Review: Vox Lux

by Chris Feil

Vox Lux opens with visceral brief violence and closes with extended musical euphoria that it keeps out of our reach. The sophomore feature of Brady Corbet, the film is most defined by its refusal to allow us to access it even as it monolithically announces its themes. It feels at once like someone screaming into the abyss of an empty stadium with locked doors. But somehow it keeps us banging on its doors that never budge.

The film follows the birth and would-be rebirth of superstar Celeste, played separately in two acts by Raffey Cassidy and Natalie Portman...

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Team Experience on Globe Snubs, Strange Honors, and Best Director Nominees

As is our habit we polled Team Film Experience and web friends on the Golden Globe nominations. This will come in two parts but we'll start with a cleanse by shaking off the bad feelings. We must bid a fond fist-shaking farewell to our favorites that the Globes shunned and reveal the nominations that confuse us.

We think you'll also enjoy the part where we choose which Best Director would best dramatize our moods while watching the nominations. Ready? Here goes...

1. Which omission most galls you?

MURTADA: Widows. Viola Davis for Widows. Elizabeth Debicki for Widows. Steve McQueen for Widows. It had many opportunities to get mentioned and zilch.

JASON ADAMS: Toni Collette and Carey Mulligan, the drinks are on me. [MORE AFTER THE JUMP...] 

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Review: Mary Queen of Scots

by Murtada Elfadl

The story is familiar. We’ve seen it many times on both film and TV. The queens are familiar. We’ve seen them being embodied by many actresses we love and admire. Now it’s time for Saoirse Ronan and Margot Robbie to play Mary and Elizabeth I in Mary, Queen of Scots. Familiarity can breed contempt. We’ve seen this before so why do we need another version? But familiarity can also help us absorb a story when we know the beats of its narrative. We can take in the performances, the costumes, the setting and not worry about following the plot. Director Josie Rourke and screenwriter Beau Willimon understand that they need to freshen up the material, give it a new spin. And so they try.

Their story concentrates squarely on Mary and starts with her return to Scotland from exile in France, threatening Elizabeth’s reign because of her strong claim to the crown with Elizabeth being unwed and childless...

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Glenn Close 'very gratified' by career honors

by Nathaniel R

Glenn Close, a moment before we spoke on Monday nightThe Film Experience was honored to be invited to attend the Museum of the Moving Image's tribute to the career of Glenn Close this week at the elegant 583 Park Avenue venue, just days before her Golden Globe nomination. Attending the festivities were politicians, actors, industry vets, and museum officials and honorees including a whole excited table nearby mine of teenagers from Queens, where the museum is located, who collectively gave one of the night's most amusing speeches about MoMI's community outreach programs and youth engagement.

We spoke briefly to the woman of the hour, Glenn Close upon her arrival at the gala. The story of The Wife, an arthouse success this summer, is about a woman whose genius goes unrecognized...

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Months of Meryl: Ricki & The Flash (2015)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 

#49 —Ricki Randazzo, a rock singer who returns home to the family she abandoned.

MATTHEW: Throughout his eclectic and gloriously unpredictable career, the late Jonathan Demme paved the way for peak performances from actresses as disparate as Mary Steenburgen, Melanie Griffith, Michelle Pfeiffer, Jodie Foster, Oprah Winfrey, Kimberly Elise, Thandie Newton, Anne Hathaway, Rosemarie DeWitt, and Debra Winger. Like George Cukor before him, Demme was devoted to telling stories about women, which comprise the bulk of his narrative output. The director committed to shaping these narratives with the same heady, inquisitive vigor and nonjudgmental consideration that electrified all of his subjects, from Anthony Hopkins’ lip-licking Hannibal Lecter to David Byrne, who indelibly bopped around the stage in a business suit at least six sizes too big during Demme’s landmark concert documentary Stop Making Sense.

Ricki and the Flash, Demme’s final narrative feature, sometimes conjures the capricious, loop-the-loop feeling of a concert documentary in its depiction of the type of story that Demme loved to tell, that of an unorthodox woman shouldering her burdens and confronting any and all perils as she forges ahead with the life she has chosen to lead...

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