Angelica Jade Bastien on Michelle Pfeiffer

Posted on July 6, 2017 at 8:00 am

 is one of my favorite writers on film.  Anything she writes reflects a deep understanding of film and culture.  I especially love this tribute to Michelle Pfeiffer, an actress who does not get enough credit for her extraordinary range and technique.

Yes, she may lack the classic Hollywood pedigree of Anjelica Huston or the supreme training of Meryl Streep, but of her generation, she’s the actress with the most fascinating thematic through line. Pfeiffer won early acclaim when her career first hit its stride in the ’80s, followed by a string of hits in the ’90s and early ’00s. Though she hasn’t been much of a presence in recent years, that’s thankfully set to change with a trio of releases: Darren Aronofsky’s Mother!, a new adaptation of Murder on the Orient Express, and the HBO film Wizard of Lies, in which she plays Ruth Madoff opposite Robert De Niro.

I’m especially glad that she mentions Pfeiffer’s role in “Stardust.”

And I love her in “Frankie and Johnny,” in part because it is so much fun to see her with her “Scarface” co-star Al Pacino in completely different roles.

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Actors Critics

Based on “Wonder Woman” and “Book of Henry,” Shouldn’t Patty Jenkins Direct “Star Wars?”

Posted on July 5, 2017 at 5:24 pm

Jeremy Fassler is right. On Medium, he explains that based on one of the best and one of the worst movies of the year, “Wonder Woman” director Patty Jenkins is a much better choice for the next “Star Wars” movie than “Book of Henry” director Colin Trevorrow, who is currently attached to the film.

Fassler points out the difference between the way Patty Jenkins was treated after her first, low-budget film (“Monster,” with an Oscar-winning performance from Charlize Theron), and the way Trevorrow was treated after his, “Safety Not Guaranteed” — he got to do the big, big budget (but bland) “Jurassic World,” where she did outstanding work on television series.

He is astute at recognizing the qualities in “Wonder Woman” that Jenkins handled with such grace:

hat makes Wonder Woman a great movie is that it transcends its genre (superhero) by embracing other various genres and subgenres swirling within its main storyline. As an antiwar film it stands with All Quiet on the Western Front and Paths of Glory, and the scene where Diana Prince saves a small French village from destruction, only to find it destroyed later, is a great comment on the needless slaughter of the First World War. It features the best love story, between Diana and Chris Pine’s Steve Trevor, of any superhero film since Spider-Man 2. It’s a “bunch of guys (and girls) on a mission film” in the tradition of The Dirty Dozen, particularly when they get into the castle. It’s an education film, in which the protagonist moves to a higher plateau of self-knowledge by learning the rules of another world. And of course, it is an extraordinary story of female empowerment, one that is being embraced all throughout the world as young girls can finally see a hero who looks like them.

I vote for Jenkins. The recent dismissal of very successful directors in the middle of shooting the young Han Solo movie shows how protective Disney is of this franchise. Here’s hoping they see the merits in Fassler’s argument.

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Directors

Interview: Sam Elliott on “The Hero”

Posted on July 5, 2017 at 2:48 pm

Be sure to read my interview with the wonderful Sam Elliott on his role in “The Hero,” published on rogerebert.com.

In the film, your wife Katharine Ross plays Lee’s ex-wife. Did the two of you discuss what the history of your characters was?

No, that’s way too deep for Katharine or me. ‘Cause none of that stuff shows. I know actors go down that road. I know a lot of actors that I really respect that would go down that road. But I don’t think that’s really important for me. I think what’s important is having the correct words, and being able to commit to those words. And being honest. That to me is what’s most important, being honest.

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Actors Interview

The Best Fictional Bookstores

Posted on July 5, 2017 at 8:00 am

Electric Literature has a delightful piece about the best bookstores in movies and books. People who write books love bookstores, and the ones they imagine are very enticing. “You’ve Got Mail” is all about bookstores, and this one is perfect — and just about to disappear. I’m sorry to say that I am pretty sure the big bookstore driving her out of business has probably since been itself eclipsed by Amazon.

Humphrey Bogart visited a bookstore that didn’t have what he was looking for in “The Big Sleep.”

Audrey Hepburn got her first kiss from Fred Astaire in a bookstore in “Funny Face.”

Certainly the movies’ most unusual bookstore scene was this one filmed backwards in “Top Secret!”

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