"...it's not the training to be mean but the training to be kind that is used to keep us leashed best." ~ Black Dog Red

"In case you haven't recognized the trend: it proceeds action, dissent, speech." ~ davidly, on how wars get done

"...What sort of meager, unerotic existence must a man live to find himself moved to such ecstatic heights by the mundane sniping of a congressional budget fight. The fate of human existence does not hang in the balance. The gods are not arrayed on either side. Poseiden, earth-shaker, has regrettably set his sights on the poor fishermen of northern Japan and not on Washington, D.C. where his ire might do some good--I can think of no better spot for a little wetland reclamation project, if you know what I mean. The fight is neither revolution nor apocalypse; it is hardly even a fight. A lot of apparatchiks are moving a lot of phony numbers with more zeros than a century of soccer scores around, weaving a brittle chrysalis around a gross worm that, some time hence, will emerge, untransformed, still a worm." ~ IOZ

May 15, 2011


This is where my brain went for a couple of hours, today, to forget it was a brain:

It was a funny movie, mostly. Wiig can pen a good script, and she's as fine a comedic actress as is available to the speaking English world, which is a bit of an undersell on my part. She was perfect. Not quite Binoche, but who could be la dame Juliette, really?

We laughed a lot. Wiig pawned the bromance. Low humor, coupled with Wiig's rather brilliant performance made for a good movie. Not The Hangover, but real close.

But feminist filmaking?

That's a stretch.


The whole movie is about getting a woman (Maya Rudolf) married off to a wealthy fat guy. Her best friend, Annie (Wiig), deconstructs herself in order to compete with a wealthy new friend (Rose Byrne), who bests her in everything because she's wealthy. Ridiculous, enmansion'd estate with a randomly large number of horses, wealthy. I mean, vulgar wealth.  The kind of wealth even Helena Bonham Carter might manage to be ashamed of...well, maybe.

The side cast of characters (Ellie Kempfer, Wendon McClendon-Covey, Melissa McCarthy in a breakout role) contribute gags, pratfalls and a number of laughs, mostly around acting pigish or put upon. Wiig's substory involves moving on from an equally vulgarly wealthy loser (John Hamm) to an endearing, understanding cop who wants to rescue her from her own entirely self-imposed deconstruction and disarray.

And then the rich wife pulls it off. She makes a successful wedding, upstages the poorer (destitute, really) character played by Wiig, and they all get to lip sync to a famous daughters' (Wilson Phillips) boutique hit from the very early Nineties.

Cue cop. Rescue. Ride away.

It was funny. I'm not sure how it's feminist.


For an alternate view, please read this.

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