Nick's Flick Picks: The Blog
A film blog under the influence
Labels: Funny
posted by NicksFlickPicks at 3:00 PM
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NATHANIEL R said...
i love 'fish out your teats' so much.
i bet helen mirren loves it too.
but my favorite celeb on celeb spoof right now is probably jennifer saunders doing Meryl in Mamma Mia "i'm acting!" and the best part after laughing with her faux julie walters... "ha ha ha ha we're friends" "the sheer acting of Meryl Streep" those words alone crack me up every time
Brooke Cloudbuster said...
There's no need to apologize for Tracey Ullman. She's a comedic goddess.
And another reason to see Plenty!
Catherine said...
Dame Judi's stoned-sounding "Lovely!" in response to Martin Scorcese's name is hysterical.
Nathaniel, when I first saw that spoof I basically had an aneurysm I was laughing so hard. "The sheer acting of Meryl Streep" is just such a funny phrase. And talking about the decision to cast whatshername as the director: "becuase...she'd done working with actors before". Ha! And Dawn French randomly breaking out an alto harmony line during "Chicken Tikka". Saunders is spot on in her Meryl impression, those hand gestures! Joanna Lumley is great in it too. Too funny.
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MY PROFILE THE LATEST THE BEST THE FAVORITES THE WOMEN THE REST |
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| The Movies of 2012: |
136 | |
| Amour | A | |
| Anna Karenina | C | |
| Argo | C+ | |
| Barbara | B | |
| The Central Park Five | B | |
| Detropia | B | |
| Django Unchained | C | |
| End of Watch | B– | |
| Flight | B– | |
| Girl Walk // All Day | B | |
| The Guilt Trip | C | |
| Hitchcock | D | |
| The Hobbit: An Unexpected Journey | C– | |
| Holy Motors | A– | |
| How to Survive a Plague | A– | |
| Hyde Park on Hudson | F | |
| The Impossible | C+ | |
| Life of Pi | B+ | |
| Lincoln | B+ | |
| The Loneliest Planet | B | |
| The Master | B | |
| Middle of Nowhere | B+ | |
| Les Misérables | D– | |
| On the Road | C+ | |
| The Perks of Being a Wallflower | B+ | |
| Rust and Bone | B– | |
| The Sessions | C+ | |
| Silver Linings Playbook | C+ | |
| Sister | B+ | |
| Skyfall | C+ | |
| Starlet | A– | |
| This Is 40 | D+ | |
| Zero Dark Thirty | B | |
| Coming Attractions: | ETA | |
| Any Day Now | Landed | |
| Promised Land | Landed | |
| Feature Films: | 19 | |
| Antiviral | B+ | |
| The Bella Vista | A– | |
| Beyond the Hills | B– | |
| Clip | B– | |
| The Final Member | B | |
| Hemel | C– | |
| Holy Motors | A– | |
| Keep the Lights On | B | |
| Like Someone in Love | B+ | |
| Mekong Hotel | B | |
| Once Upon a Time Was I, Verônica | B– | |
| Out in the Dark | C | |
| Paradise: Love | B+ | |
| Reality | B– | |
| The Repentant | B– | |
| Room 237 | D+ | |
| The Three Disappearances of Soad Hosni | B | |
| War Witch | B+ | |
| Westerland | C– | |
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| B+ | |
| D | |
| B | |
| C+ |
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Fifty Key American Films ($27/pbk), new from Routledge,
edited by Sabine Haenni and John White.
Includes my essays on
The Wild Party,
The Incredibles, and
Brokeback Mountain. Intended as both a newcomer's guide to the terrain
and a series of short, exploratory essays about such influential works as The Birth of a Nation, His Girl Friday, Sweet Sweetback's Baadasssss Song,
Taxi Driver, Blade Runner, Daughters of the Dust, and Se7en.
The Cinema of Todd Haynes: All That Heaven
Allows ($25/pbk), new from Wallflower Press, and distributed in the USA by Columbia University Press. Includes the essay
"'The Invention of a People': Velvet Goldmine and the Unburying of Queer Desire" by Nick Davis.
More, too, on Poison, Safe, Far From Heaven, and all the rest of Haynes' films by Alexandra Juhasz, Marcia Landy,
Todd McGowan, James Morrison (ed.), Anat Pick, and other scholars. "A collection as intellectually and emotionally
generous as Haynes' films" —Patricia White, Swarthmore College
Film Studies:
The Basics ($14/pbk), new from Routledge. Award-winning
film scholar and teacher Amy Villarejo finally gives us the quick, smart, reader-friendly guide to film vocabulary that every
teacher, student, and movie enthusiast has been waiting for, as well as a one-stop primer in the past, present, and future of film production, exhibition,
circulation, and theory. Great glossary, wide-ranging examples, and utterly unpretentious prose that is nonetheless rigorous in its analysis;
the book commits itself at every turn to the artistry, politics, and accessibility of cinema.
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since 5.27.05 |
