Monday, April 1, 2019 at 11:33AM by Eric Blume
Fifty years ago today, audiences saw their first Bob Fosse film: Sweet Charity, the Cy Coleman/Dorothy Fields musical for which he won the Tony for Best Choreography three years earlier. It’s fascinating to look back at this movie five decades later to see all the seeds that Fosse later brought to fruition in his subsequent films...
Monday, April 1, 2019 at 9:00AM Please welcome new contributor Tony Ruggio...
Have you ever wondered why Film Twitter is more fickle than critics? If you spend a reasonable amount of time there you’ll find deep pockets of hate among many non-professional critics for critical darlings as varied as Birdman, La La Land, even Black Panther. Critics, often dismissed as snobs or "the elite", actually appear to enjoy more films per year than other journos, pundits, and regular Joe or Jane cinephiles on social media. Critics are the only animals in our film bubble ecosystem who are forced to watch everything, even the bad ones. Others might skip the latest Adam Sandler romp or Netflix original dump, but critics (many of them anyway) see it all and I'm here to argue that it gives them perspective. Bad movies have a place, and can serve an under-discussed purpose, and that purpose is encouraging a greater appreciation for what the Inarritus and Andersons of the world are putting out there.
Art is subjective, yes, but most of the time we know a BAD movie when we see it. On the heels of SXSW, I was drowning in good cinema. Between Captain Marvel the week before, Jordan Peele’s near-masterpiece Us, and a few little gems I could find nowhere else, the festival had given so much yet deprived me of a proper palette cleanser. London Fields was it, a gonzo film noir so inept and ill-advised that I was left more than a little awestruck...
Sunday, March 31, 2019 at 9:24PM Please welcome guest contributor J.B.
When I saw The Aftermath, the latest from Testament of Youth director James Kent, starring Kiera Knightley, Jason Clarke and Alexander Skarsgård, last weekend, I was seated next to an older man with a notepad who I assumed was a journalist. I chatted briefly with him before the film started, and when the lights went up and the credits began to roll, I asked him what he thought. His response: “I interviewed her [Knightley] when she did Atonement with James McAvoy. She was so good in that.”
That's a pretty fair takeaway from The Aftermath, which casts Knightley as Rachel, a bereaved military wife recently arrived in Hamburg in 1946 to join her estranged husband, Lewis (Jason Clarke), an officer in the British Army tasked with overseeing the rebuilding of the war-torn city and ferreting out any remaining Nazi-sympathizers...
Sunday, March 31, 2019 at 4:10PM With the first quarter wrapping up, let's break down the year at the box office (thus far). It's much more interesting to break it down into types of films and see which films most interested the ticket-buying public. Figure are as of March 31st, 2019. Since many of these are still open, these aren't final results but we thought it would be a fun snapshot of this moment, 1/4th of the way through the calendar year. (One final note: We did not include Fathom Events and other non-traditional styles of release because those numbers aren't directly comparable and often make less sense. i.e. if you couldn't see it at regular showtimes in a theater somewhere it's not included.)
TOP GROSSING FILMS WITH A FEMALE LEAD
(Excluding films where a male lead is just as prominent as his female co-star)
What Men Want
01 Captain Marvel (Disney/Marvel) $353.9 starring Brie Larson. March 29th
02 Us (Universal) $127.8 starring Lupita Nyong'o. March 22nd
03 Alita Battle Angel (Fox) $84.9 starring Rosa Salazar. Feb 14th
04 What Men Want (Paramount) $54.4 starring Taraji P Henson. Feb 8th...
Sunday, March 31, 2019 at 7:00AM 
If your favorite Matthew Mcconaughey mood is of the naked bongo drumming variety, then Harmony Korine has made just the movie for you. In The Beach Bum Mcconaughey is Moondog, a rebellious rogue living outside society in Florida doing exactly what he wants, whenever he wants it, and all the while high as a kite. He’s nice, benevolent, kind, mostly peaceful, accepting of all and of their foibles. He believes in true love and practices it (straight of course but not adverse to a bit of cross dressing). Even when he finds out his wife (Isla Fisher) is also sleeping with other people, it takes him literally only a minute to go from surprise to complete acceptance.
The plot -if we can call it that - is to follow Moondog along his travels in Key West and Miami...
