‘I lost a friend of almost 40 years’: Nancy Meyers pays tribute to Diane Keaton

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Film-maker who directed Keaton in Something’s Gotta Give, and wrote Baby Boom and Father of the Bride, says ‘we have lost a giant’ Film-maker Nancy Meyers has paid tribute to the late Diane Keaton, her “friend of almost 40 years” and collaborator on celebrated comedies Something’s Gotta Give, Baby Boom and Father of the Bride. On Monday, Meyers wrote on Instagram that she’d had a difficult 48 hours since Keaton’s death was announced on Saturday, but “seeing all of your tributes to Diane has been a comfort.” Continue reading... from Film | The Guardian https://ift.tt/TFc820j via IFTTT
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The best films of 2024 … you may not have seen

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From a Hitchcockian thriller to a shocking documentary, Guardian writers pick their lesser-known movies of the year

I can’t really blame anyone for not seeing Drugstore June in theaters, considering that scattered, super-limited run lasted just a few weeks. (I caught it in a near-empty cinema, on a weekday-afternoon whim, the day after belatedly seeing the trailer online.) But now that it’s streaming on Hulu in the US, you can check out one of the least-discussed but funniest mainstream comedies in ages. Built around the standup persona of comedian Esther Povitsky, Drugstore June is very much a throwback to a time when any emerging comic figure might be awarded their own thinly conceived vehicle. It wasn’t a great trend – Drugstore June’s director, Nicholaus Goossen, made Grandma’s Boy, to cite one example among many – yet here, revived absent big-studio attention (or maybe just with extra love for the game), it produces an idiosyncratic townie detective comedy, with sheltered, self-centered, snacks-obsessed June (Povitsky) trying to figure out who trashed the pharmacy where she (barely) works. Unlike its many Sandler-crew predecessors, Drugstore June has a genuine sense of place, a playful sense of generational self-satire, and an original persona at its center. It’s all the more miraculous at a time when studios big and small don’t care much for making comedies. Jesse Hassenger

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