Ever After @25: A Timeless Cinderella Story

by Cláudio Alves

A quarter century ago, Hollywood remade the Cinderella story as it often does. Only this time, the fairytale was without fairies or any inkling of magic beyond the mystery of love. And Leonardo da Vinci, of course, for he's something of a wizard figure in the restyled narrative in which Perrault's classic tale is reworked through the Grimms' imagination and 1990s 'girl power' impetus. Da Vinci is also the movie's Achilles Heel, a miscalculation by the writing team of director Andy Tennant, Susannah Grant, and Rick Parks. Not that the misfortune wrecks the picture – Ever After is too charming for that. 

Indeed, the Drew Barrymore vehicle remains an entertaining period rom-com all these years after its release, its strengths only glowing brighter in retrospect. How can one resist Jenny Beavan's costume designs, George Fenton's impassioned score, Anjelica Huston's sharp spin on the evil stepmother archetype, and so much more? This Ren-Faire Cinderella deserves celebration…

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Streaming: "Heartstopper" Delivers An Equally Strong Season Two

by Christopher James

Who’s ready to get emotional? Season one of Heartstopper won raves for bringing to life the acclaimed graphic novels, which present a coming-of-age queer love story between the nerdy and shy Charlie Spring (Joe Locke) and the sensitive jock Nick Nelson (Kit Connor). Alice Oseman’s tale does a wonderful job of capturing the butterflies and emotions of falling in love for the first time, while centering it within the anxieties of coming out and defining one’s sexuality. Though it's meant to appeal to a teen audience, Heartstopper excels at placing adults back in their teenage years, where every text and fleeting glance can feel like an earth-shattering event.

Season two has not lost any of the magic. In so many ways, it examines what happens after “happily ever after” in teen worlds. Charlie got the guy that he wanted, but anxieties and hangups don’t vanish after one triumph. The show’s lovely, delicate touch never gets in the way of tackling hard topics in a realistic manner. Thus, season two is just as deep, emotional and swoon-worthy as its predecessor...

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What did you see this past weekend?

by Nathaniel R

Since I'd already seen Barbenheimer, I opted for a repertory screening (Under the Tuscan Sun, which I'd actually never seen. Why isn't Diane Lane in more things these days?), a play (Let's Call Her Patty starring Rhea Perlman, suddenly busy again considering she's also in Barbie), and a TV season I've always meant to watch (Happy Valley season 1. All of you who raved about it several years ago were correct). Over lunch on Saturday, I ran into two friends who were on their way to see Mission Impossible Dead Reckoning Part One which surprised me since neither of them had seen Barbie or Oppenheimer! 

Were you part of the moviegoing throngs that hit Barbie or Oppenheimer in their strong second weekends or did you opt to catch an older film, a different wide release, or did you hit the arthouse theater? 

Weekend Box Office July 28-30 🔺 = new or expanding /  ★ = Recommended
WIDE (Over 600 Screens)	LIMITED / PLATFORM
DISNEY'S THE HAUNTED MANSION	THE FIRST SLAM DUNK
1 ★ BARBIE $93 (cum. $351.4) 4,337 screens	1 🔺 THE FIRST SLAM DUNK (Japan, anime) $645k *NEW* 581 screens

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A History of the Oscars at the Emmys (Can They Win Variety Special, Live, for the First Time?)

by Christopher James

Could continued fervor for the Oscars that awarded Everything Everywhere All At Once lead to an Emmy win for the Oscars ceremony?

The Academy may hand out awards, but they also compete for them! The Oscars regularly compete at the Emmys in the Variety Special categories, having won 7 Emmys from 68 nominations over the past 10 years. This flies in the face of the common joke that the Oscars are regularly the most maligned awards show on the block. Still, Hollywood's big show has never won the Variety Special (Live) prize, nor the Special Class Program award before it. This year’s Oscars got above average reviews, including from The Film Experience. It contends in four categories, including Directing (which it has won twice previously). 

Could a strong show and a great winner with Everything Everywhere All At Once propel the Oscars to a big Emmys win?

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Review: "The Beasts" of Galicia

by Cláudio Alves

Rodrigo Sorogoyen's The Beasts opened at last year's Cannes Film Festival to thunderous acclaim, beginning  a global trip through film festivals and the odd commercial market. Its greatest success came in Spain and France, the two nations that coproduced the film, whose troubled relation toils the land and souls of a narrative inspired by real-life tragedy. If you're an awards obsessive, you might remember The Beasts from news about the Goyas and César, for the film was a sweeper in the former and won Best Foreign Film against mighty competition in the latter – including the Oscar-nominated Triangle of Sadness, EO, and Close. 

Regarding this bounty, it's easy to feel some skepticism creeping in, though, after you've seen The Beasts, the voters' fervor feels somewhat fair. As the film finally enjoys a limited release in American theaters, let's explore its tale of xenophobia and violence in modern Galicia, where monsters rove, feigning humanity…

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