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The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)

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Thursday
Jul202023

Review: Come on, "Barbie," let's go party!

by Cláudio Alves

What does it mean to sell out? Some would decry Greta Gerwig's move from mid-budget indies to big studio fare as a modern example. This line of thought posits the director's fourth film, Barbie, as capitulation to the tyranny of big bucks, no more than a glorified toy commercial for "vacuous, hypersexualized dolls." But when you're actually watching Gerwig's movie, it's difficult to take the pink oddity as proof evident of any sacrifice of vision or integrity for the sake of profit. Barbie's too ambitious a creation - in terms of text, tone, performance, audiovisual stylings galore - to support such dismissive readings.

From beginning to end, the summer's biggest comedy bursts at the seams with ideas, saturated with the clear intent of a creative mind given free rein. It glows with the kind of resources seldomly bestowed upon women directors. That doesn't mean the picture's perfect, exempt from criticism, or its enthusiasm is without drawbacks. But, even if Gerwig can't quite have her cake and eat it too, she manages to share a personal, goofy, deeply idiosyncratic proto-existentialist dream with her audience. Better yet, she does it with the attitude of a kid, their favorite toy in hand, eyes widening at the playtime possibilities before them…

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Thursday
Jul202023

Emmy Spotlight: "The Other Two" and the tradition of the 'lone writing nomination'

by Christopher James


The most joyfully surprising Emmy nomination of the year was a writing nod for The Other Two. This is the first (and unfortunately last) Emmy nomination for the uproarious satire. It was recently canceled amid workplace complaints towards creators Chris Kelly and Sarah Schneider. As Team Experience team noted, The Other Two is one of the more underrated shows in the past few years. It started at Comedy Central before moving to Max, nee HBO, for seasons two and three.

A lone writing nomination at the Emmys for an underappreciated show is actually somethign of a tradition. Why is this one special and what other fan-favorite shows managed a similar feat? Read on...

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Thursday
Jul202023

First & Last 025

Can you guess the movie from its first and last shot?

The answer is after the jump when you scroll down...

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Wednesday
Jul192023

Box Office: Mission Impossible, Theater Camp, and more

By Nathaniel R

Tom Cruise is an eternal draw at the box office but Mission Impossible still came in under expectations. Was it that clumsy "Part One" in the title (on the SIXTH film in a franchise no less)? Movies are starting to move away from this since the audience can often feel had as in 'my ticket doesn't get me the full movie?' Note that Spider-Verse dropped it's "part one" title before release even though it literally ends on a cliffhanger... 

Weekend Box Office
July 14th-16th
🔺 = new or expanding /  ★ = Recommended 

WIDE (Over 700 Screens) LIMITED / PLATFORM 
DEAD RECKONING PT 1 THE MIRACLE CLUB

1🔺 MISSION: IMPOSSIBLE -DEAD RECKONING PART ONE $54.6 *NEW* (cum. $78.4) 4,327 screens    

1 🔺 THE MIRACLE CLUB $664k *NEW* 678 screens 

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Wednesday
Jul192023

Review: The Afterparty Offers Up More Creative Genres in Season Two

by Christopher James

How often can one person stumble into a murder? This question plagues the comedy Only Murders In The Building, though it has the conceit of a murder podcast to justify it. Season one of The Afterparty has a similar problem to solve but it won many fans thanks to its multi-genre Rashomon style while capitalizing on the murder mystery craze of the moment between The White Lotus and Knives Out. Still, the modular design of the show - changing tone every episode - kept it from being a runaway success like its fellow murder mystery projects.

Season two presents a brand new mystery, but the same episode structure. Does it work better the second time around?

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