To celebrate the last decade 2010-2019 we are counting down the best actresses and discussing some of their most notable and memorable performances of the last decade. With the help of Film Twitter, the ITOL team have selected 30 actresses. Entry No. 24 is Melissa McCarthy, and guest writer Billie Melissa discusses McCarthy's career over the last decade
Every year, the Hollywood Foreign Press Association (HFPA) hosts the Golden Globes. The Golden Globes are used as a predictor for Oscar nominations. As always, there are only so many slots for each category. Not every actor, filmmaker, or movie can be nominated. But the Golden Globes typically proves to be pretty white and male dominated. This year, five male filmmakers were nominated for Best Director. Bong Joon-Ho, who directed “Parasite” (2019), is the only non-white person nominated. The other nominees, Sam Mendes, Todd Phillips, Martin Scorsese, and Quentin Tarantino are all white dudes. And, in my frank and honest and personal opinion, it is comprised of mediocre white film bros. Sue me. (Actually, please don’t. I have lots of student loans.)
With all of the Scrooges out there bashing “Last Christmas” (2019), it seems that it is important to remind people that feel good movies are something we all need. The flack “Last Christmas” is receiving is from Tarantino/Scorsese/Kubrick Film Bros (my assessment of the situation), who think that every movie needs to be riddled with piousness, plot points that make no sense, and toxic masculinity. So, when “Last Christmas” (2019) hit theaters, it certainly did not please this crowd.
I think we can all agree that Hallmark-adjacent Christmas movies like “Love, Actually,” “The Holiday,” and most recently, “Last Christmas” were made with female audiences in mind, right? The romantic scenarios that would never happen play on the ladies’ heartstrings during the most festive time of year, the holidays. But, branding a piece of media this way comes at a cost, and that cost is reducing its value as a film. “Last Christmas” (dir. Paul Feig, written by the illustrious Emma Thompson) draws inspiration from the George Michael song of the same name. It centres on Kate (Emilia Clarke), a hot mess of a woman surviving, not thriving, in modern London. She works as an elf employee in a Christmas shop, hoping to someday make it as a performer at West End.
It’s always a refreshing experience to see films with female protagonists; films which tell a woman’s story--the kind of story that is unique to the female lived experience. These female-focused stories are just as valid as the ones that men have, and we see male stories embodied in films constantly. Being a man is not the default state of what it means to be human.