What Director to Rank Next?

by Cláudio Alves

I don't know about you, but I had a lot of fun ranking Hayao Miyazaki's feature filmography. So much so that I feel inspired to do the same with some other beloved auteur. The only issue is deciding which director to rank next. In those write-ups, a commenter suggested David Lynch, so he's on the list of candidates, but there are many more possibilities, storied careers full of fascinating films. Why not put it to a readers' vote and let you choose who you wish to read about? That's exactly what we're doing, and you have ten possibilities to choose from, all of which have works I love and a filmography small enough to be manageable…

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How Had I Never Seen..."The Wild One" (1953)?

by Cláudio Alves

Today marks the Marlon Brando centennial, and what better way to celebrate than to explore the actor's filmography? In my case, I decided to plunge into one of those iconic pictures that, for some reason, had never crossed my path till today. It's 1953's The Wild One, the prototypical biker film from which many more sprung forth, a crystallization of midcentury rebellion as understood by Hollywood's paramount moralist, Stanley Kramer. He produced it as one of his social issue flicks, taking inspiration from a Harper's Magazine story that was, in itself, based on a series of events that took place in Hollister, California, 1947. Brando plays Johnny Strabler, leader of the Black Rebels Motorcycle Club…

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Drag Race RuCap: “Drag Race Vegas LIVE! Makeovers”

Nick Taylor and Cláudio Alves are watching and recapping RuPaul’s Drag Race season sixteen. This week, it’s time for episode thirteen…

Like last week, thank heaven for the hunks.

CLÁUDIO: Like many a makeover challenge over the series’ herstory, the latest season 16 episode is rather lovely up until the judges deliver their critiques. After that, it’s the usual shit-show of inconsistent rulings and baffling decisions, a nonsense cocktail that sours everything that came before and leaves a bad taste in the mouth going forward. As if inverting its predecessor’s trajectory, this season seems intent on decreasing in quality as it reaches its final stretch, each episode a bit more disappointing than the one it follows. At least we have hot men to ogle, eye candy from start to finish, with a spoonful of potential fetish content to make things sweeter. That is the one saving grace of these past few chapters. 

NICK: I’m very sad that my French Vanilla Love Dion fantasy was shot down this episode. Don’t look at me, I’m distraught . . . .

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Almost There: Robert De Niro in "Mean Streets"

by Cláudio Alves

Fifty years ago today, the 46th Academy Awards took place in Los Angeles. It was a starry night, as Oscar nights often are, and The Sting would end the ceremony as its big winner. The Exorcist and The Way We Were also did well for themselves, illustrating a push-and-pull between modernity and tradition as the industry tried to reckon with the nascent Old Hollywood movement within its ranks. Indeed, that same year, an up-and-coming New York-based filmmaker had premiered his third feature to great acclaim. Amid its cast was an actor who'd become one of his most important collaborators, a creative partnership that lasts till today and has shaped a good part of American film history.

Mean Streets was also the first time Robert De Niro entered the Oscar conversation. Critics singled him out for his turn as Scorsese's Johnny Boy…

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Dakota Johnson and the Art of Disdain

by Cláudio Alves

There are few things more enjoyable than watching Dakota Johnson take the piss out of one of her movies. It's even better when it's not simply done in the promo tour but within the flick itself. Some might find it disrespectful, but such are the privileges of our nepo baby extraordinaire. She's got enough bad reviews to satisfy those who dislike her approach and even some Razzie nominations to go with them. However, I'd argue Johnson's bizarre deliveries, the projections of disdain for bad scripts, might be a kind of secret weapon of hers. There comes a point where one starts to feel a kinship with the actress or even a sense that she's fixing rotten characterizations by simply not taking them too seriously…

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