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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 | letterboxd

 

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NEW HONORARY OSCARS
Maureen O'Hara & Harry Belafonte

"This complete's Harry Belafonte's EGOT! Sure it's an honorary Oscar, but to quote Whoopi on this topic (on 30 Rock): "It still counts! Girl's gotta eat!- Charles

"It's time for the AMPAS to look hard at the 70's and 80's for indelible contributions. No need to wait til some of these ladies are 94.- Hayden

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Thursday
Oct252012

Oscar Horrors: Bringing the Aliens to Life

Here lies... the alien queen, expelled into space using strings, pulleys and dummies. 

Amir here to look at the Oscar-winning Visual Effects of James Cameron’s Aliens (1986). Cameron’s films have an extraordinary record with the Academy when it comes to this category. His first two features were unrecognized – and let’s be honest, anyone who’s seen Piranha II: The Spawning will surely side with the voters – but he’s enjoyed five nominations and four wins from his next five attempts. The public has come to accept him as a revolutionary director too, a man whose every work will “change the language of cinema.” Cameron’s built his career on these visual spectacles and his upped the ante with every new film, but it all started back in 1986 when Aliens was released.

Long before he became a powerhouse Hollywood director, Cameron began learning his craft on the sets of the legendary Roger Corman. For the production of Aliens, Cameron brought in the Skotak brothers, visual effects supervisors and collaborators from his Corman era, to create a whole new world surrounding Ridley Scott’s Alien mythology; a world that was wilder, gorier and more expansive than Scott’s...

More after the jump...

Click to read more ...

Thursday
Oct252012

It's Hitchcock's World...

Yesterday I received my invitation to Hitchcock and I nearly let out a scream of delight. Not that the trailer convinced me a masterpiece awaited me or that I've rushed to read "Alfred Hitchcock and the Making of Psycho" in preparation but I do tend to get excited for most things Hitchcock. The power of branding! I still remember the day I received the Hitchcock Masterpiece Collection box set (a gift from a generous reader some years ago) which felt like 15 Christmases at once.

Wouldn't it be neat if more Golden Age era directors had the sort of modern profile that The Master of Suspense still enjoys? Wouldn't it be neat if baby cineastes pored over every page of "William Wyler and the Making of Jezebel" (not a real book) or if the film version of "Billy Wilder and the Making of Some Like It Hot" (not a real book)  retitled simply Wilder (not a real film) was a sudden hot Oscar buzz prospect for 2013 or if you could say "George Cukor" to anyone and they wouldn't think you were referring to a coworker or neighbor they didn't know. Wouldn't it be great if "King Vidor" didn't sound more fictional to people than Princess Mia Thermopolis of Genova?

But I digress.

My mind suddenly jolted to Hitchcock and his immense fame a record six times already this week: when Manuel Muñoz's (author of the Psycho-adjacent novel "What You See in the Dark") wrote up Hush Hush Sweet Charlotte for the blog; when I read Interiors Film Journal's look at the motel room in Psycho (What an interesting choice as I've never much considered it as a space before... just as a violent eruption of glass shard like images if you will, and again when I was ); when Vanity Fair posted those photos of young prankster Mitt Romney and the one of him with the etch-a-sketch totally had me shivering from its Norman Bates like quality only scarier because I can escape Bates' knife if I don't stay in his motel but how to escape Mitt's destructive capabality if he becomes President?; when Beau sent me a text saying "The Girl" (that other Hitchcock making-of bio) sucked; when the invite arrive and; first and foremost when I my friends covered me in seed and pidgeons landed all over me in Puerto Rico's Old San Juan (I'm just back from a week in the sun!) which made me want to watch THE BIRDS again immediately...

me in Old San Juan earlier this week. Amor a Puerto Rico

Well... immediately after a shower. They're so dirty!

P.S. This image doesn't even hint at how many of those birds land on you when you're holding bags of seed. They peck so furiously that your arms have polka dot imprints afterwards but the sound of their begging cooing right in your ears is remarkably endearing/freaky/surreal.

TALK TO ME... Which classic movie director outside of Hitchcock do you most wish had a higher profile these days? How high would you rate your anticipation of "Hitchcock" on the coming soon meter? Have you seen The Girl?

On an off-cinema note, have you ever been to Puerto Rico?

 

Wednesday
Oct242012

c'mon. take another little piece of my link, babe

Next Movie Evan Rachel Wood & Juliette Lewis would rather they play Janis Joplin than Amy Adams! Agree?
Hark! A Vagrant stops for Quiz Time with Queen Elizabeth. If only Elizabeth: The Golden Age was this (intentionally) funny!
Stale Popcorn loves the costumes of Argo (as do I) 
Playlist will we see a Fincher-helmed sequel to The Girl With the Dragon Tattoo. So many questions. So few answers but I am going to say a hard "yes" on my guesswork on this one. I have my reasons. 

Salon wonders if horror has reached a new golden age and whether European (Spanish to be precise) cinema is to blame. 
i09 Wally Pfister, the Oscar winning cinematographer of Chris Nolan's filmography will direct his own feature now. Johnny Depp to star.
/Film Zero Dark Thirty and Stand Up Guys have adjusted their release plans to barely show in 2012 but still be Oscar players. Oy... I hate this part of the otherwise glorious last quarter of each year. In related news: yes, I'm fully aware that I need to add Jessica Chastain to my Actress chart. Updates this weekend!
Playbill Whatever happened to that Soapdish remake? Never mind, it's now being adapted into a musical. Quite a starry lineup they're gathering for a reading: Kristin Chenoweth & Jane Krakowski? Blonde musical comedienne sensation x 2 !

Gawker 'my pussy is the temple of learning' Madonna's Sex and Erotica turn 20 years old this week. I love them both muchly. If only they were movies I would devote the whole week to them. Please do not say "Body of Evidence" as its the only embarrassing part of that Madonna 92/93 trifecta that's no cause for celebration. (Should I write about them anyway and just force the film connections?)
Cinema Blend Bradley Cooper and Emma Stone for Cameron Crowe's next movie? 
Pajiba on the Empires of the Deep trailer. Hmmm Errrr. The only recognizably non-computerized thing in it is one shot of Olga Kurylenko (Quantum of Solace) One senses this won't be her Resident Evil poor thing. 
In Contention talks to the very busy very awesome character actor John Goodman  

 

Wednesday
Oct242012

Oscar Horrors: A Shark in the Edit Suite

Oscar Horrors looks at nominated contributions to this non-Oscar bait genre. Here's Craig on Jaws.

HERE LIES... a beautifully cut shark by the name of Bruce. Oscar-winning editor Verna Fields did the celluloid slicing and dicing...

Spielberg made it a star of fearful proportions. John Williams gave it an iconic theme tune. Roy Scheider, Richard Dreyfuss and Robert Shaw obsessively stalked it. And Richard D. Zanuck and David Brown looked on, clutching the purse strings, as they all went about their blockbusting business. But the person who gave Amity Island’s Great White unwanted visitor fierce presence and a sinister personality most could arguably be the editor Verna Fields. Alongside Spielberg and Co. she was instrumental in terrorizing the world with Jaws, summer 1975’s maiden blockbuster movie. She manoeuvred the shark’s arrival and departure – in tandem, of course, with Williams’ score – helping to create cinema’s scariest PG-rated, non-human villain.

Fields worked wonders with Jaws’ spatial particulars. The film is a feast of horizontal expanse and vertical depth cut with sharp attention to the terrors evoked by the mysteries of distance. When poor Chrissie (Susan Backlinie) – in the instantly memorable and terrifying first, post-titles, scene – feels the pull of (mechanical) death on her water-treading legs, we vicariously retract ours. The endlessness of the ocean is reason enough to inspire terror, but Fields mercilessly positions us alongside, then below, Chrissie to establish instant fear: she’s a gliding silhouette on the surface, Bruce’s first victim; a meal. And we’re right there with her.

Click to read more ...

Wednesday
Oct242012

♪ we're gonna sco-o-ore tonight ♪ ♫

Who would you rather go bowling with? 

Don't lie! Who would you have the most fun with?