Nell wrote:

Sofia Coppola is the Veruca Salt of American filmmakers. She's the privileged little girl in Charlie and the Chocolate Factory whose father, a nut tycoon, makes sure his daughter wins a golden ticket to the Willie Wonka factory by buying up countless Wonka bars, which his workers methodically unwrap till they find the prize. If Coppola's 2004 Academy Award for best original screenplay for Lost in Translation was her golden ticket to big-budget filmmaking, Marie Antoinette is her prize, a $40 million tour through the lush and hallucinatory candy land of 18th-century France. Of course, Roald Dahl's insufferable Veruca Salt was eventually seized by angry squirrels and hurled down a garbage chute. Will Coppola suffer a similar fate when Marie Antoinette opens this Friday?

hmmm I don't know what Sofia Coppola is like as a person but Lost in Translation is I think a good movie
obviously because of her father she got "a golden ticket" round the dream factory but I that couldn't guarrantee that anything she created would be any good
the comparison with Veruca Salt strikes me as either a bad case of jealousy or a bad writer trying to be controversial
look at the art not the creator

a new breed of post-postpostfeminist woman." (The triple negative threw me for a minute, but I think she means "not feminist.")

Ms Stevens is an idiot or at least rather ignorant
post feminism isn't a negative it's a generation of thinkers and artists and ordinary women - it describes a sequence - so post x 3 feminism - just means the 3rd wave after feminism - this is basic stuff

edit
ok the latter may be a little unfair - i did a quick spot of reading - her interpretation of post x 3 feminism could be construed as fair but is perhaps a little simplistic - there's a sequence of revisionism which might be interpreted as she does

from wikipedia

Third-wave feminism seeks to challenge or avoid the second wave's "essentialist" definitions of femininity which often assumed a universal female identity and over-emphasized the experiences of upper middle class white women.

and if Sofia Copala is a Forth-wave feminist then ... I think labeling one strand of a debate "not feminist" is to belittle the arguments - I think there is a process and a sequence and all of those involved are feminists with differing interpretations and emphases

Nell wrote:

Sofia Coppola is the Veruca Salt of American filmmakers. She's the privileged little girl in Charlie and the Chocolate Factory whose father, a nut tycoon, makes sure his daughter wins a golden ticket to the Willie Wonka factory by buying up countless Wonka bars, which his workers methodically unwrap till they find the prize. If Coppola's 2004 Academy Award for best original screenplay for Lost in Translation was her golden ticket to big-budget filmmaking, Marie Antoinette is her prize, a $40 million tour through the lush and hallucinatory candy land of 18th-century France. Of course, Roald Dahl's insufferable Veruca Salt was eventually seized by angry squirrels and hurled down a garbage chute. Will Coppola suffer a similar fate when Marie Antoinette opens this Friday?

We walked out of a sneak preview of this on Thursday. I almost never walk out of movies. I find her frustrating as a director. She is obviously having fun, but the combinations and styles of her previous films -- make up for acting by having only sparse dialog, add weight by long lingering stills, add energy through modern music -- are still here. It feels more desperation than Vision. The Washington Post claims the movie "may be the most fascinating cinematic Rorschach test to come down the pike". If you like what you've seen before of her movies, this may be a great movie and will feel deep and atmospheric. If not, this movie will not improve your impression of Director Coppola II.