Stage Door: Amélie, The Musical

By Dancin' Dan

Say what you will about the seemingly unending run of new Broadway musicals based on non-musical films, enough of them have been good enough that you write them off at your own risk. Kinky Boots and Waitress are just two recent examples of stage musicals that, if anything, improve on their source material. The just-opened Amélie, an adaptation of the 2001 Jean-Pierre Jeunet film, attempts to recreate the success of those two adaptations: An established, inventive director in Pam MacKinnon, music and lyrics by singer-songwriter Daniel Messé (of music group Hem) with some help from musical vet Nathan Tysen, and a book by the respected playwright Craig Lucas (Prelude to a Kiss). And of course, a Broadway star on the rise in the lead role: the angel-voiced Philippa Soo, who stole hearts in Hamilton and the Off-Broadway incarnation of Natasha, Pierre & the Great Comet of 1812.

Unfortunately, this new musical fails to reach the dizzying heights of Jeunet's purely cinematic film. But the way in which it fails that lofty goal is interesting...

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And the Link Goes To...

Daily Mail Ewan McGregor and Nicole Kidman reunite... but for an interview series, not a film
The Muse Rich Juzwiak talks to Anne Hathaway about Colossal and the very tired subject of 'Hathahaters'... as I've always said: their loss, she's awesome.
Deadline omg Toni Collette has a lead role again (opposite Thomas Haden Church)
Criterion Director Amy Heckerling (Clueless) visits the Criterion Closet. She loves Federico Fellini, the story of Billy Wilder and Tokyo Story

Coming Soon Director Sam Mendes is considering a movie based on the graphic novel My Favorite Thing is Monsters  about a little girl trying to solve her neighbors murder
Towleroad there's a new documentary about Heath Ledger
This is Not Porn and speaking of... polaroids from the set of Brokeback Mountain
Hollywood Reporter 4 Japanese actresses discuss Ghost in the Shell. This is a fun conversation but I wish they'd engaged more with the central twist of the Scarlett Johansson character because that's something I would love to hear people discuss apart from the white-washing issue. It is a separate thorny issue actually and not entirely unlike Get Out's existential horror about race relations and bodies at odds with souls... or "ghosts" in this film's parlance.

Oscar Dates 
I'm not sure why the internet treated the news that the next Oscars would be held on March 4th, 2018 as "news" today but they did. The Academy announced the date two or three years ago (they normally announce multiple dates at once). For example: in the latest press release they've added the next four Oscar ceremony dates. It's the other dates (nominations, luncheon, etcetera) that we never know until we're in the film year

Next Four Oscar Nights

• 90th Academy Awards - March 4th, 2018 (nominations on January 23rd)
• 91st Academy Awards - February 24th, 2019
• 92nd Academy Awards - February 23rd, 2020
• 93rd Academy Awards - February 28th, 2021  

Off Cinema
MNPP on the subtle importance of Zachary Quinto's public romances
Variety the Lucille Lortel nominations (Off Broadway)
Theater Mania I've been so bored that NYC's free summer theater tradition Shakespeare in the Park has been strictly Shakespeare for a few years now. Despite the name they used to mix in non-Shakespeare stuff which made it less basic. But they get good casts. This summer: A Midsummer Night's Dream with two of Broadway's very best performers (Danny Burstein & Annaleigh Ashford) and Julius Caesar with Corey Stoll, Nikki M James, Elizabeth Marvel and more
Vox interesting piece on Sanrio's most popular character since Hello Kitty
Mic new study suggests cats like humans more than food. Great article punchline.
EW Lots of online furor when Marvel VP suggests that their recent diversity push has hurt comics sales. Oh Marvel. That is not the problem. You have so many of them but that ain't it. 

Tuesday Top Twenty: Ranking Nicole Kidman's Work

By Nathaniel R

Nicole at the ACM Awards this weekAs mentioned in our piece on the finale of Big Little Lies the internet is finally accepting that Nicole Kidman is a genius. Why they haven't noticed that she's been a regularly gripping actor since Dead Calm (1989) with her ascent into intermittent genius happening as early as 1995 (twenty-two years ago!) with her sly breakthrough as fame-obsessed Suzanne Stone in Gus Van Sant's To Die For (Golden Globe win, Best Actress in a Comedy) we will never understand.

But it is what it is. Actresses not named Meryl Streep have to go through this from time to time with people doubting their talent. One imagines if Michelle Pfeiffer is brilliant in any of her comeback roles this year we will get a raft of "who knew this 80s sex symbol, Catwoman herself, was also a great actor?!" articles and we will have to roll our eyes with a "anyone who was paying any attention at all!" answer and a weary shrug.

But it's fun to do quick rankings, so herewith...

Nicole Kidman's 20 Best Performances

The order would vary if the list were composed on a different day though the top eight would remain the top eight, give or take the exact numbers...

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Surprise, "The Boss Baby" is Good.

A slightly shorter version of this review was originally published in Nathaniel's column at Towleroad...

With a childish man-baby terrorizing us from the White House who needs a movie about one? Shocked as I am to say this… “surprise!,” this past weekend’s #1 film The Boss Baby is actually good.  For those fearing a one-joke gimmick film (Baby in a suit. Get it?), fear not. The new Dreamworks comedy actually has at least five broad joke topics. In descending order of amount of miniature jokes mined from the big ones:

1. Corporate culture
2. Babies
3. Childhood imagination
4. Sibling rivalry
5. Puppies

While Dreamworks pictures largely still lack the emotional complexity of their Pixar counterparts — this isn’t Inside Out or anything, let's not get carried away — at their best they still offer plenty to giggle with and gawk at for fans of animated comedy...

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Doc Corner: Is 'Five Came Back' Netflix's Oscar Moment?

by Glenn Dunks

It can sometimes feel like we’ve seen WWII from so many perspectives that there can’t possibly be new ways to convey the weight of its tragedy. That Five Came Back, a new three-part mini-docu-series on Netflix, manages to succeed at doing this is just one of its many virtues. Adapted from Mark Harris’ book of the same name by Harris himself and directed by Laurent Bouzereau, this is a three-hour documentary about the work of five of Hollywood’s biggest directorial names of the 1930s who enlisted to support the American war effort the only way that they knew how: through film, and the personal battles they fought in order to do so.

They were Frank Capra, John Huston, George Stevens, William Wyler and John Ford – the latter of whom gets the biggest laugh labelling documentaries in the 1930s as “silly things that rich kooks made” – each of whom left behind successful careers without the promise of anything when they came back.

If they came back at all. The series charts their early efforts before America’s entering the war after Pearl Harbour in 1941 before digging more deeply in the works that they produced from the front lines on the ground and in the skies....

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