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What Happened to the Women Directors in Hollywood? Part 5: 2000–2017

Mira Nair and Ava DuVernay: Wikimedia Commons/IndiaFM/Bollywoodhungama/usbotschaftberlin

by Carrie Rickey

This five-part Truthdig series by Carrie Rickey is published in partnership with Women and Hollywood. The series considers the historic accomplishments of women behind the camera, how they got marginalized, and how they are fighting for equal employment. Specifically, this series asks, why do females make up between 33 and 50 percent of film-school graduates but account for only seven percent of working directors? What happened to the women directors in Hollywood?

Female filmmakers greeted the 21st century with optimism. By most measures, movies by women were garnering increased respect in the industry and at the multiplex. Their makers cracked glass ceilings, created new genres, and established new box-office records.

With “Nowhere in Africa” (2001), Caroline Link became the second woman to direct the Oscar-winner for the year’s best foreign film. With “Lost in Translation” (2003), Sofia Coppola was the third woman to receive a best director nomination from the Academy of Motion Picture Arts and Sciences. And with “The Hurt Locker” (2009), Kathryn Bigelow was the fourth woman nominated in the directing category — and the first to win. The following year, Danish filmmaker Susanna Bier directed the winner in the best foreign film category, “In a Better World.”

Gina Prince-Bythewood’s “Love & Basketball” (2000), Karyn Kusama’s “Girlfight” (2000) and Gurinder Chadha’s “Bend It Like Beckham” (2003) created what might be called the “Title IX” movie, celebrating female athletes on the court, in the ring, and on the field. These are sports movies that celebrate the female body — not for its sex appeal, but for its power. These films inspired younger women (and their mothers were thrilled to take them to movies that didn’t objectify women).

Comedies by women continued to make serious box office, proving the Hollywood wisdom that “funny is money.” Nancy Meyers’ “What Women Want” (2000), starring Mel Gibson as a player briefly given the power to hear what women think about him, made $374 million. Sharon Maguire’s “Bridget Jones’s Diary” (2001), in which the title character says what she thinks about womanizers and prigs, brought in $282 million. Movies like these permitted men and women to laugh at men’s foibles.

From Patricia Cardoso’s “Real Women Have Curves” (2002), which introduced America Ferrera as a college-bound Latina, to Julie Taymor’s biopic “Frida” (2003), with Salma Hayek as Mexican artist Frida Kahlo, to Patty Jenkins’ “Monster” (2003), with Charlize Theron as serial killer Aileen Wuornos, audiences saw realistic women — as opposed to human swizzle sticks with breasts — in movies by women.

Many critics hailed Niki Caro’s “Whale Rider” (2003), about a Maori preteen who challenges her tribal patriarchy and becomes the new chief, as a harbinger of the triumph of female filmmakers over the status quo. Others pointed to the fact that for the first time since records had been kept, in 2000 women made 11 percent of the top 250 box office films. For women who make movies, the new century felt like a new day.

The Good, the Bad, and the Ugly

Sadly, that encouraging percentage turned out to be a fluke. After 2000, the number dwindled. It remains stuck in the 6 to 9 percent range, says Martha Lauzen, professor of communications and head of the Center for the Study of Women in Television and Film at San Diego State University. Since 1998 Lauzen has tracked women working in the industry in her annual “Celluloid Ceiling” report.

“When I started this, I thought it was merely an issue of people not knowing how low the numbers were,” Lauzen said ruefully. “I didn’t know how slow social change is.”

Lauzen’s reporting represents one of three vital resources for understanding the triumphs female filmmakers have made and how far they need to go to achieve parity with men. The others are Stacy Smith’s Media Diversity and Social Change Institute at USC’s Annenberg School and The Bunche Center at UCLA.

Collectively and individually, these creators of annual good news/bad news reports have kept the issue of representation in the public eye.

The Good: For Kathryn Bigelow (“The Hurt Locker,” “Zero Dark Thirty”), the late Nora Ephron (“Julie & Julia”), and Nancy Meyers (“It’s Complicated,” “The Intern”), the 21st century has been a fruitful time. So, too, for younger female moviemakers. Consider Lisa Cholodenko (“Laurel Canyon,” “The Kids Are All Right”), Ava DuVernay (“Selma,” “13th”), and Mira Nair (“Monsoon Wedding,” “The Namesake”).

Consider also that Catherine Hardwicke established a franchise with “Twilight” (which made $393 million), Sam Taylor-Johnson created another with “50 Shades of Grey” ($571 million), and that Anne Fletcher’s “The Proposal” made $317 million and Phyllida Lloyd’s “Mamma Mia!” earned $609 million.

Additionally, filmmakers like Dee Rees (“Pariah”), Debra Granik (“Winter’s Bone”), and Lone Scherfig (“An Education”) broke into the market with unique visions and eyes for new talent, including Adepero Oduye, Jennifer Lawrence, and Carey Mulligan. Significantly, Vicky Jenson (“Shrek”), Jennifer Lee (“Frozen”), Jennifer Yuh Nelson (“Kung Fu Panda 2”), and Brenda Chapman (“Brave”) staked a place for women in animation.

The Bad: For every woman appearing onscreen in movies in 2015 there were 2.3 men, according to Stacy Smith’s Media Diversity & Social Change Initiative.

The Ugly: When Walt Hickey, culture reporter for the website fivethirtyeight.com, goes to the movies and sees the screen population is 69 percent male, it just looks wrong to him. “It’s like something apocalyptic has happened, like a parallel universe — a man’s world,” he says.

Both Lauzen’s and Smith’s data show that when a woman is behind the camera and/or screenplay, 39 percent of protagonists are female. In movies by male directors, only four percent of the lead characters are female.

A century ago, male dominance behind the camera and on the screen was not the norm. For women behind the camera, it’s been the norm since 1920. And for women onscreen, it’s been the norm since 1950. Because of this, moviegoers have a distorted picture of America as predominantly male and predominantly Caucasian, when it is neither. (For finer-grain data on minority representation, see this annual report from UCLA’s Bunche Center.)

The Force Reawakens

The Hollywood Dream Factory tailors the majority of its product to the measurements of the men in the audience. This troubles those who want their daughters to partake of the same professional opportunities, cultural representation, and dream lives as their sons. While “Nine to Five,” “Norma Rae,” and “Erin Brockovich” show that studios love stories of women who triumph over the odds, there is less obvious love for female filmmakers trying to beat the odds stacked against them in their professional lives.

Since the Original Six filed suit against two studios in 1983 (see Part 3), female filmmakers have met, strategized, and troubleshot. So much so that in one of her final essays before her death in 2012, Nora Ephron made a list of “Things I Won’t Miss.” Near the top: “Panels on Women in Film.” Many women in film felt as though they were running in place.

“Instead of holding a million panels about it,” Christine Vachon, producer of “Boys Don’t Cry” and “Carol,” exclaimed at the 2016 Sundance Festival, “let’s do something about it!”

Someone had. She is Maria Giese, director of the feature films “When Saturday Comes” and “Hunger.” In February 2013 she brought a complaint to the Equal Employment Opportunity Commission (Eeoc) in Los Angeles. Her contention was that the cohort of working filmmakers in the Directors Guild of America (DGA), of which she is a member, was overwhelmingly male.

(While the number of women in the guild directing episodic television amounts to 17 percent, the DGA 2015 census of female filmmakers registered 6.4 percent. That’s lower than the nine percent of female coal miners, and fractional next to the 32 percent of practicing physicians and 36 percent of practicing lawyers who are women).

The Eeoc, which collects data on employer/employee relations for each calendar year, was reluctant to take on a class-action suit.

In April 2013, Giese contacted the Aclu of Southern California and showed the evidence to Melissa Goodman, director of its Lgbtq, Gender & Reproductive Justice Project. For the next two years Goodman and her colleague Ariela Migdal took testimony from more than 50 female directors. In May 2015 they sent the Eeoc an extraordinary letter that counted the ways in which “female filmmakers are effectively excluded from directing big-budget films and seriously underrepresented in television.” A compelling argument in their letter: “The entertainment industry employs many people and makes products that profoundly shape our culture and the perception of women and girls.” Later in 2015, the Eeoc commenced its own investigation.

In January 2017, based on a high-level internal DGA leak received by Giese, Deadline Hollywood reported that after a federal investigation spanning a year that included testimony from over 100 women directors, the Eeoc recently served charges of sex discrimination and unfair hiring practice against all six major studios. While the federal agency does not comment on active cases, Gillian Thomas and Melissa Goodman of the Aclu wrote in an editorial that they had no reason to doubt the veracity of the leak.

A key factor contributing to Giese’s success in getting this issue to the Aclu and Eeoc was her ability to expose the structural obstacles female filmmakers face, from a guild that puts female and minority filmmakers in the same category, to the studios that question the fitness of women to direct.

Myths and Continued Underrepresentation

Over the 25 years I’ve reported on female filmmakers, I’ve interviewed two generations of movie executives. Most, but not all, were male. Most took seriously my questions about the apparent exclusion of women behind the camera, both on the screen and their forthcoming line-up.

Without exception, all of them retold one or more of the “Three Hollywood Myths.”

Myth #1) “Women don’t want to direct action movies and those are the films which are making money.”

Untrue. See: Martha Coolidge’s “Real Genius” (1985), Kathryn Bigelow’s “Point Break” (1991), Mimi Leder’s “The Peacemaker” (1997) and “Deep Impact” (1998), Lexi Alexander’s “Punisher: War Zone” (2008), and Bigelow’s “The Hurt Locker” (2009) and “Zero Dark Thirty” (2012).

What is true is that Patty Jenkins was hired to direct “Thor: The Dark World” (2013) and left due to creative differences. She is now working on the forthcoming “Wonder Woman.”

What is true is that Mira Nair was offered a “Harry Potter” film and chose instead to make the family drama “The Namesake” because the material was more important to her, and that Ava DuVernay was offered “Black Panther,” the film version of the Marvel Comics series, and declined for similar reasons.

Myth #2) “Movies by women don’t make money.”

Untrue again. Some movies by women don’t make back their investment, just as some movies by men do not. What is true is that many movies by women make major bank. Catherine Hardwicke’s little $37 million film “Twilight” grossed $393 million and launched a billion-dollar franchise.

Hardwicke told me by phone that she hears all the time from studios that films by women are poor investments. “And every time you say, ‘Well, this one made money, that one made money,’ they say, ‘This one made money because it was based on a best-selling book,’ or ‘That one made money because of its hot actress.’”

Here are six more films by women and their box-office grosses. They made money because they powerfully connected with audiences.

Bend it Like Beckham” (Gurinder Chadha). Cost: $6 million/Gross: $77 million“Frida” (Julie Taymor). Cost: $12 million/Gross: $56 million“Frozen” (Jennifer Lee). Cost: $150 million/Gross: $1.2 billion“The Proposal” (Anne Fletcher). Cost: $40 million/Gross: $317 million“Selma” (Ava DuVernay). Cost: $20 million/Gross $67 million“Lost in Translation” (Sofia Coppola). Cost: $4 million/Gross $120 million

Myth #3) “A woman behind the camera means women on the screen and no men in the audience.”

Untrue, if taken literally. Sometimes movies by women have a lower percentage of men in the audience, just as sometimes movies by men have a lower percentage of women in the audience. Take, for example, the 2015 films, “Bridge of Spies” by Steven Spielberg and “The Intern” by Nancy Meyers.

According to Paul Dergarabedian of comScore, the research company’s “PostTrak” data shows the audience gender breakdown at “Bridge of Spies,” a ’60s-era political thriller starring Tom Hanks, was 54 percent male and 46 percent female. For “The Intern,” a contemporary workplace comedy co-starring Anne Hathaway and Robert De Niro, it was 41 percent male and 59 percent female. Spielberg’s film grossed $165 million; Meyers’ $194 million. His budget was $40 million; hers was $35 million.

Ava DuVernay’s “Selma,” the story of the 1965 march for voting rights led by Martin Luther King and starring David Oyelowo, had an audience gender breakdown of 47 percent male and 53 percent female. The assumption that movies come gendered with a blue or pink ribbon is a canard that still lingers in Hollywood, perhaps a vestige of the target marketing that began in the 1980s.

Speaking from the set of “Queen Sugar” in 2016, DuVernay observed, “We’re in a place right now where every other film is about a comic book superhero. We’re top-heavy with testosterone.”

How did Hollywood, a century ago a place where female directors thrived and prospered, come to this?

Stacy Title, director of “The Last Supper” and “The Bye Bye Man,” points the finger at “unconscious bias.”

Mira Nair, who was born in India, suspects chauvinism. “I’ve always remarked at the irony that the percentage of female directors is higher in India than in the United States,” she explained in a phone conversation. “India is supposed to be the traditional chauvinist culture,” she observes. Nair wonders if the historic examples of female prime ministers in South Asia — Indira Gandhi in India, Benazir Bhutto in Pakistan — may have broken the glass ceiling for all professional women there. “Their examples don’t exist in the U.S.”

DuVernay looks forward to the outcome — and hoped-for positive resolution — of the Eeoc investigation. “It’s a systematic problem and it requires radical change,” she said. “If it’s not happening organically, systems should be put in place.” Like many female filmmakers, DuVernay hopes the Eeoc can reconfigure what Giese calls the “vertical playing field for women” into a level one.

“One thing I’m heartened by,” said Nair, who’s been making features for nearly 30 years, “is that the variety and confidence of female filmmakers today is inspiring.”

Do others think it’s changed for the better for women since the 1980s?

“For me, there’s no comparison between the ’80s and now,” reflected Nancy Meyers, whose six films as a director or writer/director have grossed more than a billion dollars. By email she wrote:

Men were still getting used to us being on set in the ’80s. (Men used to have photos of pinups on the set in the ’80s! I’m not kidding.)The only women around back then worked in costumes and hair and makeup. Today women are in every department and often department heads. There are still very few women in the camera department and that’s a shame. That seems to still be a real boy’s club. Today, most crew members are far more comfortable working for and with women.

Yet one thing has not changed: “Now, getting the job to be the director — that’s still an uphill battle,” Meyers said.

In addition to writing film reviews and essays for Truthdig, Carrie Rickey has been a film critic at The Philadelphia Inquirer and Village Voice, and an art critic at Artforum and Art in America. Rickey has taught at various institutions, including School of the Art Institute of Chicago and the University of Pennsylvania, and has appeared frequently on NPR’s “Talk of the Nation,” MSNBC, and CNN.

What Happened to the Women Directors in Hollywood? Part 5: 2000–2017 was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Screen Actors Guild Awards 2017: Lily Tomlin Receives Life Achievement Award

  • PEOPLE.com
Screen Actors Guild Awards 2017: Lily Tomlin Receives Life Achievement Award
As if there were any doubt, Lily Tomlin reminded the world of her singular talents as she received the Screen Actors Guild Life Achievement Award on Sunday night in Los Angeles.

Taking the stage at the 23rd annual SAG Awards, the acclaimed actress, comedian, writer and producer accepted the honor from Dolly Parton, her longtime friend and costar in the 1980 comedy hit Nine to Five.

Tomlin took the stage to accept the award, joking that it came “just in the nick of time.”

“What a week this has been though. You are kind of anti-climactic,” she joked. “Doomsday clock moved
See full article at PEOPLE.com »

The Voice Predictions: Who's at Risk on Top 11 Results Night?

The Voice Predictions: Who's at Risk on Top 11 Results Night?
One gazelle is straggling behind the pack — at least in terms of iTunes sales — among The Voice‘s Season 11 Top 11. But will she pay the ultimate price during tonight’s results telecast (8/7c on NBC)?

RelatedThe Voice Top 11 Performance Recap: Yawn & Stretch & Try to Come to Life

At first glance, things don’t look too promising for Team Miley diva Ali Caldwel, the talented soul singer who got saddled with an uptempo Dolly Parton ditty, a Tina Turner wardrobe knockoff and the dreaded opening performance slot on Monday — and subsequently failed to crack the iTunes Top 200 by the close of this week’s voting window.
See full article at TVLine.com »

Every Movie and TV Show Expiring From Netflix in the Month of April

  • BuzzSugar
Time to get your Netflix on, before it's too late. While there are a ton of exciting new titles hitting the streaming service in April, there are also a handful that are leaving for good. 2 Fast 2 Furious, Charlie's Angels: Full Throttle, Rock Star, and Nine to Five are among the month's casualties. Been waiting to binge on M*A*S*H? There's no time like the present! (Seriously though, it's leaving.) Take a look below; you've been warned. Expiring April 1 101 Dalmatians 2 Fast 2 Furious Along Came a Spider Along Came Polly Amistad Bad Johnson Bandslam Barefoot Contessa: Back to Basics Collection: Collection 1 Berkeley in the Sixties The Butcher's Wife Charlie's Angels: Full Throttle Chuck's Eat the Street Collection: Collection 1 Craigslist Joe Dear Genevieve Collection: Collection 1 Eureka: Season 4.0 Flashdance Hook Hotel Rwanda House of Wax I'll Be Home for Christmas The Inexplicable Universe with Neil deGrasse Tyson Léon: The Professional M
See full article at BuzzSugar »

What's Leaving Netflix: April 2016

  • Moviefone
April is last call for some great movies on Netflix streaming, including "Flashdance," '"Leon: The Professional," and "Let The Right One In."

Also going bye-bye: several classic Frank Sinatra films including "Anchors Aweigh" (1945), "High Society" (1956), "On The Town" (1949), "Pal Joey" (1957) and "Some Came Running" (1958).

Here's a complete list of the movies and TV shows leaving Netflix in April:

Leaving April 1, 2016

"101 Dalmatians" (1996)

"2 Fast 2 Furious" (2003)

"Along Came a Spider" (2001)

"Along Came Polly" (2004)

"Amistad" (1997)

"Bad Johnson" (2014)

"Bandslam" (2009)

"Barefoot Contessa: Back to Basics Collection: Collection 1

"Berkeley in The Sixties" (1990)

"The Butcher's Wife" (1991)

"Charlie's Angels: Full Throttle" (2003)

"Chuck's Eat The Street Collection: Collection 1

"Craigslist Joe" (2012)

"Dear Genevieve Collection: Collection 1

"Eureka": Season 4.0

"Flashdance" (1983)

"Hook" (1991)

"Hotel Rwanda" (2004)

"House of Wax" (2005)

"I'll Be Home for Christmas" (1989)

"The Inexplicable Universe with Neil deGrasse Tyson" (2013)

"Leon: The Professional" (1994)

"M*A*S*H": Season 11

"Nanny McPhee" (2005)

"The Naked Gun 2 1/2: The Smell of Fear" (1991)

"Nine to Five
See full article at Moviefone »

Happy 70th to Dolly Parton, the most approachable of unapproachable superstars

  • Hitfix
Happy 70th to Dolly Parton, the most approachable of unapproachable superstars
Happy 70th birthday to that life-affirming, effervescent, and consummate pro Dolly Parton. The legendary songstress' career is astonishing on every level, and the woman herself seems to treat her success as a wild and hilarious lark that she never, ever takes for granted. It's hard to know where to begin when toasting such a pop culture mainstay, so I'll be jumping around her career with underrated and unexpectedly fantastic moments and videos to commemorate her awesomeness. From her songwriting to her singing to her acting to her endless charisma, Dolly Parton has been the most approachable of our unapproachable superstars. Here are just a few more reasons she's divine. 1. She will astound you with her touching, Oscar-nominated jam "Travelin' Thru" 2. "Bargain Store" is one of her quaintest, most poignant songs. 3. This is, inarguably, the most perfect picture of a human being. 4. What could be more relatable than telling other ladies
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Strictly Come Dancing 2015: week nine – as it happened

Back in Blackpool … Tess Daly and Claudia Winkleman present live from the Tower Ballroom, where the eight remaining pro-celebrity couples dance for the judges

8.00pm GMT

So that’s it for another Strictly! Only seven couples left now, and any of them could make the grand final in just four weeks’ time, so all getting very exciting. I’ll be back here next week, so please join me then, and feel free to swing by Twitter @heidistephens for a chat in the meantime. Thanks for all your comments as ever, you guys are the best. Have a great week! Hx

7.58pm GMT

Jamelia and Tristan say lovely things about each other, because it’s the Strictly way. I’m sad to see her go, her dancing has come such a long way and she was the better dancer this weekend.

7.57pm GMT

So what will the judges do? Craig saves
See full article at The Guardian - TV News »

Hollywood Film Awards: Jane Fonda to receive the Hollywood Suppporting Actress Award for “Youth”

Among the many famous actors and actresses being honored at the 19th annual Hollywood Film Awards, few are as legendary as Jane Fonda. She’s hoping to be in contention for another Oscar this year with Youth, and the Hollywood Supporting Actress Award she’s receiving certainly won’t hurt those chances. She’s now almost guaranteed to be in the running for at least an Academy Award nomination, though as much as anything this honor just shows how viable she still is decades into her career. Fonda is one of the best in the business at her craft, plain and simple. As such, this 2015 moment in the sun for her is unlikely to be even close to her last… Here’s part of the press release once again announcing this honor: Academy Award® winning actress Jane Fonda will receive the “Hollywood Supporting Actress Award” for her role Paolo Sorrentino’s Youth.
See full article at Hollywoodnews.com »

Lff 2015: Grandma Review

  • HeyUGuys
Once a staple of 80s American comedy, appearing in the likes of All Of Me, Big Business and Nine to Five, the fantastic Lilly Tomlin returns to the silver screen in her first solo-lead role since The Incredible Shrinking Woman (1981). Reuniting with Writer/ Director Paul Weitz (About a Boy, American Pie) for Grandma, her

The post Lff 2015: Grandma Review appeared first on HeyUGuys.
See full article at HeyUGuys »

Alan Cumming To Topline Showtime Comedy ‘Florent’ About NY Restaurateur

Florent, Alan Cumming’s passion project about colorful New York restaurateur Florent Morellet, has found a new home. I’ve learned that Showtime has put in development the half-hour dark comedy project starring The Good Wife standout Cumming in the title role, written by Patricia Resnick (Mad Men, Nine To Five) and directed by The Good Wife‘s Rosemary Rodriguez. The trio originally set up the project at Sundance Channel last year. For Cumming, Florent is in second position…
See full article at Deadline TV »

‘Grandma’ Star Lily Tomlin on Feminism, Gay Rights, Stardom at 75 … and Donald Trump

  • The Wrap
‘Grandma’ Star Lily Tomlin on Feminism, Gay Rights, Stardom at 75 … and Donald Trump
At the age of 75, Lily Tomlin is enjoying the kind of career resurgence that you could describe as surprising – except that Tomlin spent five decades as a distinctive, often groundbreaking comic voice who never seemed dependent on waves of popularity. Even when she was part of hits like the ’60s TV series “Laugh-In,” the smash movie “Nine to Five” or the Tony-winning Broadway hit “Appearing Nitely,” she was an actor and a comedian trying to bring distinctive characters to life, not a star looking for the next big paycheck. Three years after winning the Mark Twain Award for...
See full article at The Wrap »

The 20 Best Female-Driven Comedies

  • Hitfix
The 20 Best Female-Driven Comedies
"Trainwreck," the new Amy Schumer/Judd Apatow movie, examines the plight of one snarly woman as she exits her familiar world of sexual freedom and hangovers for a detour into serious romance. Though several eye-popping cameos and supporting performances buttress the film, Schumer's performance is the acting triumph of "Trainwreck." Without her shaky conscience and burgeoning sense of fulfillment, the movie's conventional story might feel staid. Thankfully, it's anything but. Schumer's performance marks a welcome addition to cinema's long line of strident, hilarious female protagonists. We're celebrating that lineage with a list: the 20 best female-driven comedies ever. Some are old and some are new, but all are marked by a degree of cosmopolitan fun and nerviness -- and the occasional slap from Cher. 20. "How to Marry a Millionaire" We remember Lauren Bacall as a glamor girl with a damning grimace, but let's start revising that narrative to include her chops as a comic force.
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Streaming Now: 'Grace & Frankie,' 'Men in Black II,' and More

  • Moviefone
Not sure what to stream this weekend? The folks over at Netflix have a new series for you, starring comedy legends (and former "Nine to Five" costars) Lily Tomlin and Jane Fonda. Yep, the highly-anticipated "Grace and Frankie" hits the service Friday May 8, plus, there's more streaming entertainment out there to enjoy. Not only can you start binging Netflix's latest original, you can catch "Men in Black II" on Amazon and "The Birdcage" on Hulu. Allow Stream On to fill you in.
See full article at Moviefone »

Movie B.S. with Bayer and Snider, Episode 259: ‘Avengers: Age of Ultron,’ ‘Adult Beginners,’ our 2015 Summer Box Office Challenge draft

0:00-4:20 – Intro; we are excited about the Summer Box Office Challenge; trash-talking; discussion of our competitive natures

4:20-6:50 – A shout-out to listener Diego down in Argentina

6:50-22:45 – “Avengers: Age of Ultron” review

22:45-29:20 – “Adult Beginners” review

29:20-40:20 – Qotw (suggestions for the stakes of our box office bet)

40:20-56:25 – We each choose our 10 movies for the Summer Box Office Challenge. You can play along at home!

56:25-1:00:00 – What’d You Watch? (“Crash,” “Nine to Five,” “Soapdish,” “Captain America: The Winter Soldier

1:00:00-1:02:00 – Recap, farewell

Qotw: Since “Hot Pursuit” looks like a female version of “Midnight Run,” what other movie should have a female version? Casting suggestions welcome.

Reviews:

Avengers: Age of Ultron B- 6/10

Adult Beginners C+ 6/10

Email: moviebspdx@gmail.com

Facebook: www.facebook.com/MovieBSpdx

Twitter: @moviebs

To Listen:

Go to the Movie B.
See full article at Scorecard Review »

'Grace and Frankie' trailer: Jane Fonda and Lily Tomlin team up for Netflix

  • Hitfix
'Grace and Frankie' trailer: Jane Fonda and Lily Tomlin team up for Netflix
Jane Fonda and Lily Tomlin. Teaming up. Agonizing over the husbands (Martin Sheen and Sam Waterston) who left them. Engaging in over-the-top comedy. Bringing the glory of "Nine to Five" back. Yes. In this first trailer, watch as Grace (Fonda) and Frankie (Tomlin) cope with single life by relying on each other, wine, and some surgery. Please also take note of Tomlin's squatting capabilities. Yesssss, queen. Below, learn about the seven stages of grief in an explosive key art tutorial. "Grace and Frankie" premieres on Netflix May 8. 
See full article at Hitfix »

Where to Watch This Year's Golden Globes Ceremony Online

Watch Golden Globes 2015 online - Red Carpet arrivals and awards ceremony George Clooney will be present at the Golden Globes 2015 ceremony to pick up his Cecil B. DeMille Award. Will Tina Fey and Amy Poehler sink or swim – or both, alternately? Well, the Golden Globes 2015 ceremony will begin shortly. Would you like to watch it online? Here are a few possibilities. First of all, when it comes to the Golden Globes 2015 Red Carpet arrivals, depending on where you are in the world you can watch them right now on the NBC website or here or here or on the Golden Globes website itself. According to various online sources – and, in all honesty, I can't vouch for their accuracy – you can watch the Golden Globes 2015 live streaming online here. That's supposed to be the actual ceremony, which kicks off at 8 p.m. Et / 5 p.m. Pt. So, will Selma and Into the Woods really win,
See full article at Alt Film Guide »

The 50 Funniest Women of the Past 50 years: #10-1

  • Hitfix
The 50 Funniest Women of the Past 50 years: #10-1
Make people laugh and they won't even realize you're making them think. Over the past 50 years, women have broken through the glass ceiling time after time, shattering stereotypes and thumbing their noses at the old chestnut that "Women aren't funny." Fact: Anybody who says women aren't funny doesn't want them to be funny. We're looking back on the 50 funniest women of the past 50 years, their contributions to comedy, and their enduring legacies that inspire men and women alike. These are the 50 women who have helped (and are helping) to introduce the next class of hilarious women, which will inevitably include Amy Schumer, Lena Dunham, Mindy Kaling, Tig Notaro, Chelsea Handler, Maria Bamford, Aubrey Plaza, and Kate McKinnon. Keep in mind this list only includes women who are primarily performers in movies, television, and standup comedy. That's why you don't see legends like Nora Ephron, Anne Beatts, and Elaine May here.
See full article at Hitfix »

Jane Fonda: 'I am in awe of Tina Fey and Jason Bateman'

  • Hitfix
Jane Fonda: 'I am in awe of Tina Fey and Jason Bateman'
Jane Fonda is one of the most celebrated and well-awarded actresses of the past 50 years, but even with seven Oscar nominations and two wins under her belt, she finds herself marveling at the actors she shares screen-time with. "I wouldn't say it's intimidation," she told us when we asked her about her "This is Where I Leave You" costars Tina Fey and Jason Bateman. "I would call it awe. I am in awe of Tina, Jason, and Adam [Driver] and Corey [Stoll]."  "They have a unique gift," she continued. "It's a gift I don't share. It's a particular kind of comedic improv thing. You either have that gene or you don't. So I'm not intimidated but I was very, very, very impressed." We interviewed the 76-year-old movie legend to ask about her versatile background in comedy, why she avoided playing mother roles throughout much of her career, and the movie she would love to remake.
See full article at Hitfix »

Lily Tomlin Dishes On New Netflix Show 'Grace And Frankie'

Lily Tomlin will be reuniting with her Nine to Five costar Jane Fonda in a new Netflix comedy series called Grace and Frankie.

Lily Tomlin On 'Grace & Frankie'

According to Tomlin, her Netflix series Grace & Frankie features “two women whose husbands are lawyers and have been business partners for 40 years." In her interview with Vanity Fair, Tomline added, “The two girls don’t like each other, though. [Jane Fonda’s character] is very straight-laced, Republican, and conservative in her dress. She is married to Martin Sheen’s character.” As for Tomlin’s character, who is married to Sam Waterston, she “is very bohemian.”

At the start of the series, Grace (Fonda) and Frankie (Tomlin) head to a double-date dinner with their husbands, which goes a bit differently then they'd anticipated. “We go out to dinner thinking that our husbands are going to announce their retirement,” Tomlin explained. “And instead, they announce that for 20 years
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AFI Honoree Jane Fonda Draws Strength From Engagement

AFI Honoree Jane Fonda Draws Strength From Engagement
Given Jane Fonda’s hard-earned stature as an actress, activist, author and self-help guru, she’s amazingly humble and grounded in the moment. There’s no calcified nostalgia for the past. Sentences don’t begin with “In my day…” There are no unfavorable comparisons between today’s conglomerated entertainment landscape and Hollywood’s second Golden Era in the ’70s, when she earned Oscars for “Klute” and “Coming Home.”

Instead of citing the icons of her generation and those previous, she’s generous in her praise of younger peers. On Meryl Streep: “She has raised the bar so high that it throws the gauntlet at our feet.” When asked who the equivalents of Costa-Gavras and Stanley Kramer are today, she points to Clooney, Damon and Affleck: “These young and big movie stars also direct and produce movies that are very, very relevant politically and socially.”

Even the relatively green Adam Driver,
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