WEEK IN WOMEN: Streep, Kidman, Grande to star in Netflix adaptation of THE PROM – Brandy McDonnell reports

As part of his five-year deal with Netflix, Ryan Murphy (Glee, American Horror Story) will direct and produce the feature adaptation of The Prom, with. Meryl Streep, Nicole Kidman and Ariane Grande set to star in the popular musical. Murphy will start directing the film adaptation of the Broadway hit in December, for a fall 2020 awards season release in theaters before it airs on Netflix.

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MOVIE OF THE WEEK June 7, 2019: ALWAYS BE MY MAYBE

Even when you have a pretty strong sense of how it’s going to end, there’s something immensely appealing about a good, old-fashioned romantic comedy; they’re the comfort food of movies. And while Nahnatchka Khan’s “Always Be My Maybe” is, thankfully, refreshingly NEW-fashioned in terms of representation — and has some genuinely surprising comic elements — it’s exactly the kind of romcom that’s perfect to curl up in front of on a Saturday night. (Plus, it has a subplot all about actual comfort food, so there’s that.)

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ALWAYS BE MY MAYBE – Review by Sheila Roberts

Netflix’s new Rom-com, Always Be My Maybe, is a refreshing love story smartly directed by Nahnatchka Khan in her feature debut, starring the charming Ali Wong and Randall Park as childhood sweethearts who part ways after a spat then bump into each other 15 years later. Wong and Park deliver sparkling performances as Sasha and Marcus who now live in vastly different worlds and share little in common — or so they think.

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HOMECOMING: A FILM BY BEYONCÉ – Review by MaryAnn Johanson

If you don’t already understand why superstar singer-songwriter Beyoncé is damn near worshipped as a goddess, the new documentary Homecoming (streaming globally on Netflix) is here to show you why. Part concert film, part myth-in-the-making, this is a glorious pop spectacle that is both enormously entertaining and hugely important.

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MOVIE OF THE WEEK May 17, 2019: Amy Poehler’s WINE COUNTRY

If you can’t get to wine country with your own girlfriends anytime soon, you could do far worse than tagging along with Amy Poehler, Maya Rudolph, Rachel Dratch, and their crew as they celebrate female friendship in all its messy glory. Blending crisp whites and robust reds with both humor and introspection, Wine Country is like a cross between a buddy comedy and a midlife-crisis therapy session.

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WINE COUNTRY – Review by Susan Wloszczyna

Netflix’s Wine Country isn’t quite Sideways for a gaggle of six middle-aged gals. For one, it is set in Napa and not Santa Barbara. For another, writers Emily Spivey and Liz Cackowski, who show up on the screen as well, keep the dialogue at a sitcom-level pitch and packed with zingers.

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WINE COUNTRY – Review by Jennifer Merin

Amy Poehler’s directorial debut is a truly femme centric production — cast and crew — through and through The ensemble is essentially a feminist reunion of Saturday Night Live sketch comediennes. And, Liz Cackowski and Emily Spivey’s script stakes out and covers territory that is certainly familiar to women who will delight in seeing the film’s refreshing feminist perspective on screen.

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WINE COUNTRY – Review by Cate Marquis

Refreshingly, this is a female buddy comedy that is all about the women – and there is something cool about that. Wine Country follows the buddy comedy tropes of about long-time, aging friends, with familiar types and “getting older” jokes. But apart from some grumbling about one friend’s jerk husband, there are few conversations about men, and no obsessing over romance. Better yet, the story ‘s singular romantic subplot is with the one lesbian woman in the group. Basically, there is really only one male character, a houseboy/cook/driver/tour guide named Devon (Jason Schwartzman) who “comes with the house,” a character who is more a comic idiot than anything else.

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