English language Oscar wins...

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Months of Meryl: A Cry in the Dark (1988)

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

 #15 — Lindy Chamberlain, a New Zealand matriarch wrongfully convicted of her child’s murder.

MATTHEW: One evening in August 1980, Azaria Chamberlain, the two month-old daughter of New Zealander couple Michael and Lindy Chamberlain, was taken while the family was camping near Ayers Rock. She was never found again. Seconds before Azaria disappeared, Lindy claimed to have seen a dingo rummaging through the tent where her daughter lay sleeping, putting forth the soon-to-be-infamous story that a dingo had taken and perhaps eaten her baby. A seedy, sensationalist media frenzy ensued, with the Chamberlains’ faces splashed across the covers of obsessive tabloids and speculative segments of nightly news programs as many, including the Australian high court, viciously questioned the veracity of the family’s explanation.

None of Meryl Streep’s vehicles have entered the cultural lexicon with quite the same measure of gleefully ubiquitous parody that has surrounded and even overshadowed Fred Schepisi’s 1988 docudrama A Cry in the Dark, also titled — and released in Australia and New Zealand as — Evil Angels after the John Bryson true-crime bestseller that first chronicled the Chamberlain family’s legal ordeal. A Cry in the Dark’s devolution into little more than a widely-known (though often misquoted) punchline has proven to be both admittedly hilarious but also fairly odd, especially considering the gruesome events from which this gag originates...

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Months of Meryl: Ironweed (1987)

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

 #14 — Helen Archer, a dying homeless alcoholic.

JOHN: Behold, the most devastating sequel to Heartburn imaginable. Directed by Hector Babenco and adapted by William Kennedy from his own Pulitzer-winning novel, Ironweed follows Francis (Jack Nicholson) and Helen (Streep), two homeless drifters biding their time and eking out their lives in Depression-era Albany. At nearly two and a half hours long, Ironweed is a bleak, wrenching study of poverty with nary a promise of redemption in sight. We’re talking about a movie whose most uplifting and musical scene is chased with a crushing dose of hopeless reality, a movie in which dogs assail a woman’s frozen corpse outside a church, digging graves is considered a good day’s work, and ramshackle vagrants pray they drink enough liquor to die in their sleep. It’s a tough sell and an even tougher sit, but Ironweed features one of Streep’s most spellbinding transformations.

Helen Archer does not make her entrance for a good twenty minutes. First we watch Nicholson’s Francis dig graves, slug whiskey, and fecklessly address the headstone of his deceased infant son, who he dropped and killed in a drunken daze. In the basement of a church serving free hot meals for the homeless, Helen slips through the door, a regular who, after some time away, returns to more of the same, reuniting with her moribund companion Francis. Streep’s Helen is shrewd enough to get herself warm and fed, but something about Helen suggests that she isn’t entirely there; it’s almost as if she is suspended halfway between life and death, past and present.

Helen, who we will come to learn is a former singer and concert pianist, constantly recollects the glory of her dashed dreams with utmost clarity, as again Streep is able to conjure a memory so expressively that one believes it to be as true as fact...

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Months of Meryl: "Out of Africa"

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

 

#12 — Karen Blixen, aristocratic Danish author who owns a coffee plantation in Kenya during the first decades of the twentieth century.

JOHN: Did Karen Blixen once have a farm in Africa? Like a marching zombie with arms outstretched, Karen intones this mantra via voiceover several times during Out of Africa, either because she remains in disbelief at her accomplishment or feels compelled to remind the viewer of a reason to focus on Ms. Blixen amid Sydney Pollack’s African travelogue.

Out of Africa tells the tale of Karen Blixen, a headstrong woman who relocates from Denmark to Kenya circa 1914 to marry her lover’s twin brother (Klaus Maria Brandauer), run a short-lived coffee plantation, and eventually fall in love with English game-hunter Denys Finch Hatton (Robert Redford). Out of Africa was a project that piqued but ultimately eluded such directors as Orson Welles, David Lean, and Nicholas Roeg. As envisioned by Sydney Pollack and distributed by Universal Pictures in 1985, it's a colossal Hollywood production that endlessly reveres the natural beauty of its Kenyan environs while dodging engagement with the colonialist specificities of its time and place...

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