Emily Blunt and Rebecca Ferguson are going to star in a movie together. Incidentally, that movie is Tate Taylor’s (Get on Up, The Help) adaptation of the best-selling novel The Girl on the Train. It could be Pixels 2, though. I literally do not care what the movie is. Blunt and Ferguson are going to be in the same movie, and that’s all I need to know.
ICYMI: Dee Barnes, the reporter whom Dr. Dre famously beat up circa 1991, wrote about Straight Outta Compton‘s decision to leave out Dre’s abusive behavior. My feelings on this whole Compton controversy are mixed. On the one hand… Compton is a sanitized Hollywood biopic that was designed, bottom-up, to make its subjects look good. It’s a good one, but that’s what it is, and it doesn’t pretend to be anything else. How many biopics have there been about white dudes who were abusive, where the abuse was let out? And where was the outcry there, hmmm? And I have a tendency to be lenient on the “But why did they leave X important character out?!” front, because the movie is already two and a half hours long, people. There should absolutely be a 10-hour limited series on that era of rap history that includes all these people, but Compton is not it. It is one movie. To put representation of E V E R Y T H I N G on its shoulders is unfair. On the other hand, the way Compton treats the female characters it does include is decidedly less than good. They’re all either eye candy or bland ciphers. “Dre’s talking to this woman at a party for five minutes… I guess she’s important? Are we going to learn anything about her? No? OK. Moving on.”
“Obviously it’s very lopsided, and hopefully it’s going to change as time goes on. But it hurts my feelings when I’m used as an example of white, male privilege. I know many of the female filmmakers who are being referred to in these articles. These women are being offered these kinds of movies, but they’re choosing not to make them.”
–Colin Trevorrow, speaking about Hollywood’s tendency to pluck white male directors, but (generally) not female or POC directors, out of film festival quasi-obscurity to direct their $200 million tentpoles. Oh, man. Colin. No. Stop that. The piece as a whole is good, though.
There’s going to be a new Scooby Doo movie. Its director is Tony Cervone. He directed these:
It’s so beautiful.