Beauty vs Beast: Ye Olde Switcheroo Movie

Jason from MNPP here with this week's "Beauty vs Beast" -- this Friday the latest iteration of the freak-filled Halloween franchise hits theaters, but what of another Freaky Friday that cast the great Jamie Lee Curtis in a pivotal role? In 2003 - yes it turned 15 this past August, if you want to feel ancient) Mark Waters' remake of Freaky Friday with Curtis playing mama (then daughter) to daughter (then mama) Lindsay Lohan hit theaters, and it was a great big hit success with everybody. (I mean Jamie Lee should've snagged an Oscar nom, dammit.) So why don't we all eat a fortune cookie and repeat after me...

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PREVIOUSLY We ventured back to Wes Anderson's Rushmore last week and y'all took Bill Murray's side in a squeaker (just 53%) - said lylee:

"Team Blume only because Max is so annoying (even though they're both annoying, and Blume in some ways has less excuse to be so immature)! Really, the beauty here is Olivia Williams, whom I found very appealing in this, if a little softer-edged than in her later roles. She's still one of my favorite slightly-below-the-radar actresses out there today."

Beauty vs Beast: School's Out Forever

Jason from MNPP here with our weekly "Beauty vs Beast" -- tomorrow is the 20th anniversary of Wes Anderson's film Rushmore, and so you celebrate the battle between Max Fischer (Jason Schwartzman) and Herman Blume (Bill Murray) we shall. This was Anderson's second film (after Bottle Rocket) and an instant cult hit - it only made 17 million dollars in theaters (it ranked 97th at the box office, between The Big Lebowski and 54) but I was in college at the time and believe you me, us youngins loved it right out of the gate.

Now it's rightly heralded as a classic - you're not going to hear an unkind word from me on the hermetically crafted direction that Wes started taking his film-making after this (Moonrise Kingdom is my favorite of all his films, after all) but Rushmore does feel airy in a way that he's moved far far away from (especially with the to the millimeter specificity of his animated efforts) and it might be nice to see him sample some of this looseness again?

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PREVIOUSLY I'm real glad that Judith O'Dea got to beat back the zombie horde this one time with last week's Night of the Living Dead anniversary edition - poor Barbra has had enough to deal with. Said Nick T:

"Without getting into details, I'd say this answer was a NO BRAINER!!! Hyuk hyuk hyuk"

'Growing Up Cinephile' by Leslye Headland

Photography by Bruce Gilbert, Provincetown International Film Festival[Editor's Note: Leslye Headland, whose debut film 'Bachelorette' opens on September 7th is today's very special guest blogger. I'm loving this memoir  -Nathaniel R]

When preparing for this guest blog, I thought about what I would’ve written about if I were guest blogging seven years ago as my blogger alter ego, Arden. Most likely I would’ve wanted to get super nerdy and introspective so here we go:

If you’re like me, movies are your life. They cheer you up. They bring you down. They connect you to people. They alienate you from others. You develop passionate arguments about the state of film today. You rehearse those arguments in your head then unleash them upon unsuspecting acquaintances during an otherwise friendly gathering. They can get you a job. (I truly believe my first assistant gig was secured by my encyclopedic knowledge of Star Wars). They can get you laid. (My number one turn-on in bed? Oscar trivia.)

As Truffaut said, we are sick people. But we weren’t always this way. What happened? Well, if you go back in your life, I bet you can find the most formative years were shaped by a handful of films. I decided to take a look at the symbiotic nature of what I watched and when I watched it.

SENTIENCE!

Love and Death (1975, dir. Woody Allen)

This is the first film I ever remember watching. I slept on the top bunk in the bedroom I shared with my sister. From there, I could see the TV in the living room and would watch films my parents put on when they thought we were asleep. Love and Death was mind-fuck for an eight year old. Absurd physical comedy coupled with Prokofiev? It looked like a grown-up film but it was funny enough to entertain a child. However all the Bergman references were unsettling. I was filled with joy and a tinge of dread. Later in life, a professor described my senior thesis directing project as “the work of a sincerely disturbed person who has an infantile sense of humor.” I blame Woody.

CHILDHOOD!

The Philadelphia Story (1940, dir. George Cukor)
Rear Window (1954, dir. Alfred Hitchcock)

 

Being brought up in a strict religious home where pop culture was shunned, it was all glamour all the time. No 80s teen movies or cartoons for me (I didn't see The Goonies til I was 27) ...

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Burning Questions: Are We Ignoring Wes Anderson's Dark Side?

Michael C. here to try to look past the standard take on one of our leading filmmakers. 

Steve Zissou: This is going to hurt.

I have decided that I am no longer interested in reading reviews of Wes Anderson films that contain the word “quirky” in the opening paragraph. Same goes for “twee”.

Over and over I read that, what do you know, Wes Anderson has gone and made another Wes Anderson movie. It’s about time, don’t you think, that people take a more substantive look at a one of the most distinctive bodies of work of the last two decades? A body of work whose deeper currents are often ignored amid the same old talk about flat compositions and diorama sets. Anderson’s movies have a lingering impact that defies those would dismiss his carefully composed world as emotionally detached. Right below that carefully composed surface are the deeper currents of a director preoccupied with death, loss, and alienation.

With all the focus on his signature colorful style are we ignoring Wes Anderson’s dark side? 

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