"Madeline! I need to speak to Madeline at once!"

Netflix in July: Troy's Straight-Washing, Blue Valentine's Brilliance.

Time to play Streaming Roulette. Each month, to survey new streaming titles we freeze frame the films at random places with the scroll bar and whatever comes up first, that's what we share!

July is kind of a quiet month on Netflix but which of these films will you be streaming for the first time or as a rewatch? Which do you have strong feelings about. Please do tell us in the comments. Ready? Let's go...

ARE YOU CRAZY?!? IF I CAN'T PULL MY CHUTE, YOU'LL DIE TOO!

Get Smart (2008)
Despite being an Anne Hathaway disciple I have not seen this. Worth a watch? Anyone? 

Hey, can I ask you something else: What's the story of that girl that was in here a month ago? 

Blue Valentine (2010)
Ryan Gosling is visiting his grandma because he's a sweet soul. I especially love the editing here. The image cuts to this for the rest of the visiting grandma dialogue...

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Months of Meryl: Death Becomes Her (1992)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 

 #19 —Madeline Ashton, a past-her-prime Hollywood actress who goes to great lengths to preserve her good looks.

MATTHEW: Meryl Streep and her good friend Goldie Hawn once came very close to riding off a cliff together. During the early 1990s, the pair had been in search of a dual-star vehicle to appear in and were initially in contention to play the titular roles in Thelma & Louise, along with one-time possibilities Jodie Foster, Frances McDormand, and Michelle Pfeiffer. Hawn and Streep actively courted Pathé Entertainment’s former C.E.O. Alan Ladd, Jr. for the parts and even tossed around ideas for a happier alternate ending. (Streep, who would have played Louise, wanted Thelma to live.) Eventually, Streep’s schedule got in the way, while Ladd deemed Hawn an iffy fit for the project, clearing the way for Geena Davis and Susan Sarandon to take on the most popular parts of their careers...

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Soundtracking: "The First Wives Club"

Chris Feil's series on music in the movies dips into some actressexuality this week!

Do you and your friend group have a song, one that defines and unites you instantaneously? Or is that just something that happens in the movies? I’ve certainly never had that, but my two best gays from college do namesake ourselves by a set of cinematic galpals that do: The First Wives Club. (I’m the Bette.)

This film has the good sense to capitalize on the musical charms of its legendary actresses Bette Midler, Goldie Hawn, and Diane Keaton. This threesome foursome *technically* (RIP Cynthia) has their origins defined by their place in musical history, with Diane Keaton’s opening narration evoking Woodstock and The Beatles. But its the beginning twinkle of Hal David / Burt Bacharach fantasy over the opening credits that more musically defines the feminine fantasy thrust upon their generation - idyllic beauty, subservience to men, etc. By the time Aretha Franklin and Annie Lennox have them breaking down literal walls in the third act, these sisters are doin’ “Sisters Are Doin’ It For Themselves” for themselves.

But obviously the film’s most enduring and notorious musical impact comes from Lesley Gore’s “You Don’t Own Me”.

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Review: Amy & Goldie get "Snatched"

This review was originally published in Nathaniel's column at Towleroad

You bring stuff into the movie theater with you. I’m not talking about snacks though that’s a frugal and smart thing to do given concession prices and the inherent tastiness of things you aren’t supposed to be eating. My point is this: we come into each movie with our own baggage, nothing existing in a vacuum.

Angry internet types like to call this “bias” when they disagree with anything but it’s just human nature. We all have our predilections. I share this because I walked into Snatched, Amy Schumer’s latest with Goldie Hawn in her first movie in 15 years (!!!) wanting to love it...

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