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13th, Jackie, Moonlight, Manchester by the Sea and more...

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The Film Experience™ was created by Nathaniel R. Gemini, Cinephile, Actressexual. All material herein is written and copyrighted by Nathaniel or a member of our team as noted.

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20th Century Women is Amazing

"Thrilled to hear that the movie is a worthy follow-up to BEGINNERS!" -Eric

"This is my favorite Bening work since Being Julia. It's very idiosyncratic and un-cuddly." -Paul

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Guardian Tim Robey has a lovely tribute to TV & film star James Garner (RIP) who I'll always remember best for Murphy's Romance and Victor/Victoria in the 1980s
Pajiba I'm more of a cat person but this gallery of big celebrities with tiny dogs is adorable
Criterion Collection on the painstaking restoration of The Umbrellas of Cherbourg
Thompson on Hollywood has an in depth look at the VOD decisions involving Snowpiercer from the mouth of Harvey Weinstein (so yes it's very one-sided... but interesting nonetheless)

The Dissolve 'when images match ideas' on Snowpiercer and Dawn of the Planet of the Apes 
Pajiba has the talk with Marvel about the Edgar Wright Divorce  
Towleroad Andrew Rannells starts soon as Hedwig. (I'm excited. The role is big enough for multiple interpretations)
Theater Mania Michelle Williams wants to keep singing at the Kit Kat Club longer than expected. She's staying with Cabaret all the way through November 9th now (I guess she doesn't have to start promoting Suite Française for awhile still)
Details interviews Wentworth Miller, former Prison Break hunk and Stoker writer, on his career after coming out

And, finally, are you excited for Festival Season yet?

I'm trying to remain calm as I make plans but NYFF isn't making staying calm any easier what with their Opening Night Film (Gone Girl's world premiere) Centerpiece (Inherent Vice) and Closing Night (Birdman which is scheduled for Venice as well). Tomorrow TIFF holds their opening news conference and we'll hear more about their plans as well. Here's some speculation from a Toronto news site which suggests that Reese Witherspoon is going to be a major presence and you can probably safely assume that Maps to the Stars will also be there given TIFF's love of Cronenberg.


Burning Questions: Are Marvel films Interchangeable?

Amir here and I'm mad as hell and I'm not going to take this anymore. There is no Marvel movie in theatres at the moment but the world is anticipating Guardians of the Galaxy very soon, as has been the case every few months for the past several years. Like Michael Bay films, discussed in the box office column, Marvel films are entities I have vowed not to ever see again, especially after news came out that Edgar Wright was taken off Ant-Man. I was marginally interested in Guardians after seeing the kooky trailer, but who are we kidding? The off-kilter humor of the short preview is going to give way to explosions and “things crashing into other things” and the experience will be like every single other Marvel film.

Which brings me to this frustrating news: Marvel has announced release dates for (hopefully all) their future films until the end of the decade, with the catch being the absence of... film titles? Yes, that’s correct. The studio has planned its visual assault all the way for the next five years, without even bothering with the names in the announcement this time.

Have they now realized that their output is completely interchangeable? I’m not exactly sure if I’d be less upset if these dates had titles attached to them, but what stings about the news is Marvel’s acute awareness that the audience will get excited about it and mark their calendars even without characters or stories to get excited about in the first place, like zombies feeding on chiseled heroes. The studio has become the brand, fully overshadowing the content of its films; and its sibling comics business moves like turning Thor into a woman do little to conceal the studio's lack of creative force. This announcement of release dates of unnamed product reeks of what's desperately rotten with today’s film culture: That a distinctly original, unique (and admittedly problematic) vision like Snowpiercer, fails to crack double digits at the box office, at a time when a studio with no regard for originality or qualitative progress can correctly expect people to rush to their wallets five years in advance.

Something is broken and it needs serious fixing, otherwise what we're offered on screen will continue to become less versatile and more depressing by the week. If you don't believe me, look no further than this weekend's wide release box office, where a meaningless sequel stayed at the top spot; a terrible sequel came second; an even more terrible sequel came third; and the most terrible of all sequels came fifth. I’m fucking angry about everything.


Help Wanted

Regular Contributor
TFE is looking for a new regular with a focus on current cinema / movie news. Must have your own voice but one that still fits with the general tone of the site (i.e. serious about cinema but never at the expense of having fun & vice versa). Interested parties should have three writing samples but the ability to be concise and right to the point in engaging bite-sized takes is best. We never cut and paste press releases here as so many sites do but sometimes that's at the expense of not covering news at all which is not an ideal solution. Are you an alchemist who can read a press release and transform it into something short and pithy that actually still gives us the news but with a point of view? 

International Correspondents
The last time I tried this I got a lot of interest from foreign readers who wanted to talk about American cinema. But that's not what we're looking for. We're looking for people abroad (with the same skill set as regular contributors: fun, concise, accessible) who are well versed in / frequently attend their own country's cinema for monthly concise peeks at film culture elsewhere. Especially in major film markets like Germany, China, Japan, Brazil, India, France, Spain, Russia, etcetera...

If You Are Jake Gyllenhaal, You're Hired




What did you see this weekend?

Dawn of the Planet of the Apes continued to sell well (and should easily surpass Rise's gross) but the only box office story of much interest this weekend is Boyhood's incredible success at only 33 locations.  Though IFC Films almost never campaigns for Oscar nominations in any meaningful way, there are some whisperings that the response to Boyhood may change that. We'll see.

Raher than a top ten chart let's look at wide and platforming.  

01 DAWN OF PLANET OF APES $36 (cum. $138.9) Review
02 THE PURGE: ANARCHY $28.3 *new*
03 PLANES: FIRE & RESCUE $18 *new* 
04 SEX TAPE $15 *new*
05 TRANSF4RMERS: AGE OF EXTINCTION $10 (cum. $227.1)

01 BOYHOOD $1.1 (cum. $1.8) Review
02 WISH I WAS HERE $.4 *new*
03 OBVIOUS CHILD $.1 (cum. $2.6) Review
04 IDA $.1 (cum. $3.3) Capsule
05 BELLE $.1 (cum. $10.4) Capsule

In other news Chef, Jon Favreau's 'pulling in all his favors' all-star comedy crossed $25 million in its 11th week. The movie, a light sweet comedy about a chef whose career falls apart forcing him to reevaluate his choices, has been a true word of mouth hit in limited release. Almost by accident I saw it yesterday with a friend and her family who had decided they wanted to see a movie, any movie, at the last minute last night on our beach weekend. It was the perfect kind of casual entertainment for a group. Of course to enjoy its sweet father/son drama, it's shameless twitter-ad placements, and the enjoyable camaraderie of the stars, I had to turn off my inward groaning that not only did portly Jon Favreau have Scarlett Johansson as a love interest but his other love interest was Sofia Vergara - realism unbounded! (And worse still neither of them existed as people but to prop up his character arc towards becoming a better man.) But I guess when you write and direct and star and produce your own picture you can pretend that the world's most voluptous women would be totally into your mopey ass and exist only to meet your emotional needs when you crash. 



"Otherwise it goes in the pile"

Mary Steenburgen is always the boss of you.

(Great Moments in Screen Bitchery #1051: Mary Steenburgen in The Help)



ICYMI (12 Days 'til Smackdown)

July's heat has slowed us down a bit here at TFE (I'm actually at the beach as you read this) but if you haven't been popping in each day you might've missed some goodies. Herewith a baker's dozen of the most popular and/or best posts from the past couple of weeks.

Just One of the Guys Annie Hathaway

Lee Pace Won't Kiss Amy Adams - a flashback
Dawn of the Planet of the Apes - reviewish
Catwoman and The Joker - the two best performances ever to grace a superhero movie
Movie Star Drag Kings - KStew, Hathaway and Brie Larson became "Just One of the Guys"
Kate with a Side of Bette - a special edition of the podcast w/ Nick & Anne Marie
Flashy Title Sequences, TV - we looked at an undersung Emmy category
Exodus Tease  -  More of a Cock Block, really
Robin Hood - Disney's anthropomorphic '73 version  

Halfway Mark Madness - The Complete Series
We looked at the best films of the year's first ½ as well as the best performances, best visuals, best sounds (consider them FYCs) and the hottest of the hotties from Hiddleston to ScarJo

The final 2 weeks of July will be jam-packed: Nathaniel interviews Patricia Arquette on Boyhood; Anne Marie reports from San Diego Comic Con; we'll finish the Oscar charts (hey we got 4 categories updated at least!) "Best Shot" looks at Under the Skin (7/22) and Cries and Whispers (7/29); Matthew Eng returns to celebrate Sandra Bullock at 50; and we continue to look at the movies of 1973 before Stinky Lulu's Supporting Actress Smackdown returns on July 31st with our special guest panelists


Team Top Ten: Best TV to Film Adaptations of All Time

Amir here, to welcome you to another edition of Team Top Ten, a poll of all of the website’s contributors. The topic du jour given that it's Emmy season is Best Films Adaptated from TV Series.

For as long as film and TV have coexisted, their fates, stars, successes, failures and histories have been entangled. Their ever-shifting dynamic has had an immense impact on both industries. The complexity of their relationship made devising a list like this one quite difficult, beginning with the question of what really constitutes an adaptation. For example, The Holy Grail and Life of Brian are not adapted from Monty Python's The Flying Circus; they are inspired by it, but one is more inspired than the other, so we rendered the former film eligible and the latter ineligible. On the other hand, series like Mission Impossible and Naked Gun present a different type of challenge because the sequels are continuations of the original film, rather than the TV series, but we considered them eligible nonetheless. We faced another difficulty with franchises like The Addams Family and The Addams Family Values, based on a series that is itself based on comics. The extent to which the films were inspired by either source was taken into account and we considered only the former film eligible in this case though the latter has far more ardent fans among the team here.

And so on and so forth. The point is to take this list with a grain of salt and add your personal favourites in the comments below. Without further ado…


10. Twin Peaks: Fire Walk with Me
Unlike these days, David Lynch needed to make a film in order to portray all of the incest, rape, pedophilia, murder and drugs that his and Mark Frost’s television series mostly only alluded to. While Twin Peaks, which ran for two seasons in the early 1990s, was a woozy blend of murder mystery, soap opera, dark comedy and surrealist imagery, the film was an altogether different beast. A dark and often brutally ugly ‘horror melodrama’, it angered many fans and even filmmakers (Quentin Tarantino was not a fan). For people willing to take the plunge, however, into the dark recesses of Lynch’s mind, it is a compelling and tragic affair that remains one of the definitive directorial statements of the ‘90s. Plus, David Bowie as an FBI agent who may be a ghost. Or an alien. Or a shape-shifter. Who can tell? –Glenn Dunks

9. Mission: Impossible - Ghost Protocol
Ghost Protocol
seemed like a squeaker eligibility-wise, with the show a distant, tenuously related memory and three other movies interceding between them. But the film is one of the great pop entertainments U.S. studios have produced in recent years, dynamically edited and gorgeously shot by Robert Elswit without the self-conscious handsomeness of There Will Be Blood or Good Night, and Good Luck. With set-pieces as stunning as the Kremlin infiltration, the sandstorm chase, and everything else that happens in, on, or around the Burj Khalifa, this is top-notch, exuberant, and imaginative action filmmaking.  I liked De Palma’s gimcrackery and Abrams’ more traditional and character-driven suspenser, but Ghost Protocol is the franchise’s happiest marriage of scene construction, silliness, and star charisma (not just from Cruise, but from everybody).  Its division into discrete, flavorful sequences gives it the roaming energy of a television serial. You want to binge four more movies afterward. –Nick Davis

8 more after the jump

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