Doc Corner: 'Leaning Into the Wind'

By Glenn Dunks

As a medium, film is a record forever. An actor can give a stunning performance on a stage, but without a camera to capture it, it remains somewhat in the ether – a happening, an instance, a moment in time that can only truly live on in the mind of those who witnessed it. Of course, that doesn’t make it any less valid or worthy, but it’s something worth considering as we watch movies that they, even fictional ones, are ultimately a document of the emotions and the energy and the craft that was put into it, captured forever for anybody to experience.

I thought of this as I watched Thomas Riedelsheimer’s Leaning into the Wind: Andy Goldsworthy because it is a film that will live on as the only document of some of Goldsworthy’s work. The artist is known predominantly for his works that incorporate nature and are often finite in their existence.

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Captain Marvel Begins. Infinity War Promises. Black Widow Waits.

by Nathaniel R

Brie Larson training with a real pilot

As you've undoubtedly heard given that half the internet (at least) is a conveyor belt for Marvel Studios propaganda news, Captain Marvel began shooting yesterday. Brie Larson headlines Marvel's first female driven superhero film. Despite the company's cultural prominence they didn't get to female heroes first. That honor actually belongs to the all but forgotten Supergirl (1984). If you only want to count the modern superhero film era (i.e. post X-Men, 2000) the honor belongs to the much-reviled Catwoman (2004), which was followed by the also-reviled Elektra (2005), and the also-also reviled My Super Ex Girlfriend (2006). If you want to only count the post-Marvel Studios world (i.e. 2008's Iron Man,was ground zero) they still didn't manage "first!" dibs but we shouldn't dwell on their priority problems. Thankfully Warner Bros / DC's Wonder Woman (2017) was beloved and hopefully signalled a turning point in the fate of the female hero subgenre...

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Where in the World is Gina Rodriguez

Chris here. Carmen Sandiego is about to be a big thing for Netflix and they have landed one helluva leading lady: the delightful Gina Rodriguez!

We have long loved the star thanks to Jane the Virgin. She also did showstopping work in a small role in this year's Annihilation so watching her platform elevate further will be a real treat. Nabbing this headling gig in the long discussed revamp of the character is a major win while her stars remains on the rise. You'll remember such big names as Jennifer Lopez being bandied about over the years... 

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Stage Door: Glenda Jackson in "Three Tall Women"

by Eric Blume

The Broadway revival of Edward Albee’s 1994 play Three Tall Women opens on Thursday. It stars Alison Pill, freshly Oscar nominated Laurie Metcalf, and two-time Oscar winner Glenda Jackson, who hasn’t been on an American stage in 32 years.  

Director Joe Mantello builds a stunning production.  Albee’s play, which won the Pulitzer Prize when it debuted off-Broadway in 1994, holds up beautifully, as all of his major plays do.  Albee writes in a theatrical, controlled, but go-for-broke language that soars in the way only the best theater can. Three Tall Women is a major play, like Who’s Afraid of Virginia Woolf? and Seascape and The Zoo Story and A Delicate Balance and The Goat, Or Who is Sylvia?.  It’s mind-boggling when you think of this man’s contribution to the theater, and the deep and compelling issues and emotions he tackled during his long career.

rehearsing Three Tall Women

Act One of Three Tall Women deals with a rich, dying old woman (Jackson), her caretaker (Metcalf), and her legal representative (Pill)... 

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The Furniture: The Age of Innocence and the Living Museum

"The Furniture" honors the Production Design of The Age of Innocence (1993) for its 25th anniversary year. The Martin Scorsese classic is newly available from the Criterion Collection. (Click on the images to see them in magnified detail.)

by Daniel Walber

The final act of Martin Scorsese’s The Age of Innocence leaps through time. The ever-roving camera comes to a temporary rest in the home of Newland Archer (Daniel Day-Lewis), married to May (Winona Ryder) and entering the longue durée of family life. But this relative physical stasis comes with the sudden acceleration of time. Scorsese and editor Thelma Schoonmaker fast-forward through years of business, leisure and child-raising. After nearly two hours of social whirlpools and lingering formalities, suddenly it’s a new century.

But despite the speed of this sequence, it’s important to pay close attention. On the wall of Newland’s family home rests one very famous painting. Somehow, through the magic of cinema alone, our hero has ended up with JMW Turner’s The Fighting Temeraire. 

It’s an icon for his last days, a masterpiece of a bygone era being towed away...

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