Isn’t It Romantic? feels like a rhetorical question
Movie review: Isn’t It Romantic?
Rebel Wilson leads a revolutionary effort through the red taffeta jungle of rom-coms, but fails to topple the upper tier of icing-covered couple expectations. And that’s probably just the way we want it. “Somewhere deep down, we crave a fairy tale ending for a relatable character — just as we do for ourselves,” writes movie critic Katherine Monk.
Movie Review: Stan & Ollie finds comic sweetness
Movie Review: Stan & Ollie
Jon S. Baird’s pathos-laden take on Laurel and Hardy allow Steve Coogan and John C. Reilly to explore the slow-boiling lunacy that fuelled the comic legends, yet lacks a light and loving touch.
Blockers Misses Tackle in Gender War
Movie Review: Blockers
Veteran writer and producer Kay Cannon makes her directorial debut with this raunchy comedy about three young women hoping to lose their virginity on prom night, and the parents who want to stop them. It’s a female-first R-rated comedy. Too bad it’s using an old game plan.
Kate Winslet Spares Woody’s Wonder Wheel
Movie review: Wonder Wheel
Woody Allen's direction is just plain wooden as he hands the dramatic tray to Kate Winslet, forcing her to serve up a bland meatloaf formed from F. Scott Fitzgerald scraps and Tennessee Williams's vulnerable female gristle
Mike White Bares Male Insecurity
The writer-director of Brad's Status is an indie darling, but he says he still wrestles with insecurity and ego issues because we live in a world of false comparisons
By Katherine Monk
TORONTO — “I think you have your epiphany, and then you forget about it,” says Mike White. “Then you remember it again. And you forget it again. It’s like you are inching toward wisdom. Or circling the drain.”
White seems to be doing all of the above, all the time, because his mind seems to radiate ideas. He creates tangent lines mid-sentence, leaving orbit, only to fall back to earth, chained by the full force of gravity.
It’s his ability to levitate and fall with giddy aplomb that makes his voice so unique and his characters so memorable, whether it’s Selma Hayek as massage therapist and healer in Beatriz at Dinner, Laura Dern as a recovering executive experimenting with faith in Enlightened, or the entirely childlike Chuck, from the indie landmark Chuck & ...
Eye candy helps Keeping Up with the Joneses
Movie review: Keeping Up with the Joneses
Superbad director Greg Mottola uses action and espionage to pimp out a minivan of a comic premise that seeks to cross the median income divide
Popstar: Never Stops Stopping Sucking
Movie Review: Popstar - Never Stop Stopping
The team that brought your their Dick in a Box reunites for another round of thigh-slapping comedy dependent on short attention spans and Justin Timberlake in a bird suit
Rebecca Miller gets screwball
Interview: Rebecca Miller
She may be the daughter of the man who penned Death of a Salesman, but Rebecca Miller reveals an undeniable talent for thoroughly goofy comedy in her latest film, Maggie's Plan
By Katherine Monk
Rebecca Miller’s intellectual pedigree cannot be argued: daughter of Pulitzer-winner Arthur Miller, graduate of Choate and Yale, and married to the towering dramatic talent named Daniel-Day Lewis. But speaking to Miller over the phone, the legacy of Willy Loman walks out the door and the inner goofball emerges.
It’s a side of Miller that’s on full display in her latest work, Maggie’s Plan, a feature film that charmed audiences at this year’s Sundance Film Festival and opens theatrically this week. A full-on comedy that’s been drawing comparisons to Woody Allen’s witty dissections of the academic elite, Maggie’s Plan stars Greta Gerwig as a modern gal looking to enhance her life in a millennial way.
Maggie wants to have a baby without ...
Whit Stillman loves powerful women
Interview: Whit Stillman on Love & Friendship
The American filmmaker creates a fine comic weave using Jane Austen's material, Kate Beckinsale's sharp talents and his unique sense and sensibility for social satire
By Katherine Monk
“I really enjoy dominant, manipulative women. I find them very entertaining,” says Whit Stillman, his tone so matter-of-fact, it almost makes you laugh.
Then again, that’s his charm. The director of Metropolitan, Barcelona and The Last Days of Disco built a reputation as a cunning social satirist in the ‘90s for plucking the veil off human vanity to show us the pimples of truth. He also showed a preference for using powerful, insightful and somewhat self-absorbed females as the dainty hand behind his narrative tatting.
It’s the reason why his latest endeavor, Love & Friendship, feels like such a natural stitch in Stillman’s oeuvre: It’s based on the work of Jane Austen, the godmother of social satire, a pioneer of female ...