WEEK IN WOMEN: Sofia Coppola Takes on Priscilla Presley’s ELVIS AND ME – Brandy McDonnell reports

Oscar-winning writer-director Sofia Coppola is adapting Priscilla Presley’s best-selling 1985 memoir Elvis and Me into a feature film titled =Priscilla. The biopic will star Cailee Spaeny as Priscilla and Jacob Elordi as Elvis. In the 1980s, Presley’s book quickly became an international sensation as a chronicle of her passionate marriage to The King. She was just 14 years old when she caught the eye of Elvis, who was 24 at the time, during his military service in Germany. They married in 1967, and welcomed a daughter, Lisa Marie, before splitting up in 1972.

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ON THE ROCKS – Review by Diane Carson

Writer/director Sofia Coppola tackles recognizable, perplexing situations with observational skill. Through calm restraint that communicates volumes, she reveals complex characters who struggle with relationships. In her latest film, Laura slowly but surely begins to suspect that husband Dean is having an affair with his assistant. On the Rocks is quiet, restrained, and wonderful.

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ON THE ROCKS – Review by Susan Granger

Obsessed with the concept of monogamy/marital fidelity, writer/director Sofia Coppola conveys her smart, sophisticated, incisive observations about men, no doubt formed by the dynastic Coppola family and her first marriage to director Spike Jonze. On the Rocks revolves around a meddling father, his anxious daughter and a marriage that may or may not be falling apart.

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MOVIE OF THE WEEK October 23, 2020: ON THE ROCKS

On the Rocks feels a bit like what you’d get if Woody Allen and Wes Anderson made a movie together — only with a lot more feminine energy, empathy, and understanding. Sofia Coppola’s dramedy tackles modern marriage, motherhood, career uncertainty, and parent/adult child relationships with a light touch and strong performances from a talented cast.

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ON THE ROCKS – Review by Nikki Baughan

The reteaming of filmmaker Sofia Coppola and star Bill Murray is a tantalising proposition for the many fans of their previous collaborations, such as A Very Murray Christmas (2015) and, of course, Lost in Translation (2003). The two have developed an easy rapport over the years, with Coppola knowing how to let Murray’s charisma shine through without overwhelming everything around him; and that balance, together with the addition of the always-excellent Rashida Jones into the mix, makes On the Rocks a hugely appetising confection.

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ON THE ROCKS – Review by Brandy McDonnell

It might not be a world-changing work of cinema, but “On the Rocks” bubbles over with wit and verve. Coppola keeps the drama understated, which makes it feel real, and sprinkles in plenty of keen observations and cutting questions about gender politics, marriage, monogamy, family ties and forgiveness.

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ON THE ROCKS – Review by Leslie Combemale

As much as I’m a proponent of female filmmakers, I’ve never much been one for the movies of Sophia Coppola. With On the Rocks, that has changed. I loved the film, and believe it’s one of the best vehicles in Bill Murray’s career. Sometimes his shtick brings attention to itself to such a degree that we become removed from the story or whatever is happening onscreen. Not so in On the Rocks. On the contrary, he gets so far out of his own way, his portrayal brings us all the more into the story. He is an unqualified marvel.

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ON THE ROCKS – Review by Susan Wloszczyna

Once again, Sofia Coppola pairs Bill Murray with an younger actress, this time in the form of Rashida Jones, not as a love interest — as was the case with Scarlett Johansson — but as his daughter. The main similarity between them is the fact that both characters suspect their spouse might be cheating on them.

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20 Femme-Helmers in the 2020 Oscars Pipeline – Susan Wloszczyna reports

One upside to this topsy-turvy season is the release of superb femme-centric, femme-helmed titles that are solid Oscars contenders that could easily make the Best Picture and Best Director cut. There are at least five actresses making their directing debuts, a pop star going behind the camera, old-school directors, new-school directors, blockbuster overseers and at least two former competitors in the category. Here is what might be the best of an encouragingly large batch.

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