By Devon Delfino, Staff Writer
November’s cover of Elle magazine features the annual Women in Hollywood cover shots, but Melissa McCarthy’s cover is receiving a lot of backlash amid speculation that the plus-size funny lady is too covered up, showing just a sliver of leg beneath her coat, and a bit of exposed décolletage above it.
While heavy, oversized coats are a current big trend this year, the fact is that McCarthy is the only woman in “Women in Hollywood” who is so drastically covered up (and in such a heavy material: wool cashmere.).
In fact, the other covers, which feature Penelope Cruz, Reece Witherspoon, Shailene Woodley and Marion Cotillard, include crop tops, swimwear and form fitting dresses, a far cry from the almost overwhelming Marina Rinaldi coat McCarthy wears. Although, Cruz’s cover photo, which is a close-shot of the actress’ face, doesn’t show much skin either.
The implications of the photograph are somewhat troubling, however, and many have criticized Elle for “fat-shaming” by singling her out and covering her body with such heavy fabric.
The fashion world is no stranger to weight issues, and hardly any plus-sized women have been featured on the covers of magazines and, up until this past Spring/Summer season, none have been included in New York Fashion Week.
But McCarthy herself dismisses the controversy, admitting that she picked the coat herself and, in an interview with E News, the star said, “What I found so bizarre is I picked the coat. I grabbed the coat. I covered up. I had a great black dress on but I thought, it comes out in November. I was so sick of summer. I live in Southern California. I was like, ‘Give me a big coat to wear. Give the girl some cashmere!'”
It looks like McCarthy gets the last word on the matter and I have to say that she looks gorgeous.
By David Karikomi
I had honest and reasonable expectations heading into Identity Thief. While often typecast in feature films, Jason Bateman and Melissa McCarthy are still both endearing and entertaining stars, and director Seth Gordon had just helmed the delightfully unsophisticated, slap-stick comedy, Horrible Bosses. The formula to produce a decent comedy is simple: produce a story that makes your actors likeable.
Instead, Identity Thief unfolded as one of the laziest and pathetically unfunny stories in recent memory.
It’s hard not to feel sympathetic for actors like Jason Bateman. He is months away from resuscitating the genius that is Arrested Development, but in the meantime, he has produced and starred not only in Identity Thief, but also in the most recent humiliation of road-trip comedies, Due Date. It must have been surreal and disorientating for Bateman to have worked on the set of a project as hopeless as Identity Thief. Halfway through the film, I hoped someone would have the audacity, or even the decency, to instead screen episodes of Arrested Development. Unfortunately, justice from the comedic gods could only come after being subjected to nearly two hours of chaotic, incoherent mumblings.
Bateman plays Sandy Patterson, the unsung office worker, who is constantly belittled by his boss (Jon Favreau). With several other disgruntled employees, Sandy starts a new company, a chance to make his growing family’s financial dreams come true. A woman in Florida (McCarthy), however, has stolen his identity, and racked up a sizable debt and several run-ins with the law. Even worse, Sandy’s new boss won’t let him keep his new VP position until he meets with the perpetrator and clears his name – so Sandy flies to Florida to recapture his identity, which, of course, signifies more than the reclamation of his given name.
But these clichés are not the reasons for despising Identity Thief. I enjoy what some people call ‘formulaic’ comedies. I don’t mind knowing exactly what’s going to happen from scene to scene; I often look for that sappy, sentimental ending with interludes of happy laughs. It’s comic relief for the stresses of life. Yet Identity Thief takes these expectations as opportunities to insult the common sense – “intelligence” is too lenient – of its audience.
Every scene is perfectly contrived to follow the story’s hapless agenda. Two sets of gunmen constantly chase Sandy and Diana because of the latter’s shady credit history. An enigmatic old guy in prison orders his cronies to kill Diana. Do those characters matter during any point of the movie? No. In fact, they allow the film to falter even more; and, since two of the hitmen (T.I., Genesis Rodriguez) are racial minorities, the film uses awkward, senseless jokes about minorities in the “old-fashioned” South.