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The Film Experience™ was created by Nathaniel R


 Gemini, Cinephile, Actressexual. Also loves cats. All material herein is written and copyrighted by him, unless otherwise noted. twitter | facebook | pinterest | tumblr | instagram | letterboxd | deviantart 

 

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Is Tootsie the Greatest Movie?

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Saturday
Dec142013

Oscar Rejects and Finalists: Makeup and Hairstyling

Though it's perhaps unfair to possible future Oscar nominees who are (tentatively) celebrating, the finalist lists that are announced in the categories that have "bake-offs" have an unfortunate side effect: the story by necessity becomes about who didn't make it; "finalist" status is not, we must remember, an Oscar nomination and might not turn into one but rejection is hard fact. The Oscar's makeup branch, though fond of showy prosthetics like old age makeup or fantastical creatures has never nominated a zombie movie and also isn't crazy about horror (despite horror employing so many makeup artists) so I knew the chances weren't great for World War Z or Warm Bodies or Evil Dead or any other genre films though I am a little surprised that Oz: The Great and Powerful was already culled. Yes, Mila Kunis's Wicked Witch looked dumb but this branch's history doesn't always give one confidence that they'll choose well.

Surprising Rejections and Unexpected Embraces after the jump...

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Saturday
Dec142013

Catching Up With the Linkses

The Wire a definitive ranking of the hair in American Hustle. Elizabeth Röhm's Dolly Polito and that awesome bathroom showdown between Amy & Jennifer are not high enough!
NY Post gives you more background on The Wolf of Wall Street's Jordan Belfort and how filthy rich he still is. So much for penance!
Vulture interesting piece on Inside Llewyn Davis and discrepancies with actual folk music culture as it was experienced at the time
Cinema Blend first images from Transcendence with Johnny Depp
Movie City News 12 weeks to go in the Oscar punditry game. Why is so little changing?
MNPP renames Hercules "The Legend of Pecules" which is all well and good since Kellan Lutz beefcake will surely be the only reason to watch it 
LA Times looks at the quiet subversive Oscar campaign for James Franco in Spring Breakers (oh I so wish the Globes had had the guts to go there 

List-Mania
Alan Sepinwall's  top ten TV of the year including Southland and Top of the Lake (yes times two) and I really co-sign the comments on both Mad Men and Masters of Sex
Matt Zoller Seitz's top ten TV of the year 
Stephen Holden's top thirteen of the year. So much capitalistic anxiety
Cinephiled this podcast gives you a peek inside the voting for the Los Angeles Film Critics Awards. I meant to share this last week but it's very much worth a listen: Starring James Rocchi, Karina Longworth, Alonso Duralde, and Amy Nicholson 
A.O. Scott's top ten of the year with love for the Coens and the McQueen but I'm most enthralled by #10 which goes like so:

10. ‘The Great Gatsby’/‘The Wolf of Wall Street’/‘The Bling Ring’/‘Spring Breakers’/‘Pain and Gain’/‘American Hustle’ Six variations on the big theme of our times: “Just look at all my stuff!” It’s capitalism, baby! Grab what (and who) you can, and do whatever feels good. We’re all going to hell (or jail, or Florida) anyway.

Slant individual top 10s from their team. And...
Slant top 25 films of the year (collectively) with lots of love for Museum Hours, Her, and Inside Llewyn Davis.They also loved two films I hated: Bastards (to me Claire Denis' nadir) and Upstream Color


Off Cinema

The Advocate on the gayest responses to Beyoncé's surprise album release. 
Gawker 'Beyoncé is just like everyone else only much better'
(I'm not really a music person but I definitely admire a capable surprise and in this day when most entertainment WILLFULLY spoils itself before it premieres I am so proud of this woman I don't even care about! I can't imagine how a celebrity that big kept all of that a secret when other celebrities and their teams were involved)
Playbill it's hard to imagine an odder pairing than avante garde performance artist Taylor Mac and Broadway legend Mandy Patinkin but here they are co-starring in The Last Two People On Earth: An Apocalyptic Vaudeville which starts performances today! Hope I get a chance to see this one.

Saturday
Dec142013

American Hustle... 'you know, for kids!'

Text from a friend:

Too bad about their period piece aversion because New Jersey's political history, Abscam, and combover jokes are otherwise such big draws with the kids!

 

Saturday
Dec142013

Thoughts I Had... While Watching the "Interstellar" Teaser

Presented in the order I had them without self-censorship... you do the same in the comments!

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Saturday
Dec142013

Team FYC: Julia Louis-Dreyfus in Enough Said

Team FYC lets Film Experience contributors highlight their favourite fringe contenders for awards season. Here's David Upton on a sitcom star moving mediums.

Times have changed since George Clooney made the stratospheric leap into movie stardom after leaving ER. The avalanche of cable shows starring former box office headliners over the past few years have gone some way towards reducing the gulf between the two mediums. Julia Louis-Dreyfus currently plays her frantic neuroticism big on the small screen, as a harried, ambitious and fatigued vice president on HBO’s Veep. But she also side-stepped seamlessly into Nicole Holofcener’s big screen world of anxious, middle-aged, middle-class white women as Eva, a divorced masseuse in Enough Said. Next to the sharp, caustic wit of Armando Iannucci’s political sass, Holofcener’s script is a warmer, more delicate thing, and Louis-Dreyfus tones it down for the bigger screen.

While the more intimate focus of Enough Said makes for a more enjoyable, astute film than Holofcener’s recent ensemble films, it’s Louis-Dreyfus who gives the proceedings a different tone than the more bitter screen presence of Holofcener's usual leading lady Catherine Keener (in a supporting role this time). While Enough Said isn’t the type of film that calls for a star turn, Louis-Dreyfus shades Eva with her long-established persona without letting it overwhelm the film. Eva instantly makes sense as a character without being too familiar – it’s a delicate combination of persona and performance that’s much harder than Louis-Dreyfus makes it look. It’s a shorthand that she never uses as a crutch – instead, it’s a springboard she uses to etch deeper, more painful shades into Eva and her relationships with the other characters.

As ever, Julia is a generous screen partner. Her warm but nervy presence brings out new qualities in the people that surround Eva, particularly the vulnerable pride in James Gandolfini’s Albert. She aces the comic notes without making them gratuitous, instead making them organic to Eva’s neurotic, frazzled personality. JLD effortlessly gets both the size and shape of the film, she's at once luminous as its star and awkwardly humbled as Eva often feels; the emotional movements are gentle but feel seismic, because Louis-Dreyfus so openly makes Eva and the film inseparable entities. Enough Said feels so much lighter for her presence, but she assures that it lands its darkest moments with graceful power.

related post
Julia Louis-Dreyfus interviewed

Friday
Dec132013

Happy Birthday, Dick Van Dyke

Tim here. Saving Mr. Banks opens in New York and Los Angeles today, and Mary Poppins made its debut on Blu-ray this past Tuesday in a "50th Anniversary" edition bumped up a year for maximum cross-promotion effectiveness. Doubtlessly, neither of those events was timed to coincide with the birthday of Mary Poppins co-star Dick Van Dyke, who turns 88 years old today, but the confluence of events was just too perfect to pass up. Let us then spare a moment to thank one of the greatest avuncular figures in American pop culture in this moment when his most important film role has been brought back into the limelight so enthusiastically (though Van Dyke, as a character, is barely a blip in the context of Saving Mr. Banks, taking the form of an unbilled performance by Kristopher Kyer).

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