So, people weren't kidding about Iron Fist. It is T-E-R-R-I-B-L-E. The pilot never would have been picked up in a normal TV world. More amusing tweets of the week after the jump covering a multitude of topics including but not limited to: Big Little Lies, Tom Lenk's hawt red carpet recreations (I can't believe we haven't yet featured these) and The Matrix Rebooting...
MARVEL NETFLIX SHOWS RANKED:— Chris Evangelista (@cevangelista413) March 17, 2017
1. JESSICA JONES
2. Eh I guess the others are sort of watchable?.
3. Fireplace For Your Home
4. Iron Fist
Entries in Winona Ryder (36)
Decider Joe Reid on the repetitive lie that Oscar shuns popular movies
Interview shared a Winona Ryder interview from 1990. I can't tell you how formative this was for me. I had the photoshoot plastered all over my bedroom. I was obsessed with her quotables.
Playbill Broadway aimed Moulin Rouge! will be trying to cast its Satine (!!!), or at least a temporary Satine for readings and such, on February 17th at an Equity-only audition
MNPP Great Moments in Movie Shelves visits The Royal Tenenbaums game closet
AV Club IMDb is shutting down its message boards
Deadline file this under "it's about time" - Sarah Paulson is finally getting lead roles in features! She'll headline Lost Girls, a serial killer drama in which she plays a mother searching for her daughter
i09 revisits Suspiria before the remake by Luca Guadagnino
The Guardian we need to be listening to Middle Eastern cinema right now
Variety Leslie Mann and John Cho to host this year's Sci-Tech awards for the Academy
Tracking Board Whoa. Carol Burnett, who is 83, might be coming back with a new sitcom. Come on Octogenarians! (See also: Rita Moreno, who is 85 and great on One Day at a Time)
Variety Oh, this is so sad. Sunday in the Park with George won't be eligible for the Tonys so no Jake Gyllenhaal for Best Actor despite the raves
Boy Culture Patrick Wilson didnt get paid for this advertisement
Variety The Weinstein Co will distribute a new Diane Keaton / Brendan Gleeson drama Hampstead from the director of Last Chance Harvey
The Guardian "why I love Emma Stone"
Team Experience has been sharing their favorite Christmas flicks. Here's new contributor Jorge on a Burton special...
Edward Scissorhands, at first sight, not the most Christmassy movie. It is not an iteration of a Charles Dickens’ novella, there are no Santa Clauses, and no one is chasing anyone through a snowed-in airport. Falling snow is a big motif throughout, but only the last third takes places during that time of year.
But it beautifully captures the sentiment of Christmas in the most important sense...
A few members of Team Experience will be sharing posts on their favorite Christmas movies. Here's Lynn Lee
You can have your Christmas Story or your It’s a Wonderful Life. For me, my Christmas movie will always be Gillian Armstrong’s Little Women, which took its bow Christmas Day, 1994, and has kept a place in my heart ever since. Even though it faithfully adapts a literary classic, the movie’s also a perfect encapsulation of the ’90s: besides Winona Ryder, for whom Little Women was something of a pet project, it also featured a very young Kirsten Dunst, fresh off her star-making turn in Interview With a Vampire, and Claire Danes, still in her Angela Chase days, making her big-screen debut, as well as a 20-year-old Christian Bale completing his transition from child to adult actor.
None of that, of course, meant anything to me when I first saw the film...
Kieran, here. There’s something to be said about earnest storytelling in television. It often comes packaged in projects that are deeply flawed, but somehow those flaws contribute to what make the show a singular experience. Such is the case with Netflix’s “Stranger Things,” which premiered a week ago to much fanfare and online discussion.
Though “Stranger Things,” created by Matt and Ross Duffer very blatantly poaches elements from some very familiar markers it doesn’t resemble anything else on television at the moment. The aforementioned earnestness of this series about supernatural and…well, stranger things happening in 1983 small town Indiana could have easily served as a liability, but becomes one of the show’s greatest strengths.
All of my defenses were up going into my viewing of “Stranger Things”. 80s-era Spielberg holds little personal resonance as it does for others. I’ve never seen The Goonies. I have a really sensitive gag reflex when it comes to inauthentic portrayals of children in movies and film. I was suspicious in the beginning, but "Stranger Things" won me over...
Randomness. Sensory overload. Once I started I couldn't stop. Much amusement, a little fright, and beauty after the jump from the world of showbiz and its onlookers...
"Am I the ONLY ONE who doesn't care about __?" Yes. It is you alone in the great stark wilderness, you brave, rugged Jack London protagonist— Jane Showalter (@heymermaid) July 18, 2016
20 years ago nobody knew what gluten was, now there are only 3 people left in the world that can still eat a bagel.— Bill Murray (@BiIIMurray) July 19, 2016
MUCH MORE AFTER THE JUMP...
Daniel Crooke here. For the past two weeks, I've walled myself off from any pop cultural offering that doesn't include the letters LGBT while working around the clock at Outfest Los Angeles, our seminal, international queer film festival here in the City of Angels. Naturally the only external filmic force strong enough to infiltrate this border includes the words Winona Ryder. Slay, queen, slay.
I too have taken a long, hungry taste of the ananchronistic (and extra-colorful) Kool-Aid that is Netflix's '80s-set Stranger Things, the sci-fi outing that investigates a humdrum Indiana small town as a local young 'un mysteriously disappears in their midsts without warning. Much has been made of the homage-heavy layers that bake into its Spielbergian, Carpenteresque, Lynchian, and Stephen King-adjacent baklava; although the reason it succeeds beyond the hat-tip recipe can be found within the rich, nitty gritty filling of its heart-achingly true familial dynamics, of which Super 8 would have been smart to expand upon beyond the basic ingredients. So let's take a big bite and revel in its delicious influences. My personal favorite so far - despite Ryder's irresistible parallel to Melinda Dillon's momma bear on a misson from Close Encounters of the Third Kind - goes beyond bicycles and plunges the references to disturbing depths.
Jonathan's secret photo shoot in the woods recalls Blue Velvet's voyeuristic view from the closet; despite their quests for homegrown veracity, neither he nor Jeffrey were invited to the peep shows of a teenage pool party or a transgressive Rossellini-Hopper assault, but they've shown up in the shadows nonetheless. And yet we're still glad to be in on the drama. We've spent some time getting to know the traumatic roots of their curiosity via their displaced family units but these Peeping Toms challenge that sympathy through sensually clandestine invasions of personal space.
Apart from the bedroom posters of The Thing and Evil Dead, which Stranger Things visual reference sets your bicycle afloat?