Credit Where It's Due: A Silly Title Card Showdown

by Nathaniel R

An intermittent off center obsession I miraculously don't believe we've discussed after years of blabbering at TFE: title cards, especially as they relate to actors. My personal favorite is when the name in question aligns with the actor's face on screen (quite rare all told since the order is contractual and title card placement feels like that rare piece of cinema construction that no director has ever bothered to worry about - "just put 'em wherever!".

Sometimes they're agonizingly placed (remember when several of the goddess actress names were superimposed over shots of tertiary character John C Reilly at the beginning of The Hours). Just for kicks with the Smackdown but 24 hours away, which Best Supporting Actress nominee wins the battle of 1984 title cards? Let's take them from worst to best after the jump...

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Doc Corner: The Cinematic Surprise of 'The Royal Road'

Glenn here. Each Tuesday bringing you reviews of documentaries from theatres, festivals and on demand.

One of the many benefits of doing this weekly column is not just talking about the sort of documentaries that we may be discussing throughout award season, but also being able to highlight those that deserve haven’t a hope that nonetheless deserve the attention. Such is the case with Jenni Olsen’s The Royal Road, an essay film that trades in experimental and avant-garde traditions as a means to explore deeply personal topics.

Using dry yet curiously hypnotic narration, Olsen swerves between discussing Californian history, a long-distance relationship with a woman named Juliet, classic Hollywood movies, and the effects of nostalgia (the latter of which even features a voice cameo by Tony Kuschner). Her film a progression of beautifully captured California vistas of San Francisco, Los Angeles, and everywhere in between, filmed on 16mm by cinematographer Sophia Constantinou whose perfectly composed 4:3 ratio images recall the works of James Benning and offer a striking visual component that elevates the film to the status of true art. By using real film and embracing all of the dots and speckles that come with it, Constantinou’s work adopts the history of the worlds she is filming while also embracing Olson’s edict that nostalgia can be good.

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Team Experience's Most Anticipated Fall Festival Films

Oscar season is upon the horizon, dear readers. And the (un)official starting siren for the race ahead is the fall festivals. Venice kicks off tomorrow, overlapping with Telluride and Toronto in September, the comes New York and Chicago before the AFI Fest in November.

Our host Nathaniel will be heading out to Toronto in a few short days, so expect to see his responses during those days. While we can't all take in the glut of a major film festival, the fun of watching from home is hearing how the films on your radar are being received. So to let you know what we'll be waiting for, Team Experience has rallied our:

Top 15 Most Anticipated Films of the Fall Festivals

Films narrowly missing the list included Una, Voyage of Time, Loving, American Pastoral, and The Salesman. On our list you'll find five films directed by women and nine from non-US directors. We weren't at Cannes or Sundance, so not everything on our list is a world premiere (and we know you're still looking forward to those as well). Let's just say our #1 made like Katie Ledecky at the Olympics or Mo'Nique at the Oscars, but the list is still bursting with enticements. You can see previous posts on the festival lineups here and here. Chicago is just beginning to announce and Telluride doesn't announce their lineup until the start of the festival.

See what made our list and the festivals they will play after the jump...

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RIP Gene Wilder (1933 - 2016)

Comedy legend Gene Wilder has passed away, after complications with Alzheimer's disease. He served as Mel Brooks's leading player, producing such classics as Blazing Saddles, The Producers and Young Frankenstein. After those films, he also frequently starred opposite Richard Pryor. But to many he will always be remembered for the hilarious sly cruelty of his Willy Wonka, a performance that seen from a childhood gaze is awe-inspiring and warm only to become more delectably rotten in adulthood.

After the passing of his wife Gilda Radner (Wilder also had his own battle with cancer), he mostly stepped out of the spotlight, leaving those mentioned behemoths to speak for his legacy. For me, his Frederic Frankensteen is the one that sticks - all barking neuroses and feigned composure while lampooning the heightened acting styles of Universal horror classics. The performance is so physical and modulated to extremes that his comedy becomes like a set piece, a spectacle worth coming back to again and again.

What are your favorite Gene Wilder memories?

Beauty vs Beast: Ice & Ivy

Jason from MNPP here on the occasion of Joel Schumacher's 77th birthday wondering if I'm the only one who feels like his 1997 superhero flop Batman & Robin ought to be a camp classic as revered as Showgirls... or at least Valley of the Dolls. I think the fact that the movie is actively trying to be camp, but failing, throws people off... but it only makes me love it more. It's so... queer. In all the senses. Maybe it's just that Zack Snyder's endless reign of self-seriousness has made this goofy trainwreck seem more endearing, but I manage to quote this movie far more than might be sane, and if it's ever on TV I get sucked into its dopey dreadfulness every time. The same will never be true of Batman v Superman, I'm afraid. (Unless it's Holly Hunter's scenes we're talking about, of course.)

PREVIOUSLY True Story: I was at a wedding this past weekend and they gave out Jordan Almonds! Anyway last week we forced you to take sides in the Bridesmaids battle of the Century, and I am so so proud of y'all that you went with Kristen Wiig's Annie (who'd never let a Jordan Almond get her down) to the tune of 54% -- that's meant as no knock on the brilliantly funny Rose Byrne but, well, I'll let Suzanne explain:

"I know people love Rose Byrne, but Annie is such a great character. It felt like a revolutionary political act in 2011 to make a film that focused on a female protagonist who was depressed because her business failed and she was broke."