Rough Road for Female Veterans

Last night’s screening was Lysa Heslov‘s Served Like A Girl, which did well review-wise at South by Southwest ’17. Five women veterans who’ve endured serious trauma in the military create a shared sisterhood to help the rising number of stranded homeless women veterans, etc. It’s basically about women persevering, surviving and sticking together through thick and thin. Particularly mothers and daughters. Sad but stirring. Edited, scored with spunk and polish. I felt it. It got me.


Lysa Heslov, director & co-writer of Served Like A Girl, flanked by Catherine Bach (Dukes of Hazzard) and daughter following Monday’s screening at the London West Hollywood.

From Shari Linden’s THR review: “Glamorous gowns are definitely involved, and yes, there’s a talent contest, but the Ms. Veteran America competition is no beauty pageant in the conventional sense. The gutsy women who vie for the title come in all shapes and sizes. They’ve served in Afghanistan and Iraq, some have suffered dire injuries, and they’ve all weathered plenty on the home front as well. The participants profiled in Heslov’s documentary are the epitome of resilience, but they’re also disarmingly honest and funny as hell. In a word, they’re irresistible.

“Focusing on seven women involved in the 2015 competition (the fourth edition of the event), Served Like a Girl takes a while to find its groove. But as it sheds light on these women’s experiences and the larger issue of homelessness among female vets, the film grows deeply engaging. Whatever the perceived or real political and social divisions between military families and the rest of us, this rousing nonfiction feature by Heslov, a producer making her directorial debut, suggests there’s far more common ground than many might suspect.”

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Ruffians

All along I’ve been getting an “oh, God, no” feeling from Tulip Fever (Weinstein Co., 9.1) — a conviction that the 17th Century Amsterdam milieu is too far removed from my own, that it has nothing to say to me. The principal symbol of that apartness is the ruff, or that ridiculous ornate collar that men and women wore between the mid 16th and mid 17th Century, and which Christoph Waltz is seen wearing in a couple of scenes from the trailer. I saw Waltz surrounded by that absurd neck wear and I went “nope…can’t do this.” If I’d been director Justin Chadwick, I would have said to my costume designer, “I don’t care how inaccurate this is, but my actors are not wearing those awful ruffs…create something else, anything else. Audiences will take one look at Waltz and they’ll laugh.”


Christoph Waltz’s neck surrounded by a white ruff, a staple of mid-17th Century fashion in the Netherlands.

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“This Old Man Is All That’s Left”

Morgan Freeman deserves to be the the next recipient of the SAG Life Achievement Award. The trophy will be presented at the 24th annual Screen Actors Guild Awards on 1.21.18. But when I think of Freeman I think “immaculate actor, major brand, beautiful voice but for the last 17 years has mostly taken paycheck work.” How lucky or choosy has Freeman been in terms of scoring good roles in top-tier or reasonably decent films? Starting with his breakout role in Street Smart (’87), Freeman has a total of ten films on his serious honor roster: Clean and Sober, Glory, Driving Miss Daisy, Unforgiven, The Shawshank Redemption, Se7en, Amistad, Million Dollar Baby (Oscar winner for Best Supporting Actor), The Bucket List (okay, a so-so film but Freeman was first-rate) and Invictus. Eleven films out of…what, 100 or thereabouts? And most of them in the ’90s. But he did his best in what he was able to grab. And Freeman’s pre-Street Smart perfs were distinctive, particularly his angry-convict scene with Robert Redford in Brubaker.

When The Farrelly’s Couldn’t Miss

The 20th anniversary of There’s Something About Mary is 11 months off, but Fox Movie Night’s James Finn and Schawn Belston are celebrating it next week (8.29) all the same. Ben Stiller told the Farrelly brothers that he didn’t like the hair gel scene — thought it was unbelievable and therefore not funny. I felt the same way. The audience was roaring with laughter as I sat in my seat like a sphinx. The only Mary scene I really laughed at was Matt Dillon‘s with the dog.

Bobby and Peter Farrelly were touched by lightning for seven years — from Dumber and Dumber to Me, Myself and Irene. Their 21st Century track record has been spotty, but I’ll never back off in my admiration for 2012’s The Three Stooges. During a late ’90s phone interview I asked for their opinion of Ernst Lubitsch, and without missing a beat one of them said “who?” That’s confidence, that’s fearlessness.

Fox Movie Night used to screen classic studio-era films (All About Eve, The Ow-Box Incident), but nostalgia standards are changing. People in their late 30s and early 40s regard late ’90s films as kind of old-timey, ’80s films as moldy and crusty and ’70s and ’60s films as artifacts from the Iron Age.

22 Years Ago

$72 for a 50th anniversary remastering of the stereo and mono versions of the Rolling Stones’ Their Satanic Majesties Request? Not happening. But I’ll never forget how Wes Anderson‘s decision to play the entire track of “2000 Man” during a third-act heist sequence in Bottle Rocket impressed the shit out of me. Does any lyric for any ’60s song deliver the prophetic ring of “I am having an affair with the random computer“? Mick Jagger > Nostradamus.

Whadaya Want From Me?

Christian Bale as Captain Joseph Blocker in Scott Cooper‘s Hostiles, which will premiere at the Telluride Film Festival. Set in 1892, pic is about Blocker and some other soldiers (Jesse Plemons, Ben Foster, Timothee Chalamet) escorting a dying Cheyenne war chief (Wes Studi) and his family back to his tribal lands. Could Bale be playing the great-grandfather of Dan Blocker, who starred in NBC’s Bonanza several decades hence, or is he just another rugged individualist given to blocking his emotions?


Christian Bale in Scott Cooper’s Hostiles.