Legally Blonde (2001)

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Years before the feel-good musical! Elle Woods (Reese Witherspoon) is the beyond blonde Californian sorority queen who just wants to settle down with her boyfriend Warner Huntington III (Matthew Davis) after graduation from college and on the night she thinks he’s going to propose he dumps her  – for a brunette swot Vivian Kensington (Selma Blair) who’s going to Harvard Law with him.  Elle decides to follow him and crams for the Law School Admission Test – and winds up at Harvard too, pretty in pink with her beloved chihuahua in tow. She’s laughed out of class and takes refuge at a hair salon owned by Paulette (Jennifer Coolidge) and gets real, hits the books and winds up being romanced by her tutor Luke Wilson and getting on the team to defend a wealthy widow who’s accused of murdering her much older husband. Very funny outing with the redoubtable Witherspoon giving a barnstorming performance in a smart satire with a big princess heart at its centre.  The concluding courtroom scene is a doozy. With a slew of nice supporting cast including Ali Larter, Oz Perkins, Victor Garber and Raquel Welch, this is nicely shot by Anthony B. Richmond, and directed by Robert Luketic from a screenplay by Karen McCullah Lutz and Kirsten Smith, adapting Amanda Brown’s novel (the first in a series).

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Steel Magnolias (1989)

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Robert Harling wrote a one-set play about the death of his sister but when he adapted it for the screen under the direction of Herbert Ross it was opened out, as they say, and from the beauty parlour to the hearth and the hospital we get involved in the lives of a cross-generational community of women. Shelby (Julia Roberts) is the diabetic daughter of M’Lynn (Sally Field) who’s been warned not to have children. Her collapse at the beauty shop run by Truvy (Dolly Parton) and assisted by new addition Annelle (Daryl Hannah) triggers the revelation to family frenemies Ouiser (Shirley MacLaine) and Clairee (Olympia Dukakis) and we catch up a couple of years after Shelby’s marriage when M’Lynn is donating her kidney to Shelby to avert kidney failure following childbirth … This sounds mawkish but it’s fast, sharp-witted and filled with so many funny lines it’s breathtaking. Parton, MacLaine and Dukakis get the lion’s share with the latter pair serving as (wicked) fairy godmothers but it turns on Sally Field’s fabulous performance as a mother going from despair to grief and back again in the most life-affirming way possible. Roberts is very good in what could be a thankless and difficult role, Field is paired here opposite Tom Skerrit and they would be reunited years later for the wonderful TV show Brothers and Sisters (please bring it back) and MacLaine was working once again with Ross  (The Turning Point – now that’s something I really want to see again too!) but really Field is the whole show. Dialogue to die for (and they do…)

Sisters (2015)

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Unresolved Sisterly Tension is a pretty good motif for any movie … then comes the thorny issue of plot. ‘How can one person have two colonoscopy stories?’ asks Tina Fey of sister Amy Poehler (I have three, but that’s for another kind of blog.) That’s what happens when you have a house party to commemorate the end of your life in the house where you grew up … twenty-five years later and you’re in your forties and you’ve lost your job (Tina), you’re divorced (Amy) and the folks (Dianne Wiest and James Brolin) are finally downsizing to somewhere smaller in the Orlando area. So it’s time to clear out their rooms. Unfair! The ladies go back and read their vastly differing old diaries, get on ‘social’ media and call up their fellow loser buds to PARTY! Waster Tina agrees to be Sober Party Mom so busybody divorcee Amy can have the kind of night she couldn’t allow herself to have as the good sister and get laid by the handyman James selling his dead folks’ house next door. The moms and dads show up, the saddos show up, the Koreans show up, the drug dealers show up but it takes the Lesbians to play big choons for everyone to let loose and there’s foam and paint and chimney-climbing and sex … while James is impaled on a ballerina music box (see, that colonoscopy idea never goes far from writer Paula Pell’s references). The plot twist happens when drunken Tina (she succumbs) finds Amy’s phone and realises her daughter has been hiding in Amy’s house for months and the climax is catalysed …  There’s some astonishingly lazy writing here by Pell (who wrote for SNL) and some scenes just seem like improv central – yet we love these ladies don’t we?! Hell yeah!