Review: Song to Song

By Eric Blume

It’s difficult to review Song to Song, the latest film from Terrence Malick, because based on the standards of cinema (plot, characters, structure, acting, etc.), it’s a pretty terrible movie.  But with this film, Malick continues his journey to discover some sort of new cinematic language and style that has a weird beauty all its own.

The story, such as it is, revolves around three people in the music business (played by Michael Fassbender, Rooney Mara, and Ryan Gosling).  They go in and out of relationships with each other and a few other folks (notably Natalie Portman, Cate Blanchett, and Bond girl Berenice Marlohe).  Malick gives you no real sense of time, so it’s never 100% clear what happens when exactly.  But there are many, many scenes with those five people running their hands over each others’ bodies while voiceover proclaims banalities about sex and connection...   

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Doc Corner: The Confined Spaces of 'Solitary'

by Glenn Dunks

Solitary could have gone in many different directions. Filmed over a year inside the supermax solitary confinement prison of Red Onion, Virginia, all sorts of independent narratives that are weaved throughout could have made for their own captivating feature. There are the guards, disturbed by what they see, and the death of the region’s prime coal mining industry that brought them to this line of work. There are the crimes of the prisoners, most of them violent, some of them not so. And then there is, like Ava DuVernay’s (broader, superior) Oscar-nominated 13th, the system itself that is obviously damaged and flawed at its very core.

It's nice, but also a little frustrating, then that director Kristi Jacobson (known best for 2012’s A Place at the Table) chose something far less sensational by focusing on the concept of nature versus nurture. Nice because that feels rare in film, but frustrating because it doesn't make the most of its unique access while doing so...

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Thoughts I Had... "The Dark Tower" Poster

Chris here. With the long (lonnnnnnnnng) road to production, reshuffling of realease dates, and confusing messages on a spin off series, I can't blame you if you've lost track of Stephen King adaptation The Dark Tower. The franchise hopeful has tradeed hands from Ron Howard to A Royal Affair's Nikolaj Arcel, and lost a few potential stars along the way. But with a looming summer release, it's about time to start seeing some of the goods (even if those set photos of a leather-clad Idris Elba should have kept this at the top of our minds). At long last here is the first poster, with some thoughts after the jump...

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Shakespeare in Love > Saving Private Ryan (your periodic reminder)

On this day in movie history...

1617 Though the exact date of her death is unknown, Pocahontas's funeral was held on this day. She died on a ship with husband John Rolfe (played by Christian Bale in The New World but he wasn't a character in Disney's Pocahontas because that woulda been hella depressing). She was only 21 or 22
1880 "Bronco Billy" Anderson, the original movie cowboy star (he made hundreds of silent shorts) is born
1941 The Sea Wolf starring Edward G Robinson and Ida Lupino is released. Director Michael Curtiz is warming up for his rather incredible peak decade (Captain of the Clouds, Yankee Doodle Dandy, Casablanca, Mildred Pierce and more are next)
1949 Slavoj Zizek of The Perverts Guide to Cinema (2006) is born
1956 The 1955 Oscars. Marty becomes both the shortest film to ever win Best Picture and the first indie to do so.
1958 Gary Oldman is born...

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Feud: Bette and Joan. "Mommie Dearest"

Previously
Ch. 1 "Pilot"
Ch. 2 "The Other Woman" 

Feud's writing team is nothing if not devoted to playing to a single theme per episode. All but a couple of scenes in chapter 3 of Feud are devoted to the notion of mothering (though Victor Buono's more generous notion of "legacy" might have been a smarter move for retroactive potency). Or at least the show spends this hour playing with our pre-conceptions of the mothering skills of Bette Davis and Joan Crawford. That's evident in the way it pulls the episode title from the infamous Christina Crawford memoir that damned Joan forever in the public eye as a psychopath and child abuser. In one of the earliest scenes we even get a potent reminder of this memoir as Joan pretends she's not going to send Christina a card congratulating her on the opening of a play until she reads reviews, but then signs the card "Mommie Dearest," as soon as two of her other children are out of sight.

I know what you think of my mothering...

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