Thelma & Louise, Pt. 3: Pitt Stops

25th Anniversary Five-Part Mini Series Event 

In Pt 1 of our lookback at Thelma & Louise, a fateful night at the Silver Bullet threw Thelma & Louise off their course. In Pt 2 the best friends weren't so friendly  as they struggled to find a new one. When we left them, they'd picked up a charming hitchhiker (Hellooo, Baby Brad) and but Louise needed a cup of coffee and to collect herself. Anne Marie & Margaret, our own superheroine duo in Los Angeles were grappling with the surprise killing of a would be rapist. Was it rage and pride that motivated Louise to shoot after she had already saved Thelma? It certainly provoked audiences but was there any other way to play the film's themes?

Louise is trying to plot their next move when we return to them, just before they jump back in their '66 Thunderbird - Editor

Pt 2 by Daniel Crooke

50:58 – Surprised to see her leather-faced boyfriend, Louise looks like she’s seen a ghost. Based on their last phone call, it didn’t sound like she was planning on casually bumping into Jimmy north of the border anytime soon. These men just can’t get out of our heroines’ way; is it that maddeningly impossible to trust an independent woman to chart her own course in this world? (more...)

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Doc Corner: Jia Zhangke Gets a Tribute in 'A Guy from Fenyang'

Glenn here. Each Tuesday we bring you reviews and features on documentaries from theatres, festivals, and on demand. This week we’re looking at Walter Salles' doc about Chinese film giant Jia Zhangke.

In the opening scene of Jia Zhangke’s sublime Mountains May Depart, characters dance to the Pet Shop Boys’ euphoric rendition of “Go West”. The song may have been a demand for a gay utopia, but it is also an apt choice for a movie in which characters slowly shift from rural China to the blue skies and bright lights of Australia. Zhangke’s characters are often caught between two worlds, travelling down a road (literal of metaphorical) to an unknown future and it is these pervading themes that have made him the unofficial cinematic chronicler of modern day China. They are also what makes Jia Zhangke: A Guy from Fenyang such a fitting tribute to the man.

Directed by Walter Salles, A Guy from Fenyang follows the director in intimate fashion as he returns to his hometown as well as prominent filming locations featured across his filmography in movies like Xiao Wu, The World, Platform, Still Life (my personal favourite of his works), and most prominently A Touch of Sin for which this doc was made as a sort of companion piece. [More...]

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In Happier Cannes Times

on this day in history as it relates to the movies...

1941 Bob Dylan is born in Minnesota, splinters into seven people in front of Todd Haynes' eyes.
1949 Jim Broadbent is born so that we might have Harold Zidler in Moulin Rouge! the film he should have won the Oscar for on the night he actually won the Oscar. Funny how that happens sometimes.
1960 Kristin Scott Thomas is born. Years later she can drop a room temperature or bring it to a boil onscreen in about 2 seconds. We miss her soooo much.
1972 Superhero Glut Producer of the CW, Greg Berlanti, is born.
1991 Thelma & Louise drove into theaters. You've been reading our 25th anniversary retrospective right? Part 3 hits today and we're having a blast revisiting.

2009 The White Ribbon finally wins Michael Haneke the Palme d'Or at Cannes. It goes on to two Oscar nominations for Foreign Film and Cinematography and becomes Haneke's most successful film globally, edging out the even greater Caché. It won't stay his most successful pic for long since Amour is just around the corner.
2011 This Sunday's Cannes results had the internet fuming (we won't know if the anger is justified until we see the movies) but five years ago Robert De Niro's jury gave us an astonishing roundup of winners at the 64th Cannes including The Tree of Life (Palme d'Or), Jean Dujardin in The Artist (Best Actor), Kirsten Dunst in Melancholia (Best Actress) and Nicolas Winding Refn for Drive (Best Director)

Stage Door: American Psycho The Musical

In the Stage Door column we review theatrical productions, often with one eye on their movie origins or connections.

We first alerted you to the glorius full bodied talent of Benjamin Walker way back in 2011 writing:

You're in for such a treat when you see him on the big screen. Major charisma he has. Big stardom awaits.

The movie career didn't happen quickly in the way we imagined despite a couple of lead roles (The Choice, Abraham Lincoln Vampire Hunter) but that major charisma is still blinding on stage. It's impossible to miss even when the strobe lights are flashing. And flash they do in his latest show. He's recently returned to Broadway as soulless Patrick Bateman in American Psycho the Musical. Yes, that American Psycho. The best selling 1991 novel turned initally troubled 2000 arthouse horror flick turned cultural mainstay and now a Broadway musical. We recite all the history to remind ourselves that American Psycho has never been a property to elicit universal praise in any iteration. Instead, it's always greeted with a mix of  "worst ever" / "how amazing!" And so it's gone with the Broadway musical...

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YNMS: Beauty and the Beast

For better or worse, the Disney live action adaptations are here to stay. We bemoan the risk of bastardizing our classics, but it is easy to forget that some of these stories have a long history of screen iterations from their fairy tale roots. Beauty and the Beast has been seen as legendary Cocteau classic and 80s TV cheese before Disney musicalized the legend into its most popular version. Naturally, Disney has another one on deck.

While the quality of these reboot/rehashes has ranged from the unexpected delights (Kenneth Branagh's Cinderella) to the outright nightmares (Tim Burton's Alice in Wonderland), the predictably high box office returns of each guarantees that your personal favorite will eventually get the live action treatment if it hasn't already. The just released teaser for Bill Condon's hints at a very literal take on the musical, but is that a good thing or bad? 

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