Celebrate Boss’s Day Like a Boss With These Cinematic Honchos

It’s that time of year again: Boss’s Day. (What’s that, you ask? When is Employee’s Day? Everyday is Employee’s Day! Now shut up and get back to work, you peons!) (Yes, one could say I am blogging like a boss today.) To celebrate, here’s a list of the best bosses in movie history. "Best," of course, is a relative term, but hey, this is the internet and all I know is that I’m the boss of listicles today, so deal with it or you’re fired. 

1. Sigourney Weaver as Katharine Parker in Working Girl

2. Dabney Coleman as Franklin M. Hart, Jr. in 9 to 5

3. Diana Rigg as Lady Holiday in The Great Muppet Caper
diana rigg

4. Christopher Walken as Max Shreck in Batman Returns

5. Meryl Streep as Miranda Priestly in The Devil Wears Prada

6. Bette Midler as Sadie Shelton in Big Business

7. Michael Keaton as Captain Gene Mauch in The Other Guys

8. Garry Marshall as Walter Harvey in A League of Their Own

9. Dan Hedaya as Richard Nixon in Dick

10. Harvey Keitel as Matthew "Sport" Higgins in Taxi Driver

11. Peter Capaldi as Malcolm Tucker in In the Loop

12. Anthony LaPaglia as Joe Reaves in Empire Records

13. Meg Ryan as Kathleen Kelly in You’ve Got Mail

14. Maggie Smith as Mother Superior in Sister Act

15. John Cusack as Rob Gordon in High Fidelity

16. Faye Dunaway as Joan Crawford in Mommie Dearest

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‘New Year’s Eve’ Director Garry Marshall Reveals His European Influences

It’s almost New Year’s Eve! Well, it’s almost time to go see New Year’s Eve, the new romantic comedy starring a million famous people who got paid a lot of money to recite some lines for a few hours. The movie opens tomorrow, so prepare for what is sure to be the most intricate ensemble picture since the brilliant Syriana. How much of New Year’s Eve will focus on the global influence of the oil industry? Let’s go right to the source: director Garry Marshall.

The famed director of the modern classic Pretty Woman and the creator of classic TV comedies like Happy Days and The Odd Couple, talks to Vulture about making his new film. It’s the second ensemble piece from Marshall, who also directed last year’s clunker, the companion piece Valentine’s Day. What does the great auteur have to say about the process of directing such a large cast?

Well, they read the script; we always have a script, we read ‘em, and then I meet with them and I say what I had in mind. And a lot of times we’re on the same page, and sometimes we’re not. Sometimes some say, “I played that already.” Others say, “I always wanted to play … ” Jessica Biel wanted to play pregnant, Michelle Pfeiffer liked to play an invisible girl. Ashton Kutcher can play anything, but he doesn’t like the cold, so he was indoors a lot in this film. He picked that part. But also, you know, ensemble, to actors, they like it because they don’t have to carry the picture, but I told them it was a portmanteau movie, which is a word that means — it’s French, I think — and I said it’s a series of stories intertwined, and it’s very nice, and it’s made by all the European filmmakers. So they said, “A portmanteau.” I said, “Yeah.” So they said, “All right, I never did that.” They did, but they didn’t know. But that was one of my selling points, take the high road.

There you have it! Ashton Kutcher hates the cold (which explains those floppy stocking caps), and Michelle Pfeiffer thought this was an ensemble piece about Halloween and had a great idea for her ghost character. And, of course, Garry Marshall doesn’t know what a "portmanteau" is. 

OK, honestly? If you made it through that paragraph, feel free to read the rest of the Q&A. I commend you for your tolerance for gibberish! I think we can all agree, however, that New Year’s Eve will surely stand up along with other classic portmanteaus like Robert Altman’s Nashville and the word "Bootylicious." 

‘New Year’s Eve’: Yet Another Star-Studded Holiday-Themed Rom Com

If the trailer is any indication, Garry Marshall’s newest film, New Year’s Eve, is almost exactly the same as his last film, Valentine’s Day, except with a different over-hyped holiday. Despite – or perhaps because of – its long list of incredibly famous actors and numerous romantic story lines, it’s stacking up to be yet another trite, cliched, and ultimately uninspiring smorgasbord of self-regard disguised as self-deprecation. How did the man responsible for The Odd Couple and Happy Days get to this point? Let’s take a trip down celluloid memory lane.

First came Love Actually, the film filled with some famous people and some-not-so famous people, all of whom shared universal love stories that intertwined in subtle yet real ways. It was about sex, love, romance, and best of all, Christmas. Bonus points for all the British accents. We loved it.

Then came Valentine’s Day, the wanna-be Love Actually filled with even more famous people and intertwining love stories. Too many, in fact – it made us a bit dizzy. And because it was centered around one of the most cliched days of the year, it was just too much mush, gush, and teen tonsil honkey. No thanks.

Now comes New Year’s Eve, following directly in the footsteps of Valentine’s Day. New Year’s Eve boasts an impressive cast of everyone who’s anyone in Hollywood. We’ve got Lea Michele, Jon Bon Jovi, Hilary Swank, Jessica Biel, and about a million more. How Marshall locked down Robert De Niro for such a silly movie is a mystery for the ages, but I guess De Niro gave up around the time Analyze That came out.

This film celebrates that one magical night every year when the entire world gets together to celebrate new beginnings, the wonders of alcohol, and the hopes of getting a little midnight action. With Ashton Kutcher’s “I’m depressed and I only wear sweatpants” mood, a random romance between Ludacris and Hilary Swank, and Zac Efron making dreams come true for Michelle Pfeiffer, I just might gouge my eyes out. There is nothing about this film that makes me curious, and I definitely plan on spending my New Year’s Eve doing other things besides watching Sarah Jessica Parker pretend to not have any opportunities to wear pretty dresses.

But who knows? Marshall may well surprise us with a well-crafted tale of love in the city of big dreams. But it’s looking like he’d prefer to squeeze a few more bucks out of a once-endearing idea, and that’s hardly in the spirit of “out with the old, in with the new.”