New York Film Festival Selects Mike Mills' 20th Century Women for Centerpiece Film

Sound the alarms: there's a fresh new reason to celebrate Annette Bening. Following in the footsteps of last year's selection of Steve Jobs, the New York Film Festival has chosen Mike Mills' 20th Century Women as its 2016 Centerpiece, which stars The Bening as a single mother raising her son in 1979 Santa Barbara, co-habiting with a Bowie-cut Greta Gerwig, nomadic carpenter Billy Crudup, and frequent house guest Elle Fanning. We've been anxiously awaiting Mills' follow up to the intimate, structurally adventurous tone poem that is Beginners for a few years now, and NYFF's programming pick (and description of the film as a vibrantly alive time capsule, plus taste-maker A24's acquisition) signals a strong indication that it's been worth the wait. Imagining The Bening caught at the crux of cultural, decade-splitting identities, and strapped into denim overalls to boot, would be enough reason to anticipate the film, but the thought of another story stripped from the personal headlines of Mills' own life and translated into pure cinema has us downright salivating. I can smell the burnt sage from here.

Dystopia/Utopia. Complete the Sentence.

Given what's going on in the world, at home and abroad, and the constant tough struggle we have before us to choose love and optimism, let's talk Utopias and Dystopias. It's the subject, in a way, of two current movies: Captain Fantastic and Star Trek Beyond. But dystopias are plentiful in cinema. So, let's complete the sentence...

My favorite movie dystopia is __________ but I hope this world turns out more like the utopia imagined in __________. 

HMWYBS: "The Turning Point"

Bancroft & Maclaine reminisce in The Turning PointBest Shot 1977 Party. Chapter 2
The Turning Point (1977)
Directed by: Herbert Ross
Cinematography by: Robert Surtees

When The Turning Point is remembered today, on the rare occasion that you hear it name-checked, it is nearly always in connection to its status as Oscar's all time loser (11 nominations without a win). That "achievement" was later shared when Steven Spielberg's The Color Purple (1985) met the same Oscar fate, entering the competition as a very big ticket and coming away empty-handed. It's surely no coincidence that both films are women's pictures. Oscar has grown increasingly wary of films about and for women over their 88 year history; that's not a mark on the films themselves but a stain on film culture and the Oscars. 1977 was in some significant ways, the very last Oscar year to be dominated by women. The sole "boys" movie up for the top prize was Star Wars, which perhaps also not coincidentally became the film which most Hollywood films aspired to be thereafter. Yes, 80% of the Best Picture nominees in 1977 were actually about women. Can you imagine it?!? That's a huge percentage which has, alas, not happened again in the 39 years since. Most Best Picture years since have been the reverse of those numbers, when in a more sane world it'd be about 50/50 since, you know, that's actually how the human race breaks down. 

Bronze. I think this is trying to be the film's signature image, but there are two many climaxes preceding it and following it to quite pull it off.

But now we're straying into Oscar stats when what we really want to talk about is this ballet melodrama and its gauzy prettiness. Worthy of 11 Oscar nominations? Surely not but that's not because of its subject, its genre, or its cast of accomplished women... 

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Which is Yummier?

It's an Instagram battle. Which looks most delicious to you: Karl Urban's "tasty gum balls," Ansel Elgort's "milkshake," or Harry Shum Jr's "Roasted seaweed" which gives him wings*? Choose wisely.

*I'm not sure what that means but I think I'm for it because he woke up like this.

A photo posted by Karl Urban (@karlurban) on Jul 18, 2016 at 11:33am PDT

My Milkshake

A photo posted by anselelgort (@anselelgort) on Jul 23, 2016 at 9:02am PDT

Roasted seaweed gives me wings.

A photo posted by Harry Shum Jr (@harryshumjr) on Jul 25, 2016 at 3:30pm PDT

10 Things to Love About "Scoop"

Today marks the 10th anniversary of Woody Allen’s murder mystery romp, Scoop. The film followed the darkly sexy Match Point, reuniting the director with star Scarlett Johansson. Unfortunately, critics and audiences were less dazzled by the pair’s second feature together, and Scoop joined the ranks of Allen’s lesser films. 

Still, I have a soft spot for this quirky little film. It’s not perfect, but it’s a fun; a confection (more dessert than entree). It’s a movie you can put on in the background while working on a project or as a pick-me-up after a bad day. So in honor of its anniversary, here are ten things to love about the mostly unloved Scoop. 

10 THINGS TO LOVE ABOUT SCOOP
by Steven Fenton

10. GILES!
Everyone’s favorite Watcher (Anthony Stewart Head), appears in a brief cameo as a detective interviewing Peter Lyman. It always a thrill to see that discerning furrowed brow.

 

09. THE IMPERFECT SCIENCE OF MAKING SCARLETT NERDY
Johansson’s Sondra Pransky attends a swanky London party in a little black dress and...a scrunchie! Carrie Bradshaw would die. The costumers had the unenviable task of making Scarlett Johnasson a nerd. They put her in wire-rim glasses, frumpy brown capris, and truly unflattering button-downs. Their attempts do nothing to mitigate Scarlett’s sex appeal, but it’s a delight watching them try...

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