March Highlights. April Sneak Peek.

The month began with final thoughts on last year's Oscars (yes, those were the 2015 Oscars no matter what search engines, IMDb, and the web say!) and the final podcast of the season. And then we bravely tried to forge ahead unmoored to any one topic, though we immediately lost our more fairweather readers. Damn you random people who aren't reading this!  Ah, well. They'll be back next season. 

MARCH HIGHLIGHTS
get caught up if you missed anything! 

Random March Highlights!
HELLO MY NAME IS DORIS and KRISHA acting showcases for older women 
GODS OF EGYPT and BATMAN v SUPERMAN bad movies: enjoyable & not
2016 CALENDAR a tentative list
MCCAMBRIDGE CENTENNIAL we had fun writing these!

Returning Series
POSTERIZED checked in w/ Sally Field & Saoirse Ronan. How familiar are you?
BEST SHOT hit Atonement (2007), and Daredevil (2016)
STAGE DOOR attended Broadway revivals The Color Purple & The King and I
TUES TOP TEN celebrated Zootopia and the Best Acting of this Decade 
Q & A returned with thoughts on superhero acting and the best of Australian cinema 

New Series!
THE FURNITURE a production design series launched w/ The Exorcist and Brooklyn
DOC CORNER new work celebrating Nora Ephron, and investigating abortion politics
READER'S CHOICE as you commanded: Gattaca and Cruel Intentions

COMING IN APRIL

APRIL FOOLISH OSCAR PREDICTIONS as we do
ACTOR MONTH A special detour to celebrate men (who get short shrift here, we know)
BEST SHOT SCHEDULE the more the merrier - join us!
APRIL SHOWERS shower scenes
TRIBECA FILM FESTIVAL coverage from Nathaniel, Manuel and Jason
NEW FILMS The Boss, Jungle Book, Demolition, Huntsman: Winter's War, Sing Street
REVISITS Crimes and Misdemeanors, Roman Holiday, Witness, Throne of Blood
AND MORE... to be announced

Let's Get Wet

"April Showers" returns soon. Intermittent late nights all month long. Any requests?

A "Zootopia" Top Ten

We've never even discussed Zootopia! What's wrong with us? (Don't answer) What follows is an off the cuff top ten. But consider this intro a number eleven plus: the joy of the movie is that it's not frontloaded at all continuing to offer delights all the way up to its concert finale in its fleet 108 minutes. So don't let this list feel complete: share your favorite things about it in the comments.

(This is assuming you loved it because everyone seems to)

TOP 10 DELIGHTFUL THINGS ABOUT "ZOOTOPIA"

10 Size Matters (in Comedy)
Lt. Judy Hopps, our heroine, would argue that it doesn't but it does. The animators and writers and filmmakers spin multiple jokes from the disparity in size of so many of the characters. And they've really worked the scale out. Few images in the movie radiated more comic bliss then watching a parade of conformist lemmings lining up for hundreds of miniature sweets made from one elephant sized dessert scoop.

09 Bunny Jokes
That throwaway line "your 275 brothers and sisters" and Judy's sly math joke later on "we're good at multiplying!"

8 more after the jump...

Click to read more ...

Hit Me With Your Best Shot: Sci-Fi Oddity "Zardoz" (1974)

"And now for something completely different"... Zardoz (1974)

I didn't mean to begin with a Monty Python quote but they were Brit contemporaries of Writer/Director John Boorman. And Zardoz (1974), the follow up to his most enduring classic (Deliverance, 1972) might be better if it were aiming for comedy instead of merely conjuring laughs. Nevertheless it doesn't get any more "different" than John Boorman's bizarre drug trip about false gods, immortal hippie communes, sentient crystals, marauding assassins, chest hair, and Charlotte Rampling's unique power to both cause erections and lecture about them simultaneously.

I chose it for Best Shot only to finally make sense of its frequent meme-ready presence online -- the jokes on me as it will never make any sense -- but I don't regret it. It's too weird to go unseen. It's the only movie in existence that begins with a floating disembodied head spewing out firearms, the only movie where you'll ever see Sean Connery licking another man while wearing a red diaper, and the only film to demonstrate the potent psychic peer pressure of jazz hands.

"Meditate on this at second level" with us after the [NSFW] jump...

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Today's Must Read: Streep's "Kramer vs Kramer" Breakthrough

This new book on Meryl's rise will be released at the end of AprilIf you haven't yet chanced upon it or been directed there by multiple excited tweets, make sure to read this excerpt / reworking of a passage from a forthcoming book by Michael Schulman on Meryl Streep's rise to fame via Kramer vs Kramer that's currently gracing Vanity Fair. We've talked about Kramer vs Kramer multiple times here at TFE and it's been heartening to see the critical tide at least slightly turning in the blockbuster drama's favor of late. For a long time cinephiles seemed to despise it, due in no small part to its Oscars. When you beat noticeably ambitious artistic and stylized masterpieces like Apocalypse Now and All That Jazz to the Best Picture crown there's bound to be a backlash if your film is merely human-sized, no matter how resonant and superbly acted it may be. But, a truth, that's always worth noting in movie buff wars: every year has multiple films worthy of praise and just because one gets singled out in the moment, it doesn't mean its worthy of your ire.

But I digress. Read this piece! Here's a bit about the fantasies, realities, and fictions around Meryl Streep's audition --  nobody actually knows which is which since the accounts are different depending on who is interviewed:

Meryl marched into the hotel suite where Hoffman, Benton, and Jaffe sat side by side. She had read Corman’s novel and found Joanna to be “an ogre, a princess, an ass,” as she put it soon after to American Film. When Dustin asked her what she thought of the story, she told him in no uncertain terms. They had the character all wrong, she insisted. Her reasons for leaving Ted are too hazy. We should understand why she comes back for custody. When she gives up Billy in the final scene, it should be for the boy’s sake, not hers. Joanna isn’t a villain; she’s a reflection of a real struggle that women are going through across the country, and the audience should feel some sympathy for her. If they wanted Meryl, they’d need to do re-writes, she later told Ms. magazine.

The trio was taken aback, mostly because they hadn’t called her in for Joanna in the first place. They were thinking of her for the minor role of Phyllis, the one-night stand. Somehow she’d gotten the wrong message. Still, she seemed to understand the character instinctively. Maybe this was their Joanna after all?

That, at least, was Meryl’s version. The story the men told was completely different...