Melissa McCarthy Sexism: Actress Rips Sexist Reporter

17 May 2015 | Author: | No comments yet »

Here’s How Melissa McCarthy Replied To One Movie Critic’s Sexist Comments.

When she was at the Toronto Film Festival last September promoting her movie St. How do you like them apples? forced a movie critic to eat his words — with a side of crow — after he suggested in a review that her level of attractiveness had a direct effect on her acting ability.Melissa McCarthy calls herself a homebody, and it’s clear from observering her and husband Ben Falcone that home is probably a really fun place to be.Paul Feig’s Spyis an entertaining Hollywood action comedy shot mainly in Budapest (which also stands in for Paris and Rome) — but the main attraction, for this reviewer at least, is Australian: the dazzling Rose Byrne as an icy, insanely coiffed villain whose lethal snobbery is hilarious if you can turn a blind eye to the high body count.

While doing press for her new movie , Melissa McCarthy took the opportunity to turn an instance of sexism into a positive lesson for one unfortunate movie critic. Reilly — or any actor — is playing a character that is depressed and dejected, would you say, ‘Well, you look terrible!’?” The Oscar-nominated actress, who has two daughters Vivian (eight) and Georgette (five), said she is acutely aware of the importance setting a positive example for her children. “For someone who has two daughters, I’m wildly aware of how deep that rabbit hole goes.

Vincent. “Are you the one who wrote I was only a good actor when I looked more attractive and that my husband [Ben Falcone] should never be allowed to direct me because he allowed me to look so homely?” the Spy actress, 44, recalls asking the critic in ‘s May 22, 2015 issue. They’ve appeared together on screen a handful of times, most memorably in Bridesmaids, in which McCarthy, as Megan, seduces Falcone’s Air Marshall Jon and their romance culminates in a raunchy sex scene involving deli meats. McCarthy asked the critic if he had a daughter, and when he said that he did, she didn’t hold back. “Watch what you say to her,” she told him. “Do you tell her she’s only worthwhile or valid when she’s pretty?” Cut Video and Field Day gave them a chance to peek into their marriage’s crystal ball, and in 100 Years of Beauty, the couple is transformed by a team of makeup artists from attractive 20-somethings into 90-year-olds, complete with costumes and prosthetics.

For obvious reasons, McCarthy has never shown that film to her daughters, ages 8 and 5. “I’m wondering how tough high school is going to be for them when people eventually show them the sandwich scene,” she says. I’m trying to take away the double standard of ‘You’re an unattractive bitch because your character was not skipping along in high heels.’” The film opens in more masculine tradition: a James Bond-like agent, Bradley Fine (Jude Law), is in Bulgaria, trying to retrieve a nuclear device from an international arms dealer. The more he told me, the more I needed to know what happened next,” says McCarthy, whom Feig didn’t initially consider due to her TV commitment. “Finally, by the end of dinner I was like, ‘I need to read it.’ The next morning I called him and begged to play her.”

At this point we discover he has been guided through this derring-do by a voice in his earpiece, that of the desk-bound Susan back at CIA headquarters. Back in 2013, New York Observer critic Rex Reed trashed her movie Identity Thief, calling McCarthy “tractor-sized” and referring to her as Jason Bateman’s “female hippo.” The review — which also included a line about her being a “gimmick comedian who has devoted her short career to being obese and obnoxious with equal success” — was widely panned by other stars and film critics.

When anonymous Susan volunteers for the mission to foil Rayna, her CIA boss (played by another woman, the reliably acerbic Allison Janney) reluctantly agrees, over the protestations of super-macho agent Rick Ford (Jason Statham, having loads of fun sending himself up). Feig, who directed McCarthy and Byrne in the 2011 hit Bridesmaids, has to walk a delicate line between mocking how the world sees a woman such as Susan (late 30s, overweight, unattached) and reinforcing that prejudice.

There is a running joke about her cover identities and disguises, all designed to make her look, as she puts it, “like someone’s homophobic aunt”. Even so, the second half of the film does become a bit of a cliched shoot-’em-up with a “twist” you can see coming without leaving the card table at Monaco. In the production notes the director says he has read that women make better spies than men “because they’re generally better at reading physical cues, gaining trust and using intuition. But McCarthy brings a redeeming emotional subtlety to the role of Susan, especially in her scenes with the beautiful Rayna (McCarthy and Byrne had few scenes together in Bridesmaids; here there’s a real fizz between them). Rayna’s humour is cool, cruel and fragile: sizing up Susan’s outfit she offers something like a compliment: “The moment I saw you standing there in that abortion of a dress … as if to say: ‘This is what I’ve got, world.

Byrne’s Hollywood career has taken off since she starred opposite Glenn Close in the 2007-12 TV drama Damages, and it’s terrific to see her receiving the recognition she deserves. I’m not sure he quite pulls it off with this new film — there has to be more to female empowerment than shooting men, even evil ones — but it whets the appetite for his next project, an all-female Ghostbusters due next year.

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