Something Link-ed This Way Comes

The Movies
• How does The Intern stack up to previous Nancy Meyers releases at the box office? It's a bit too early to tell but I totally didn't know and was a bit surprised to realize that they were nearly all bigger hits overseas than in the US [Box Office Mojo]
• Sasha Stone comes up with a new sneaky way to define leading roles as supporting. She's calling them "anchors" as in "anchors to the lead," not "the other lead." Hee. Of course she doesn't mean Anchor as Category Fraud but a rose by any other name... [Awards Daily]
• Singing the praises of the Film Society of Lincoln Center and their upcoming slate for cinema-voracious New Yorkers. And really, sing these praises at full volume. [MNPP]
• Not everyone loves the new Macbeth [Shadowplay] 
• "The people behind [Sicario] understand that what makes a great thriller is not the abundance of shootings, murders or jump scares and plot twists - it's the fear that something horrible can happen at any moment." [Cinematic Corner] 

Off Screen
• Oh god. File under totally depressing: If even Meryl Streep doesn't understand what feminism is, the earth is doomed. One of the most successful things conservative thinkers ever did is fooling progressives (and women of any political stripe) into thinking it was a bad word [Refinery 29]
• I mean... Keira Knightley is awesome but shouting marriage proposals at her while she's trying to make her Broadway debut last night. Not cool, drunk stalker! [Playbill]
• "Homophobia unites people of different Christian faiths" - Dan Savage, hero, on the Pope/Kim Davis mishegoss [MSNBC]
• I missed this report last week but The Tony Awards might be leaving their regular home - considering different theaters [NYT]
• "The last time I saw Madonna was on September 6th, 1989, during the live telecast of the MTV Video Music Awards. I was in my parents basement with my mother..."  Love these personal essays about stars when people can pull them off. Must Read. [The Hairpin]

Scream Queens
• Is Nick Jonas too into queerbaiting his fans? [Towleroad]
• Are any of you watching? It's such a mess, strains for laughs and (worst of all) revels in its misogyny (Murphy and his writers really need to stop putting words like "gash" into the girls mouths to demean other girls) to the point where you know it's not parody but just actual feeling disguised as parody. I'm only in it for Jamie Lee Curtis (fun but she's been better) and recent Emmy nominee Niecy Nash (making the very very very most of a small role - what a gift she is!). This quote from Towleroad's recap of the third episode made me LOL:

“Chainsaw” ...crammed in so many obvious red herrings, I think it qualifies as an aquarium.

Image of the Day
Michael Fassbender as MacBeth. I will never for the life of me understand what is taking so long with this movie (remember how long ago we saw the first images -- I swear it was 2013 -- or even why they're going to distribute it like a poor stepchild movie. (sigh).

click to embiggen

"Critics Choice" Ch-ch-changes
It's worth noting that the BFCA, of which I am a member -- yes, I'm still bragging about sitting with Jessica Chastain last year --  is making a major change. They're fusing their fairly new TV arm (which currently holds their ceremony in May each year) with their cinema body for one conjoined show starting in January that's 3 hours long. I don't understand what that will mean for current TV shows (two awards for their favorites in just a seven-month span?) but this will obviously make the Critics Choice Awards far more like their sworn enemy* the Golden Globes. Obviously to make this successful the BFCA will have to axe some of their odder categories from their ever-expanding roster but that was okay because things were getting seriously weird there in their attempts to cover everything but NOT officially categorize anything (resulting in weird 'it's an action movie but it's not... it's a comedy but it's not... it's a drama but... no, scratch that we don't say "drama" about anything --that's the default!') 

I have to admit that it seems odd to have two separate organizations do one event together. Just let us vote on both, and not have to be part of two organizations! Just change the name to Broadcast Critics Choice Awards, dropping the pesky film or tv separations. 

* I'm kidding though for all the heat the Golden Globe take from US journalists, it's perpetually hilarious that US journalists always want to be more like them. 

nothing gets past the Fiennes gaze.

The eyes of perpetual intensity. 

Oh and also...

NYFF: The wonderful absurdities of "The Lobster"

About five disorienting minutes into The Lobster, all pretense of disorientation for disorientation's sake is stripped flatly away as the headmistress of the hotel (a terrific Olivia Colman) where Colin Farrell's character has found himself lays out the movie's premise. And oh how small the word "premise" seems in relation to what The Lobster has up its sleeve: Singletons will be turned into an animal (meaning a literal non-human creature) if they cannot find a mate in an ordained amount of time! 

It's a moment as surprising as it is funny (her notion of what is and what isn't absurd is the definition of absurd itself). While director Yorgos Lanthimos' previous films Dogtooth and Alps both reveled in their inscrutable rules, forcing the audience to pick up the fragments of what's offered and chase behind the film, trying to cram them together, everybody in The Lobster instead can't stop telling us exactly how this insane world works ("Didn't you read the guidebook?" is asked multiple times), and the more they lay it out the funnier and funnier it all gets.

And The Lobster is a very very funny film, seemingly finding all new ways to be funny that have never been found funny before - I wouldn't want to spoil its dark surprises but let's just say some of its punchlines got several audience members at my screening up on their feet and right out the door with madcap quickness. 

But for all of its laugh-out-loud cynicism about the way our own world works, refracted through the not-so-fun-house mirrors of how its own world works, Lanthimos' film has a heart, maybe black but beating hard, under its strange shape. He manages to make the old-fashioned obstacles of another sad love story hum with newness, scraping the gunk off romance and holding this bright shiny new thing high and proud. It's a marvel, like nothing else, singular from every single stupefying angle.

Alchemy will distribute The Lobster in the US. No date has been announced. For previous posts on the Lobster click here. Follow Jason on Twitter and read his blog MNPP

Dear Readers, obrigado, xie xie, takk, danke!

Before Fall Film Season hits us like a ton of bricks in 3...2...1.. I wanted to thank the faithful readers. Running a daily site is not even remotely easy though it may sometimes appear to be from the outside. We truly cherish those of you who tune in regularly. Especially those of you who take the time to tweet out articles, or email them to friends or share them on facebook or what not. 

Your editor Nathaniel (c'est moi) has always loved globes & maps. This could account for some of our obsession with oscar's foreign film submissions each year (today was the final day for countries to submit!). Whilst pitching an ad block to a distributor recently we got lost in statistics to where the readership actually is. More...

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NYFF: The Forbidden Room

How can you knock the chance to watch Udo Kier have multiple brain surgeries for his derriere dependence? Or the shot to experience the languid afterlife of a few stray mustache hairs? And what about the opportunity to contemplate the oxygen levels of flapjacks? You really can't, and Guy Maddin's latest ode to the ticklish underbelly of film archival offers all of that and more, so very very much much more. The Forbidden Room presents itself as a series of nested-doll silent films, fanning in and out of each other at rhythm's whim, and structurally it's audacious stuff with a trance-like atmosphere. You hear the drums, drums against the air, you feel the drums, you feel the air. There simply is nothing else like this, no other movie experience that will roll you around under and inside of this exact dream.

Perhaps the closest thing I've experienced, the most similar singular sensation, (besides other bits of Maddin's own work, of course) was portions of David Lynch's Inland Empire, but Maddin is Lynch's looser trickster double - Guy will always reach for the fart joke if handy. The Forbidden Room is ultimately too much of a too-much-thing, but also like Inland Empire its mind-numbing length and, uh, girth, is intentional - how better to sand off the edges of your audience's eye-line and sink them truly and completely under your spell? The outside world, like centenarian film-stock, dissolves in acid-hued pools right around you. Outside world? What outside world? We are all film down here. And by the time you stumble out of The Forbidden Room you're probably gonna be seeing inter-titles when you try to speak.

The Forbidden Room -- Teaser 02 from Guy Maddin on Vimeo.

The Forbidden Room opens in extremely limited release in one week