Review: "Sorry to Bother You"

by Chris Feil

If you think that the summer movie season is winding down into boredom, Boots Riley has a debut feature to knock you off your ass. Sorry to Bother You, his Sundance breakout, is audacious filmmaking of the rarest order. Already tailor made to stir the midnight movie circuit back to life, the film is a sledgehammer to convention, taste, and politeness to make the likes of John Waters and even Jodorowsky proud.

With such wild territory, part of the thrill of the film is taking its bumps as its concept goes ever so slightly off the rails. But with this first film, Riley has delivered something delightfully convincing with complete confidence even when the film strays into the deeply strange...

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Tweetweek: GLOW's hair, Beatty's prophecy, Mission's stunt

Some tweets we enjoyed too much recently not to share!

my favorite superficial thing about '80s cinema is how the men's bodies look, unpolished & hairy & fucking human. between @marcmaron & @VictorQuinaz, GLOW is giving me "Ron Leibman in NORMA RAE" realness & i love itttttttttt

— zoe kazan (@zoeinthecities) July 8, 2018

13 Going On 30, but it's about a gay teen wishing he was a Broadway diva and wakes up in Patti LuPone's body in 1980 and has to perform Evita 8 times a week on Broadway. It's a horror film.

— Max Grossman (@GrossmanMax) July 7, 2018

More after the jump including Riverdale, Mamma Mia!, Mission Impossible Makeouts, Sandra Oh, Cher's vote for Best Actor and a few others...

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Bergman Centennial: In "Shame" Love is a Battlefield

Any passing visitor who’s toiled amongst the weeds of Ingmar Bergman’s vast garden of emotional entanglements will surely recognize the same familiar seeds of chaos, conflict, and spiritual carnage sown between the damned pistel and stamen of whichever variety of lovers feature into a particular film – but in Shame (1968), his scabbed and battered masterwork of wartime wreckage, the Swedish auteur lays fire to the roses. Incendiary combat between dueling psyches in intimate locations fuels much of his filmography – the mother-daughter melee of Autumn Sonata and frosty schoolhouse rejection in Winter Light immediately jump to mind – but Shame ignites a maximalist fuse within its scope that quite literally drops a bomb on the long-suffering couple at the broken heart of its story. By contrasting the domestic drama of Eva and Jan Rosenberg’s (Liv Ullmann and Max von Sydow) decomposing marriage against a backdrop of military destruction and societal decay, Bergman turns the canvas of the soul inside out and externalizes the conflict of a toxic relationship into the very warzone that is exacerbating its decline.

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Links: Scarjo Shifting, Brie Wrapping, Joss Returning, Cheetah Leaping

• Out Scarlett Johansson leaves the upcoming trans drama Rub & Tug post-backlash
• THR In unrelated news Scarlett is finally getting her Black Widow solo movie. Australian Cate Shortland (Lore) will direct, beating out finalists Amma Asante and Maggie Betts.
• MovieMaker the 25 coolest film festivals in the world (the giant A list fests are not listed in favor of quirkier ones that use their location in interesting ways.)
• Gizmodo only one Blockbuster video store is still open in the United States!

More after the jump including Die Hard, Danai Gurira, Tab Hunter, Joss Whedon, If Beale Street Could Talk, West Side Story revival, and more...

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Bergman Centennial: Death and "The Seventh Seal"

by Chris Feil

The Seventh Seal begins with some of the most enigmatic and iconic imagery of Ingmar Bergman’s career. Which is saying something considering the auteur’s filmography is composed almost entirely of meditative frames. Here Max von Sydow's post-Crusades knight Antonious Block is visited by a black cloaked Death and the two take part in a literal and intellectual game of chess. It’s a grave way to start a film, one that still endures for its thematic impact and how it establishes the rest of its stark narrative as spiritually timeless.

Named for the passage in the Book of Revelation marking the final opening of the apocalyptic scrolls and the resulting period of silence in heaven, the film lives in that quiet Godlessness...

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