Game of Thrones "The Last of the Starks" (S08E04)

by Eric Blume

In this season’s best episode yet, Game of Thrones head creatives David Benioff and D.B. Weiss display their astounding aesthetic taste and uncanny ability to know exactly what viewers want to see.  This episode featured one powerhouse match-up after the next, giving us duet after duet of characters we want to see together, talking about what we want them to talk about, in exactly the way we want them talking about it.  The episode also features particularly fine writing, an element of Game of Thrones that often goes unsung despite being one of the show’s strongest features.

The show opened with a funeral segment and an extended banquet scene that paid tribute to last week’s monumental battle...

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Review: Tolkien

by Chris Feil

Inert biopics line the multiplex like gravestones, but seldom are they as dead on arrival as Tolkien. Depicting the author and philologist’s young adulthood and experience in World War I before creating The Hobbit, Dome Karukoski’s film isn’t just another dull cookie cutter telling of a famous figure. It’s perhaps a new gold standard of “Wikipedia entry as high school book report as prestige picture” malaise, the low bar to compare passable boring films. “At least it’s not Tolkien.”

Nicholas Hoult stars as the eponymoius J.R.R. Tolkien, struggling to overcome his social and fiscal limitations while at Oxford. He is part of a foursome of tightly knit male friends and artists, each with class stature above his own. Meanwhile he sacrifices his love for fellow orphan Edith Bratt (Lily Collins) in order to secure his future. The outbreak of the war casts all of this asunder, serving Tolkien blows to the body and spirit that ultimately serve his coming creative landmarks.

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Stage Door: The musical adaptation of "Tootsie"

by Nathaniel R

“I was a better man with you as a woman than I ever was with a woman as a man.” So went the famous arc-completing line in Tootsie (1982) that resonates backwards through the movie, and carried you out of the theater, not just on a comic high but with zeitgeist capturing depth. Though it’s little remarked upon today in the now-now-now of popular culture, the early 80s were a cinematic time rife with the questioning of traditional gender roles just like our culture is today. Hit films like Victor/Victoria, Yentl, Mr. Mom,  and Tootsie all arrived in quick succession, though the then preferred vernacular was androgyny and gender-bending, as opposed to today’s non-binary and genderqueer designations.  It’s not surprising, then, to see Tootsie come round again to popular culture in 2019 in the form of a Tony-nominated musical comedy. What’s more surprising is that that resonant quotable capper is one of the few famous lines to be lifted directly from the movie.

As shocking as it is to type, they wrote new jokes!  This is, as you may have guessed given Broadway’s strange new role as a regurgitator of old movies, not the norm…. 

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Tribeca 2019: "The Projectionist" and "Circus of Books"

Here is Jason Adams reporting again from the Tribeca Film Festival.

Sex is disappearing. Look at the Ken-like plains of our Marvel Superhero pant-fronts -- or even look how sexless our superstars made the concept of Camp look at the Met Gala this week, as if horn-dog horniness doesn't go hand in hand with that over-heated sensibility. Paul Verhoeven's Showgirls: the true end of an era. On this theme two documentaries that played Tribeca last week looked back at two nearly extinct modes of orgiastic delivery -- the porn theater and the porn shop...

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Tribeca: "In Fabric"

Jason Adams with another review from the Tribeca Film Festival.

There was a Twitter query going around last week asking in the wake of the new Avengers film what pop culture events we felt personally blessed to have lived through in our lives. Apparently some people feel this way about the Marvel movies, which, well, great for them. It's nice to be happy. Personally I like more lesbian sadomasochism and insect fetishism in my entertainment, so my answer to said query falls more in line with how I think we're live-time experiencing the birth of a genre genius with the writer-director Peter Strickland, who's gone three for three with Berberian Sound Studio, The Duke of Burgundy, and now In Fabric, his latest slow-motion psych-out beamed in from an alternate dimension.

In Fabric first introduces us to Sheila (a marvelously world-weary Marianne Jean-Baptiste), who swims through her bank job and a string of telephone-based blank dates with all the ease of any Strickland character, which is to say with little to no ease at all...

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