"The Garden Left Behind" is a Must-See Festival Hit

Part 3 of 3 by Nathaniel R

"The Garden Left Behind" is a festival hit

The 5th annual Bentonville Film Festival deserved more than three posts but we do what we can with our time (ICYMI - parts one and two). At any rate we will have an opportunity to revisit a few of the films when they arrive in movie theaters. But herewith the wrap up via our "Best of Fest" winner. Don't miss it when it hits a festival near you (it'll be on the circuit for at least a few more months) or your local arthouse movie theater a bit later.

THE GARDEN LEFT BEHIND
This first time feature, a trans drama from gay Brazilian director Flavio Alves, picked up its second festival Audience Award at Bentonville. The first was at SXSW. Alves is still talking with distributors and the film has sparked interest but at this writing nothing is quite nailed down yet. Given that trans stories are increasingly popular with audiences, someone really ought to bite, as there's surely an arthouse market for it...

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Watch at Home: Killing Sacred Deers in Moonlit Hidden Worlds

The heads up on what's newly available right now to screen at home.

New on DVD/Blu-Ray
• How to Train Your Dragon The Hidden World - do we think this has a shot at the Oscar or was the conversation too muted? The series hasn't yet won the gold.
• Isn't It Romantic  If you can't get enough Rebel Wilson in movie theaters with The Hustle, you can try her romantic comedy from earlier in the year. We haven't actually caught this yet. If you have do let us know what you thought in the comments as we're curious about it.
• The Upside Bryan Cranston and Kevin Hart led this unexpected hit based on the French blockbuster The Intouchables.

New to streaming titles and iTunes deals on the ultra cheap are after the jump...

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Review: John Wick 3: Chapter 3 - Parabellum

By Lynn Lee

“Guns.  Lots of guns.”

That line is only one of several of John Wick 3’s nods to its spiritual predecessor, The Matrix, albeit the most overt one.  With the right audience, it draws appreciative laughs.  It also embodies everything that’s both most effective and most lacking in Keanu Reeves’ latest blockbuster franchise.  The action pyrotechnics are dazzling, the callouts to his last blockbuster franchise amusing, but once the last gun stops firing, there’s nothing left.  Nothing to feel, think about, or care about, even as the story ends on yet another cliffhanger that practically ensures the next installment we all knew was coming and was sealed by the movie’s gargantuan opening box office haul.

It wasn’t always this way.  The first John Wick had a simplicity of premise that made for a sharp and clean, if fundamentally goofy, revenge narrative...

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Stage Door: "Beetlejuice" and "Pretty Woman"

by Dancin' Dan

Adapting a non-musical film to a stage musical is always a dicey proposition. Leave the story exactly as is and just add songs, and you risk the show feeling rote and uninteresting. Change the story so that it fits a musical structure better, and you may alienate fans of the source material. This Broadway season has practically been a study in how to adapt a film to a musical. We’ve already talked about Tootsie, but this season saw three other screen-to-stage adaptations of varying levels of quality: Beetlejuice, King Kong, and Pretty Woman: The Musical. Each has proven divisive in varying ways, and they had much different degrees of success with the Tony nominations. I’ve recently seen two of them, and what one lacks, the other has in spades...

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Aladdin Pt 1: The 'street rat' and the princess with an edge

Three-Part Mini-Series
Occasionally we'll take a movie and baton pass it around the team and really dive in. If you missed past installments we've gone long and deep on Rebecca, Silence of the Lambs, Thelma & Louise, Who's Afraid of Virginia Woolf, A League of Their Own, and Rosemary's Baby in the past.  -Editor

Part 1 by Ben Miller

Welcome to Team Film Experience's Aladdin Retrospective.  This film was a big part of my childhood and I’m proud to join in on the fun to revisit it with you before the live-action remake hits.  Disney in the 1990s might have been the animated studio's peak.  They were coming off the surprise success of The Little Mermaid in 1989 follwed by the monster hit and then-historic Best Picture nominee of Beauty and the Beast in 1991.  The massive success of Aladdin the very next year felt like a commercial/critical apex (at least until The Lion King arrived two years later).

0:00:26 – Alan Menken probably does not get enough credit for the score he put together.  Yes, he won an Oscar for it, but it doesn’t get put into the conversation enough for GREAT animated scores.

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