Michael Douglas has freely admitted that making onscreen love with beautiful women like Kim Basinger in “The Sentinel” isn’t exactly a tough day at the office, but he once observed, “everybody has had sex… everyone has an opinion on how it should be done.” Douglas has always done it his way… many times!
This week’s theme is… nymphomania! Ok, so only two of our five featured films focus on characters who go beyond simple promiscuity, but that’s 50% more than a normal week. In addition, we’ve got Daniel Day-Lewis, Michael Douglas, Kathleen Turner and the story behind one of post-punk music’s biggest fallen icons. Unfortunately not all in the same film, but hey, you’ve got to pace yourself. We’ve got all week together.
It’s old news that the increased presence of high-profile film stars in TV land is just another not-so-subtle sign of the recession in action: Those usually used to a fat paycheck from the film studios have had to think out of the box — or rather, right into it, as have 2012 Emmy nominees Glenn Close of Damages, Kathy Bates of Harry’s Law and Steve Buscemi of Boardwalk Empire, to name just a few. But their presence is also a sign of another larger shift in the entertainment media landscape, one that has also been in development for a while now: The boundaries between the kind of content on TV and in film may be disappearing altogether.
Traditionally, January is the time when studios dump their loser movies into the recycling bin of the public’s consciousness, tossing ill-fated action flicks with monosyllabic actors or woebegone romantic comedies with badly matched C-listers into theaters because people are too cold to leave the house anyway.
By January, the Oscar rush has come and gone, and it’s the time to cut one’s losses and release some of those less golden efforts in hopes that they might find an audience despite it all, even if it’s just angry people who get off on yelling epithets at the screen to impress their passive-aggressive dates.