Tag Archives: nicholas sparks

OPPRESSED BUT LOOKING DAMN GOOD

20 Oct

6.194416
1. Fury/Sony Wknd/$ 23.5 Total/$ 23.5
2. Gone Girl/Fox Wknd/$ 17.8 Total/$ 107.1
3. The Book of Life/Fox Wknd/$ 17.0 Total/$ 17.0
4. Alexander & The Terrible…/Disney Wknd/$ 12. 0 Total/$ 36.9
5. The Best of Me/Relativity Wknd/$ 10.2 Total/$ 10.2
6. Dracula Untold/Universal Wknd/$ 9.9 Total/$ 40.7
7. The Judge/WB Wknd/$ 7.9 Total/$ 26.8
8. Annabelle/WB (NL) Wknd/$ 7.9 Total/$ 74.1
9. The Equalizer/Sony Wknd/$ 5.5 Total/$ 89.2
10. The Maze Runner/Fox Wknd/$ 4.5 Total/$ 90.8

HATERS GONNA HATE PT. 1
Fury holds the top spot and I was down to see this until I saw fucking Shia LeBeouf in the trailer. Seriously. I’m not the biggest war movie fan, but I do like Pitt and I like how for the epitome of a leading man he doesn’t like to play it safe (can you think of even one romantic comedy or science fiction action film he’s done?). And of course the classic premise of the outnumbered soldiers making a stand is classic for a reason (all that’s missing is a shirtless Pitt screaming “This. Is. Fury!”), but my interest took a complete nosedive the second LeBeouf’s name appeared onscreen. Much in the same way Inglorious Bastard goes unseen by me because torture porn director Eli Roth is part of the cast. Seriously, when I don’t like you, I really don’t like you. So when a half-dozen movies opened this weekend (the blessing and curse of living in NYC is everything opens here first), it quickly got pushed down the list in terms of importance and I don’t see it coming back up…unless you tell me I get to watch him die horribly.

HATERS GONNA HATE PT. 2
Gone Girl is down to number two and speaking of people I hate to see onscreen Tyler Perry is here in an acting role as Ben Affleck’s slick, successful, press-friendly lawyer. Except he’s not really acting. Director David Fincher explained Perry basically got the role years ago when they were scouting studios in Atlanta to make the incredibly underwhelming The Curious Case of Benjamin Button. They were looking into Perry’s studio space and he made them wait until he came off the roof where he was flying his model plane. In case you didn’t know how rich Tyler Perry was, that’s how rich. He can ignore an A-list director of major Hollywood film to fly his toy plane. This is part of why I could stomach him in this movie. He was playing someone I was free to dislike. If LeBeouf was playing the bad guy in Fury, I might have seen it.

BECAUSE THEY DIDN’T WANT YOU TO THINK IT WAS A ZOMBIE OR BULLFIGHTING MOVIE
The Book of Life opens at number three and the irony of this film it that it’s about death (it was originally called El Matador then Day of the Dead). It involves “The Day of the Dead” the Mexican holiday that coincides with the Catholic All Soul’s and All Saint’s Day. Basically the belief that on Halloween the gates of heaven open at midnight and the spirits of dead children are allowed to reunite with their families for 24 hours and on November 2nd, the spirits of adults can come down to enjoy the festivities that are prepared for them. The former makes me wonder why it took so long for it to be any part of a film aimed at kids. Hell, it should be the basis for the Casper cartoon outright. But good luck finding a plot synopsis for this. As near as I can figure from the trailer two matadors are in love with the same girl and two supernatural entities make a bet on which one will win her. When one thinks he’s going to lose he has the one matador bitten by a poisonous snake and killed. Once in the land of the dead the matador makes a deal with the same entity that killed him to see her again (I can only think his soul is forfeit or something) and he has to go on some quest and face epic challenges. Once again my prejudice toward an artist kept me from a film, but this time in error. I knew Guillemoro Del Toro was a producer on this, but I mistakenly thought he wrote it as well and his writing is for crap. Visually the man is an artist with almost no peer, but I wouldn’t let him write a grocery list. This is now on my list of things to see…above Fury.

LIFE AFTER THE X-MEN IS VERY HARD FOR SOME
Alexander and the Terrible, Horrible, No Good Very Bad Day is down to four, followed by The Best of Me opening at number five and there was no way in hell I was going to see an adaptation of one of Nicholas Sparks horrible someone-dies-in-the-third-act-because-real-love-is-always-tragic novels. Especially one so poorly cast we’re supposed to believe those two people become James Marsden and Michelle Monaghan. Maybe if they’d cast actual teenagers to play teenagers to play teenagers instead of two people pushing 30 to play the younger version of two people who are barely 40 (she’s only 38). Serious casting fail here.

METHINKS DAD HAS SOMETHING TO ANSWER FOR
Dracula Untold is down to number six and the star of this is Luke Evans whom you’ve seen everywhere from The Hobbit to the horrible Clash of the Titans remake. How happy is he that he has The Hobbit to wash away all his other sins? Every time he makes something like this or The Immortals, a Hobbit movie comes out to prop him back up (though he did have Fast & The Furious Six last year). Kind of like how it was from the man from whom he was cloned, Orlando Bloom. Bloom always had either Lord of the Rings or Pirates of the Caribbean to fall back on. Now that they’re done, when did you Bloom last? Why, in The Hobbit films of course…with Luke Evans (they were also in the horrible steampunk Three Musketeers together). But there may be hope here as this has made almost $100M overseas. He could actually be the new Dracula after all.

VANITY THY NAME IS MAN
The Judge is down to number seven and also in this is the wonderful Vera Farmiga who balances off her indie work with mainstream stuff like this as apparently the new “Anne Archer” meaning the first choice of actors “of a certain age” who don’t want to be openly creepy with an actress half their age, but don’t want anyone actually their age either. She was Clooney’s love interest in Up In The Air and she’s the proverbial “girl back home who’s still in love with the hero” and only the twist of her being sexually as well as financially independent allows her to be a bit more than the cliché.

THE PINNCALE AND END OF YOUR CAREER
Annabelle is down to number eight, followed by The Equalizer at number nine and also in this is Melissa Leo. Sound familiar? That’s because she won the Oscar almost guaranteed to send you into obscurity: Best Supporting Actress. Just ask Juliette Binoche or Mercedes Ruehl. How many years was Marissa Tomei missing?

THE END
Finally, The Maze Runner closes out the top ten at number.

JUST A REMINDER: SCHOOL DAZE SUCKED THEN AND IT STILL SUCKS NOW

Not breaking the top ten because it only opened in 11 theaters this weekend (Birdman only opened in 4) is Dear White People, a film that started off as a trailer before it got funding which reminds me that maybe I should finish that trailer I started 20 years ago in hopes of accomplishing the same goal. Nah. It’s probably too late. In any case Dear White People is an examination of modern race relations through the prism of humor and the people who can only see things in absolute terms: college kids. While the protagonist is the subtly named Samantha White (was “Black” as a surname too obvious?) a media major who sees racism in the film Gremlins and hosts a radio program called “Dear White People” (“Dear White People: Stop dancing.”) while secretly nursing a love of Taylor Swift and sleeping with a white teaching assistant in her class, the other storyline which rivals hers is that of Lionel Higgins, who is a shy, gay, undeclared sophomore who doesn’t feel he has a place anywhere with any group, black or white, straight or gay and winds up finding both a potential for romance and a place in journalism when starts a story on Samantha. Points of view are also spread around to Troy Fairbanks, ostensibly the leader of the black community on campus, but is also a pawn in his father’s rivalry with the college president (his father is dean of students and they attended that same college together) to the point where he dates the president’s daughter because of his father, having broken up with Samantha the previous year. Meanwhile Colandrea who prefers to go by Coco to distance herself from her from her background is aggressively assimilating to the point of blue contacts and deliberately conflicting with Samantha to drive up hits on her YouTube channel and possibly score the lead in a reality show coming to the campus. The film details the events leading up to a fight on campus as the result of whites throwing a racially themed party, which begins with Samantha ousting Troy as head of the black house. It’s a very funny film that makes serious observations about race with the time honored tradition of humor, but it is by no means perfect as it fully acknowledges that Samantha has a white father and that Troy has a white mother, but we never delve into how that has served to shape who they are beyond the Dean of Students accusing Samantha of “overcompensating” for it. Pretty sure that’s an important issue. Nor are supporting characters allowed any type of shading beyond being “angry black guy” and “clueless white guy.” Not to mention Lionel’s very presence brings up the very real issue of homophobia within the black community, which he actually acknowledges, but is brushed aside by one person saying “We’re not homophobic.” Though I have to admit their concern with his unruly afro over his sexuality rings all too real, not to mention every black person’s fashion sense is on point. Just because you’re fighting the man doesn’t mean you’re not going to look good doing it. And then there’s the matter of the missing seniors, which is just my personal bone to pick. Like so many movies set in high school or college, the most important and popular people on the campus never seem to be seniors and if anyone is running student society it’s them. But overall the film hits more than it misses and reminds me how long it’s been since a movie like this existed as the primary provocateur, Spike Lee is now too old and too rich to burn like he used to and honestly, was never this funny and is too much a misogynist fuck to have a female lead like this anyway.

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JUST DIE ALREADY

18 Feb

awap

1. A Good Day to Die Hard/Fox                Wknd/$  25.0            Total/$  33.1

 2. Identity Thief/Universal                        Wknd/$  23.7            Total/$  71.0

 3. Safe Haven/Relativity                             Wknd/$  21.5            Total/$  30.3

 4. Escape From Planet Earth/Wein          Wknd/$  15.9            Total/$  15.9

 5. Warm Bodies/Summit                             Wknd/$   8.8            Total/$  50.1

 6. Beautiful Creatures/Warners                 Wknd/$   7.6             Total/$    7.6

 7. Side Effects/ORF                                       Wknd/$   6.3             Total/$   19.1

 8. Silver Linings Playbook/Wein                Wknd/$   6.0            Total/$  98.4

 9. Hansel & Gretel: Witch Hunters             Wknd/$   3.5            Total/$  49.7

10. Zero Dark Thirty/Sony                             Wknd/$   3.0            Total/$  87.9

 

IT COULD BE WORSE; IT COULD BE ANOTHER LETHAL WEAPON

To no one’s surprise, A Good Day To Die Hard opens at number one and the title couldn’t be any more appropriate because this franchise is dying very hard, with every chapter being more inept than the one before it.  Though to be fair, I’d put Live Free or Die Hard before either this or Die Hard With A Vengeance, despite all the CGI and the sight of Bruce Willis beating a jet unarmed.  I’d be hard pressed to think of a sequel more utterly clueless about what made the original films so successful.  It seems to think that Bruce Willis wisecracking and killing people is all you need, but in their defense all of us still going to see these prove them right somewhat.  Then again $33M opening for a 20-year-old franchise is actually kind of weak.  Let me put it this way: Skyfall opened at almost three times this gross and Wreck It Ralph made more its second week.  What made John McClane so exceptional was that he was a reluctant hero. In Die Hard he tries the best he can to avoid taking on the bad guys.  Even the weak Live Free or Die Hard got this character point right.  Not here. Here, there’s much talk of “going out and killing” scumbags because that’s what their family does. He also used to bleed. Now McClane is nearly indestructible, crawling out of devastating car crashes literally without a scratch.  This is clearly meant to hand over the franchise to literally John McClane Jr, but this poor actor has none of Bruce Willis’s charm and the script does nothing to help him.  We ran the “McClane’s kids hate him” idea into the ground the last time and like last time we really don’t bother getting into why. When your dad heroically saves your mom twice, it’d be nice to know why you and your sister resent him so, other than he “worked all the time.”  It’s not like he was out busting jaywalkers.  He’s got the best reason possible.  Last time he literally saved the whole damn country, which as a CIA agent, Jr. would know better than anyone.  But  here Jr. just seems like an asshole and Sr is giving him stiff competition in a script that does all it can to also drain Willis of his natural charm. These are your heroes and you don’t really like either one of them.  The best comparison I can make is that Die Hard is a 2+ hour movie that you don’t want to end, while A Good Day To Die Hard is a 98 minute movie that seems like it will never end.

 

LIKE DÉJÀ VU ALL OVER AGAIN

Identity Thief drops to number two and also in this is Amanda Peet and you know she’s got to be chafing over Allison Williams being heralded as some kind of beauty when she looks just like Amanda Peet who got none of this kind of fanfare even when she was the “Hot New Thing” running around topless with Bruce Willis in The Whole Nine Yards.  Let Amanda Peet’s career be a cautionary tale for you, Allison Williams. One day you’re making movies with Bruce Willis and Ashton Kutcher, next you’re playing thankless “wife” roles to men who aren’t big enough stars to be able to command younger actresses.  Though her show Bent last year was a very funny series that should have been a very funny 90-minute movies. Seriously, how’d they plan to have her romance with her handyman stretch out over the years of a TV show?

 

BUT SHE’S DIFFERENT!

Speaking of franchises that need to die, Save Haven opens at number three and this is the latest from the Nicholas Sparks franchise of complete crap.  These are romance novels for the same people who think 50 Shades of Gray is hot.  I will give him this much: Sparks flat out said he started writing these books to make money and nothing but.  So I respect him as a capitalist but despise him as both a writer and human being for continuing to pump this dreck out. He’s got to have enough money by now. He can stop but chooses not to.  These movies have been become the romantic equivalent of a horror movie or family film: a vehicle for actors who need a boost because they come with a built in audience. No one is clamoring to see Josh Duhamel, who is basically the dumb person’s Timothy Olyphant and almost no one knows who Julianne Hough is, despite Ryan Seacrest’s attempt to buy her a career.  Ask William Randolph Hearst how that worked out.  She’s thin, cute and blonde? You don’t say! Can’t be too many of them in Hollywood.

 

THE DAY THE KIDS WOULD BE STILL

Escape From Planet Earth opens at number four and when you can’t float a CGI animated kids science fiction film, you may need to call it a day.  This couldn’t look more unappetizing and clearly no kids were clamoring to see it.  Even parents who desperately needed a place to park their kids for 90 minutes gave it a pass.  In a world where the miserable Ice Age franchise is on its fifth installment and the odious Madagascar has reached three, that’s saying something.

 

ZOMBIES VS. WITCHES

Warm Bodies is down to number five, followed by Beautiful Creatures opening at number six and guess what isn’t going to be the next Twilight?  This goes on the heap with all the other Young Adult literature franchise books that have failed to make it onscreen.  This one is apparently about witches as opposed to vampires and they’ve got no one but themselves to be blame because the ads didn’t tell you anything. No hint of a story, character, nothing. Just some young girl is going to become powerful with two slumming Oscar-winning English actors trying to make you think it’s not just total teen crap. Even Twilight sold you the idea of a young girl in a small town who meets a mysterious stranger who turns out to be a vampire.  This seemed to think that “Hey, we’re a successful book series” was going to be enough to put butts in seats and it wasn’t.  And maybe it’s not time for witches. The Secret Circle failed on TV just last year. That’s a successful book series too. Maybe its failure should have been a clue.

 

NATURE VS. NURTURE

Side Effects is down to number seven and Catherine Zeta-Jones disappeared so completely after winning her Oscar for Chicago every appearance seems like a novelty.  Maybe after seeing what happened to Michael Douglas’s other kid and his brother she decided to be a full-time mom to try and overcome the Douglas DNA.  Oh, shut up. You know it’s true.

 

LAST CHANCE

Silver Linings Playbook is down to number eight and I know this is my last week to see it before the Oscars. I’ll get to it. I promise.

 

IT’S CALLED A PATRIARCHY, KIDS

Hansel & Gretel: Witch Hunters is down to number nine and after seeing Beautiful Creatures tank and this succeed ($150M worldwide from a $50M) I’m now seriously convinced that people don’t want to see witches unless they’re dying.  Let’s pretend we don’t notice that witches tend to be very powerful women.

 

MOMENTS BEFORE ASCENSION

Finally, Argo closes out the top ten at the top ten. Next time this week it’ll be the “Oscar-winning Argo.”

 

HOLY ROSE COLORED GLASSES

In the 80’s Frank Miller’s reimagining of Batman in The Dark Knight Returns along with The Watchmen made comics history with over a million dollars in sales and an overall change in the tone of comics.  Darker, edgier elements had begun creeping in before then (a hero as light as The Flash already had to deal with angel dust and a murdered wife), but these works showed it could also enormously profitable for an audience who regularly mistake sex and violence for maturity like most teenagers—or grown men trapped emotionally as teenagers, which is the bulk of the comic reading audience.  A wave of darkness overtook almost every character but none so much as Batman who hasn’t been the same since.  He stopped being simply a “darker” superhero and more often than not became a borderline psychotic taking out his emotional trauma on criminals while apparently secretly preparing for the day he’d have to take out Superman and any other superhero who actually believed in due process. Nonetheless, it remains a brilliant interpretation of the character and the only real question is why it took this long for Warners Animated division to finally adapt it.  On the plus side they were smart enough to realize that they couldn’t do it justice in the required 80 minute run time for all animated direct to video features and split it into two films.  On the other hand, the luxury of time exposes many of the flaws of both the work and the people adapting it.  Simply because comics are a primarily visual medium and actually look like storyboards for a film doesn’t mean that they are.  Comics are no more movies than books are movies and likewise need to be adapted and translated, not copied directly.  There’s precious little adaptation and translation going on here and things that would have served the story better like the first person narration from many of the characters have been dropped, while the brief, brutal battle with Superman from the comics is dragged out by giving Batman a super-suit so he can go toe-to-toe with Superman as they throw wrecking balls at one another.  Then there are the problems with the original work itself. As a kid I could only see the most obvious, like how everyone who disagrees with Batman’s black-and-white view of crime is weak and wrong, but as an adult am can now see the homophobia (The Joker is made disturbingly effeminate) and misogyny (Superman’s first love, Lana Lang, is now an overweight talking head on TV, while Catwoman is an overweight whore, literally).  They should no more have been included than the racism, homophobia and misogyny of Frank Miller than they should of any writer when their work is transferred to the screen. Of course I had to pull the book out and it still stands up flaws and all, but there was a better adaptation done in a five-minute segment on the 90’s Batman animated series.

THE APRIL VIEWING

22 Apr

1. Think Like a Man/SGem                        Wknd/$  33.0            Total/$  33.0

2. The Lucky One/Warners                        Wknd?$  22.8            Total/$  22.8

3. The Hunger Games/LionsGate             Wknd/$  14.5            Total/$ 356.9

4. Chimpanzee/Disney                                Wknd/$  10.2            Total/$   14.5

5. The Three Stooges/Fox                           Wknd/$    9.2            Total/$   29.4

6. The Cabin In The Woods/LionsG         Wknd/$    7.8            Total/$   27.0

7. American Reunion/Universal                Wknd/$    5.2            Total/$   48.3

8. Titanic 3D/Paramount                            Wknd/$    5.0            Total/$   52.8

9. 21 Jump Street/Sony                                Wknd/$   4.6             Total/$  127.1

10. Mirror Mirror/Relativity                        Wknd/$   4.1              Total/$   55.2

LIKE WHEN BOBBY KISSED THAT GIRL AND IT TURNED OUT SHE HAD MEASLES

Think Like a Man opens at number one and this is two steps forward, one step back; a double-edged sword, a left-handed compliment, a pyrrhic victory… Basically anything where a success is simultaneously a failure.  That a black film, based on a book by a black person directed by a black person opened at number one bringing in almost triple its budget is great.  Make no mistake about it.  However the film in question is based on a misogynist book by a moron and directed by the hack that brought the world the two Fantastic Four films.  This means talentless idiots have been rewarded for being talentless idiots and will be encouraged to continue profiting from their idiocy.  Oh, and Chris Brown is in it.  Yeah, exactly.  The only good thing is lots of great looking actors that I like now have a hit movie under their belts.  Now, hopefully they will move on to bigger and better things, none of them with the name “Tyler Perry” attached to them.

YET MORE PROOF THAT READING AND WRITING ARE OVERRATED SKILLS

Speaking of talentless people making a lot of money, the second goddamn Nicholas Sparks-based movie this year, The Lucky One, opens at number two and as much as I dislike the man, I will give him points for honesty.  He flat out says he started doing this just to make money.  No genuine inspiration in the slightest and by god it shows.  He’s got a formula more dependable than Coke and he cranks it out in equal sugary amounts it seems.

FROM CHIM-PAN-A TO CHIMPANZEE

The Hunger Games is down to number three, followed by Chimpanzee opening at number four and while I do like a little A&E, Nature Channel, PBS documentary I cannot stand the “humanizing” narration that goes on with the stuff that Disney puts out.  These animals are not people and you insult my intelligence by assigning human attributes to their behavior (even moreso by having Tim Allen do it).  If anything it shows some of the things we do are still pretty primal not that animals are acting like humans, even primates who share more commonalities with us than any other creature.

LOOKING FORWARD TO THE SEQUEL: ENTER SHEMP!

The Three Stooges is down to number five and this has got to be the surprise of the year simply by not utterly failing. I would have thought no one would go to see this, but it’s already made its budget back in two weeks.  Clearly I’m not the only one who thought that line about boogers from the commercial was funny.  And yes, the guy playing Larry is none other than Jack from Will & Grace.  Glad to see everyone is working. Grace is on Smash, Will is currently on Broadway and Karen shows up on sitcoms left and right.  No word on Rosario.

I KNOW RECYLING IS IMPORTANT BUT THIS IS RIDICULOUS

Cabin In The Woods is down to number six and having read the movie spoilers summary of this I’m soooo glad I didn’t see it because an entire movie being a meta-textual commentary on a genre would have pissed me off beyond belief.  In fact, this sounds like an abandoned Buffy idea that they expanded into a full-length film, much like the first Final Destination film came from guys who worked on The X-Files and so clearly was meant to be something that Mulder and Scully investigated.

CAIN AND CLEARLY UNABLE

American Reunion is down to number seven and when I summarized the careers launched by the first film I forgot to mention the writer/directors, the Weitz Brothers, whose careers show a frightening dissimilarity with the added cruel twist of the better looking brother being more talented.  Paul Weitz has laid such turds as Down to Earth (Chris Rock’s misguided attempt to remake Warren Beatty’s Heaven on Earth which itself was a remake of Here Comes Mr. Jordan). In Good Company (which helped lay to rest any thoughts of Topher Grace having a film career), American Dreamz, Cirque du Freak: The Vampire’s Apprentice and most recently, Being Flynn.  He got lucky once with About A Boy, but that was clearly a fluke…or the result of more influence by Chris Weitz based on what he’s done.  He’s now more famous for being Brad Pitt’s clueless neighbor in Mr. & Mrs. Smith, but also worked with his brother on Down to Earth and About a Boy. But that’s where they part as he’s faired a bit better letting you know who’s the Hall and who’s the Oates.  The Golden Compass should have been a hit but New Line sold off the international rights, so when it succeeded there, they reaped none of the benefits and so couldn’t bankroll a sequel.  He also hopped on the Twilight gravy train by directed New Moon and scored a critical success as well as a Best Actor nomination for his leading man in A Better Life just last year.  He was also the star of the indie hit Chuck & Buck.  Mom probably liked him better too.

SOMETIMES THE GOOD GUYS DO WIN

Titanic 3D is down to number eight, followed by 21 Jump Street at number nine and Mirror Mirror closing out the top ten at number ten and while this has done better overseas, it’s still not a hit and the producers over at Snow White & The Huntsman are laughing their asses off.  And the cherry on top of this?  Brett Ratner is one of the producers and every time that fucker fails in any way is a victory for art and humanity.

STRIKE A POSE THERE’S NOTHING TO IT

I’m on a fashion trend with my Netflix choices because after watching Bill Cunningham’s New York, I watched The September Issue, a documentary about the making of the most important issue of the year for Vogue and ostensibly a documentary about Anna Wintour, the grand dame of the fashion being its editor-in-chief.  As you may know The Devil Wears Prada is based on her, the writer having been Wintour’s assistant briefly and as far as the movie depiction goes (I never read the book) it’s not that far from the mark, though at least onscreen Wintour never goes out of her way to be cruel or terrifying to subordinates.  But you can see the same kind of commitment in her that was in Meryl Streep to making the best possible magazine and her zero tolerance for fools or incompetence.  She even has a well-dressed male, aide-de-camp!  What wasn’t in The Devil Wears Prada was the other star of The September Issue: Gayle Coddington, the Creative Director who is more concerned with the aesthetics of beauty and art and is very vocal about disliking the use of celebrities instead of models (Coddington is a former model herself).  But the two Englishwomen form an excellent balance and seemingly dress for their respective roles, Wintour in perfectly fitting designer wear and the meticulous bowl cut she’s worn for 40 years, while Coddington is in a shapeless black sack of pure comfort with a wild, unkempt red bush on her head.  They clearly have a great deal of respect for one another’s abilities even as they parry back and forth over the identity of the magazine.  Coddington chafes as Wintour cuts her beautiful spreads down (while giving the lion’s share to Sienna Miller) and outright kills one only days before the issue is to close, requiring a down-to-the-wire reshoot.  But she was right in the end, as the reshoot is amazing and the pressure brings out the best in Coddington.  Wintour admits she doesn’t have Coddington’s eye and Coddington acknowledges Wintour was ahead of the curve in the use of celebrities, which sells the magazine and allows her any sort of venue at all. Honestly, I found it so interesting I could have watched another hour of this and there’s no higher praise for a documentary.