Podcast: Mean Girls Commentary, Two Parts

You own a copy of Mean Girls (2004), right?

Pull it off the shelf, rent it or Netflix Instant it (it expires May 1st!) so you can watch as you listen to this podcast. In this very special 10th anniversary celebration, Nathaniel R (The Film Experience) and Joe Reid (The Wire) return to North Shore High to watch Mean Girls together and provide you with our very own DVD commentary track. If you don't watch while you listen we'll sound like mad men giggling out of context or merely like we're too gay to function.

We discuss everything: performance, writing, costumes, set design, scoring and even casting that almost was -- it would have been such a different film. We also talk the reliable time capsule worthiness of the high school comedy film genre and tangents occur. Due to file sizes and the 97 minutes of running time, I can't embed both parts here in the post but you can download the 2 part conversation on iTunes. Or, if you are seeing this post much later, both parts are here on the podcast upload page from 2014.

Joe and I would really love you to continue the conversation in the comments. (Katey and Nick couldn't attend. But they love Ladysmith Black Mambazo!)

Articles referenced in The Podcast
Mean Girls Cast power rankings
Hit Me With Your Best Shot 
'let me tell you something about Lindsay Lohan' 
IndieWire: Daniel Franzese's coming out letter 
The Map of North Shore High's Cafeteria

Tribeca: Courteney Cox Delivers a Dud in 'Just Before I Go'

Glenn reporting from Tribeca

Oh Courteney!

Courteney Cox looms large in my personal history as a central figure in two long running franchises (Friends and Scream) that played a major role in my teenage (and further) life. So it takes a lot for me to dislike something Courteney Cox does so violently as I did her directorial debut Just Before I Go. I went in to her new film intrigued and with some mild expectations that she’d be able to transfer the strange, often very dark humor of her current TBS sitcom Cougar Town into something somewhat funny. This new film’s elements of suicide, homophobia, racism, and other eye-raising topics certainly lend themselves to a wicked, taboo-pushing comedy, but what she and screenwriter David Flebotte have delivered instead is one of the most offensive pieces of trash to have come out in quite some time. [more...]

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Tribeca: "Zero Motivation," Winner of Best Narrative Feature

Here's Diana on one of the big winners of the Tribeca Film Festival...

A young woman saves a seat on a bus for her friend. The friend runs on and all is well, or at least until the driver tells everyone that they have to exit the bus and get on again. The two women shout dibs on their seats, but the jump cut reveals it was to no avail, with both standing in the midst of the jam-packed aisle for the very long and arduous bus ride ahead of them. No, this isn’t a Megabus or a school bus, but it is on its way to a camp of sorts: an army base in middle-of-nowhere Israel. These two women are army secretaries, serving their mandatory two years out handling mail, shredding paper and having their rearends ogled as they serve coffee and biscuits to predominantly male officers. Loosely based on her own experiences in the Israeli army (and a Sundance Directors and Screenwriters Lab participant), Talya Levie’s Zero Motivation follows Zohar (Dana Ivgy) and Daffi (Nelly Tagar) through boredom, romance and record-breaking Minesweeper scores...

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TCM: Anna Kendrick ♥s "The Women" (So do we.)

It's Diana's last report from the TCM Film Festival which closed this weekend. One more from Anne Marie is coming up and it's a wrap. Take it away, Diana...

Ben & Anna Kendrick at The Women screening

In one of the few overlaps in our TCMFF schedule, Anne Marie and I sat down for the all-star classic The Women (1939). We've both watched the film a countless number of times - it's such a treat. The El Capitan organist played a variety of film standards (including the Star Wars theme) as we chuckled and waited for the introduction. The cherry on top? Anna Kendrick, cool girl exemplar, was the special guest, there to introduce the comedy classic alongside TCM stalwart (and object of many TCM fangirls’ affections) Ben Mankiewicz.

 Walking out on stage, Kendrick sported a chic yet casual look with a black tee, black skinny jeans and black heeled boots paired with hipster glasses and gently messed hair. Within moments of sitting down, she nonchalantly revealed she was also still wearing her retainer. Kendrick opened up about how she stumbled on the film and fell head over heels for it, feeling the biggest connection to Rosalind Russell...

'While working on Broadway ' (Kendrick put laughing emphasis on the "way" and sidebarred that “it was a douchey thing to say, no matter how I say it”), the then 12 year-old Kendrick was introduced to the film by two older fellow actresses who considered the a rite of passage for the then-tween. Like many of us, Kendrick couldn’t keep the unbridled passion to herself and forced friends to watch it. Also, like many of us, she realized that not all tweens are that keen on a black-and-white 1939 comedy. Nonetheless, she persevered with her own interest in classic films, thanks in large part to a father who would rent things like The African Queen for them to watch at home to counteract her frequent video store choice of Spiceworld.

Stating that The Women is part of her D.N.A., Kendrick vowed that she would incorporate the Sylvia (Russell) leg-chair-hook “into a movie, if it’s the death of me.” (You know the one, early in the picture, when she’s gossiping in the Haines’ powder room and hooks the chair with her leg and without missing a beat sits down to dish even more.) Later on in the screening, that moment elicited a raucous amount of applause, thanks pretty much entirely to Kendrick’s introduction.

the cast of The Women (1939). Accept no substitutes

On a current note, Kendrick revealed a great, passive aggressive way actors give shade to each other on-set. Whereas Joan Crawford would knit while feeding lines to Norma Shearer during reaction shots on “The Women,” apparently the thing to do on a modern-day film set is to break strategically, meaning to laugh a bit too heartily and flub the scene all the while crediting your fellow actor with being too good and too funny. Not that Kendrick has done anything like this, just that she 'heard about it' from other actors.

Anna Kendrick on stage as a tweenWhen introducing the young actress, Ben Mankiewicz said that she was one of the few actors working today who could have easily been a star in any other Hollywood era. From her martini glass-shattering performance in Camp to her Academy Award-nominated performance in Up in the Air to her full-hearted introduction at this screening, Kendrick continues to win the hearts of new fans. As Mankiewicz predicted (and I agree), she’s on her way to legendary, award-winning stardom herself.         

A Year With Kate: Holiday (1938)

Episode 15 of 52 as Anne Marie screens all of Katharine Hepburn's films in chronological order.

In which Katharine Hepburn is named Box Office Poison, which might be the best thing that could have happened to her.

WAKE UP! HOLLYWOOD PRODUCERS

Practically all of the major studios are burdened with stars--whose public appeal is negligible--receiving tremendous salaries necessitated by contractual obligations...

Among these players, whose dramatic ability is unquestioned but whose box office draw is nil, can be numbered Mae West, Edward Arnold, Garbo, Joan Crawford, Katharine Hepburn, and many, many others... Hepburn turned in excellent performances in 'Stage Door' and 'Bringing Up Baby' but both pictures died."

Reading that “wake up call” on the morning of May 3rd, 1938 had to sting. The Manhattan Independent Theatre Owners Association bought a full-page ad in The Hollywood Reporter and the Independent Film Journal to air its grievances, and the effects for Kate were immediate. Here’s how quickly the dominoes fell... 

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