Oscar History
Film Bitch History
Welcome

The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)

Follow TFE on Substackd

Powered by Squarespace
Keep TFE Strong

We're looking for 500... no 390 SubscribersIf you read us daily, please be one.  

I ♥ The Film Experience

THANKS IN ADVANCE

What'cha Looking For?
Subscribe
Saturday
Aug302014

Review: Robin Wright at "The Congress"

Amir is here with your second review of the weekend...

The Congress, Ari Folman’s follow-up to his brilliant debut feature, the animated documentary Waltz with Bashir, starts rather normally. The opening shot is a staggeringly beautiful close-up of a tearful Robin Wright (playing an imaginary version of herself) as her agent Al’s (Harvey Keitel) voiceover informs us that her career is in tatters. Robin has hit the film industry’s glass ceiling age of 45 and with an already troubled reputation as a difficult actress to work with, her options are quickly dwindling. Al is trying to convince her to sell her digital image rights to the Miramount studio headed by Jeff (a remarkably greasy Danny Houston). This would mean that the studio will use her scanned image to create characters in future films in exchange for a fat paycheque and her right to ever act again.

Everything about this opening setup is promising, signifying a film that is aware of the fears and tensions within the entertainment industry. The Congress is ripe with smart ideas and astute observations about the challenges that technology presents to the men and women active in cinema. [more...]

Click to read more ...

Saturday
Aug302014

UHF (1989) - Let's Get Weird

Hello all, Margaret here to ask: in our Year of the Month, 1989, did anyone guess what cultural endurance "Weird Al" Yankovic would have?
 
By all rights he should have faded into obscurity after his surprising burst of mainstream popularity in the late 80s. Yet somehow, not only has he enjoyed a steady career these past 25 years, Weird Al is actually almost hip right now, coming off of 8 ultra-viral music videos, a spot in this year's Emmy telecast, and a #1 album on the Billboard chart. Capitalizing on this moment in the sun, Weird Al recently announced plans to write (and possibly direct) a second film. His first, released in 1989 during that early burst in popularity, was the critically maligned cult classic UHF. [more...]
 

Click to read more ...

Saturday
Aug302014

Game of Links

Catching up on news & noteworthy we didn't cover the past couple of days...

Brangelina
Vanity Fair the details of the Brangelina marriage that we know. I'm really so happy for them as a longtime fan but...
Time knocks them for not keeping their promise to the gays. I knew this backlash would happen. But they did hold out a long time and they've done so much good for the world including for marriage equality that I think we should let it slide
Gawker asks the intriguing question: "Why is Angelina Jolia a movie star?"

Some of her movies have been well-received acting vehicles. Some of her movies have been gargantuan commercial products. There is no place where those circles overlap on the Venn diagram. 

It's worth pondering her atypical celebrity.

Absolute Must Read!
/bent has a fascinating long essay about HBO, Game of Thrones, and the distinct feeling that TV series are beginning to go for sex and violence just to have them rather than serve the story. It's a super interesting detailed piece that covers more than just Game of Thrones but past series as well and troubling gender politics and rape fantasies. 

More Linkage For Infotainment
Variety has intriguing film/stage news: Vincent Kartheiser of Mad Men fame will be playing the legendary filmmaker Billy Wilder on stage in a play about the making of Double Indemnity. Good luck finding someone who can pull off Barbara Stanwyck!
The Film Stage a new trailer for Stephen Daldry's Trash. You guys no matter what I do, I cannot remember to watch this. I didn't see the first one either. I still know nothing about this movie
Deadline the first Oscar FYC screener to go out is actually Snowpiercer. That's a fun surprise. They're pushing Tilda Swinton for Best Supporting Actress. I can't find a large enough photo of the screener online to tell who else they're pushing though. 

/Film The Maze Runner is being shown in "Panoramic Projection" which is a new thing that's apparently descended from CinemaScope.  
In Contention Kate Winslet and a bunch of acclaimed actors are starring in John Hillcoat's (Lawless) next feature in 2015 called Triple Nine
Out profiles Belgian superstar Matthias Schoenaerts
Empire Charlie Hunnam to play King Arthur for Guy Ritchie
The Wire explains the messy chain of events of that Bryan Singer sexual abuse lawsuit, which has now been dismissed 
Variety The Art Directors Guild has expanded their annual awards categories. Lots of interesting things will be honored now like storyboard artists and such 
Gizmodo wonders how NYC would respond to an actual Stay Puft Marshmallow Man attack. 
/Film Actor Bill Hader shares a list of his 200 favorites  (I was super happy to see Trouble in Paradise, Nashville, and L'Atalante... let's just say he has really good taste)
Vulture talks to Jessica Chastain about yet another season of multiple movies and her love of movies, even the bad silly ones.

But tonight I'm going to the movies and I really go to the movies any chance I can... I love 'em all."

Small Screen
Decider looks back at a very special episode of "The Facts of Life". Weren't they all? 
Variety on why the Emmy rules are so hard to fix
Variety talks to Allison Janney about her career and double Emmy night
TV Line great news: Enver Gjokaj, so brilliant on Dollhouse and not as well employed as he should be is joining the Marvel Universe via that Agent Peggy Carter show 
Pajiba David Fincher's Gap commercials  

DISCUSSION TOPIC
Do you ever find yourself reading a blog post or essay or watching a conversation and one casual remark will totally throws you out of the piece until it's all you can think of? That's what happened to me with that Hilary Swank comment the other day. It happened twice more last night. I was watching an interview with the star of Obvious Child, Jenny Slate, where she was all "I miss romantic comedies where women are complex". Me too! But then her example of non-complex is shade thrown Kristen Wiig & Bridesmaids way? HUH? That's one of the only great romantic comedies of the past decade with complex female characterizations. Then I'm over at Film School Rejects reading a take on the Honorary Oscars and they're complaining about no "career tribute" style Oscar nomination for Maureen O'Hara in that John Candy movie Only the Lonely (1991). And then Christopher Campbell writes:

Did they really need to honor Juliette Lewis instead?

What-the-what-now? Juliette was the best one in her category that year! Plus, sucking Robert DeNiro's thumb is really going above and beyond for art on account of gross.

Has this happened to you recently where you just can't with one sentence? 

 

Friday
Aug292014

Review: The Zero Theorem

Michael Cusumano here with the latest dispatch from the bizarre world of Terry Gilliam.

Terry Gilliam is an artist one can’t help but root for. The image of Gilliam that comes most readily to mind is one from the great behind-the-scenes disaster documentary Lost in La Mancha. It’s early, before his production has imploded, and the director reviews one of the few shots he managed to get on film for his doomed Don Quixote project. The image of the three men cast as giants lumbering toward the camera delights Gilliam to no end. His childlike glee at the sight of their rolls of fat jiggling in grotesque slow-mo is an image of an artist in touch with the pure, silly thrill of filmmaking. A man who lives for the experience of seeing his cracked visions transferred to the big screen. 

On the other hand, the subtler, less flattering image of Gilliam I took from that documentary is that of a filmmaker capable of being swept up in the joy of the process to the point of being blithely indifferent to the needs of the audience. I remember leaving La Mancha with the guilty suspicion that maybe it was for the best that The Man Who Killed Don Quixote crashed and burned on take off. Better to live with the unrealized ideal than to see one’s dream project fail to live up to expectations. What little footage we see in the film suggests it would have been of a piece with his 21st Century output, which is to say fanciful bordering on incoherent, fascinating to look at but too messy to inspire emotionally investment.

More...

Click to read more ...

Friday
Aug292014

When Harry Met Sally... (1989) Food for Thought

Anne Marie here on the 25th anniversary of a genre classic.

It is a truth universally acknowledged, that any romcom made after 1989 owes large thematic debts to When Harry Met Sally… From the Meet Cute to the Bickering Couple to the Final Romantic Gesture (usually involving holidays and/or running), When Harry Met Sally… set a template that has defined an entire genre, and--depending on who you ask--killed that genre as well. But despite the cliches, Rob Reiner and Nora Ephron’s Oscar-nominated comedy script continues to sparkle 25 years later, because it is not a movie about romantic gestures. It is a story about people; their observations, their oversights, and most importantly, their food.

Watching When Harry Met Sally… for the first time, you’d be forgiven for thinking New Yorkers do nothing but eat and argue. As Harry (Billy Crystal) and Sally (Meg Ryan) meet, separate, meet again, fall into friendship, and fall in love, they do so against an ever-rotating backdrop of restaurants and parties. (Apparently nobody in New York cooks at home either.) A lingering fear in romantic comedies--a genre about bringing people together--is the fear of being alone, and these are public spaces that force the characters to interact with each other and avoid the lonely New York death that Harry jokes about early on. Most importantly, these settings also givethem a chance to eat.

It comes as no surprise that the woman who would write Julie & Julia twenty years later would be so interested in how food reveals character. Ephron establishes both of her young characters through how they eat. Of course, Sally’s infamously detailed instructions to the first waitress immediately brand the young blonde as a perfectionist who likes control. Meg Ryan's best scenes are ordering from the menu, which she does with neither self-consciousness nor self-awareness, making Sally opinionated but not apolagetic, and somehow very funny.

Sally Albright: But I'd like the pie heated and I don't want the ice cream on top, I want it on the side, and I'd like strawberry instead of vanilla if you have it, if not then no ice cream just whipped cream but only if it's real; if it's out of the can then nothing.

Waitress: Not even the pie?

Sally Albright: No, I want the pie, but then not heated.

But Harry is also announced through his food, or rather through his bad manners while eating it. In their very first interaction sharing a car driving into New York, Harry introduces himself to Sally and the audience by talking through a mouthful of masticated grapes, and spitting grape seeds at the window. He’s messy, but he’s relaxed. (Minor characters also interact this way, including a brief fling of Harry's who is wrong for him because she bakes and he hates sweets, and Marie and Jess, who bond on a blind date over an article about wine.) Even when they're eating instead of talking, Harry and Sally are deliberately drawn opposites.

In between bites of food, Harry and Sally work as mouthpieces for Ephron’s musings and philosophies on relationships. When Harry Met Sally… plays as a series of dinner table debates interrupted periodically by plot, sex, or food. It’s a testament to Billy Crystal and Meg Ryan’s charming chemistry that they can make the discussion feel like action, and not just while banging on the table with fake orgasms. Harry and Sally discuss sex, loneliness, real estate, death, the ending of Casablanca, and anything else that pops into Ephron’s mind. 

Primarily, they concern themselves with one question: Can men and women remain friends? Or, to update it to 2014, “Is attraction an insurmountable obstacle to friendship?” Twenty five years later, it’s still a question that single people ask themselves. For the last few years, we've been hearing the supposed death knell of the romantic comedy, with the insistence that this genre is too cliche. But the fact that I had the friend vs romantic partner debate last week says to me that this foreboding may be a bit premature. The best new romcoms, like Obvious Child, are movies that carry on Nora Ephron's real legacy: some scattered observations, a question or two, and maybe a little bit of comfort food.