in theaters

new on DVD/BluRay

review index



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


Powered by Squarespace
Comment Fun

The BIG EYES Poster

"I didn't even notice the stars at first but that's why I like it. Tag line is clever. I hope Burton gone substance over style (while being stylish) with this one." - Jija

"The art is ugly creepy kitsch... that is, slightly above dogs playing pool and black-velvet Elvis. I have a hard time grasping why we should care who created it..." - Owen

Keep TFE Strong

Your suscription dimes make an enormous difference to The Film Experience in terms of stability and budget to dream bigger. Consider...

I ♥ The Film Experience


For those who can't commit to a dime a day, consider a one time donation for an article or a series you are glad you didn't have to live without.

What'cha Looking For?

20:11 Season of the Hornet's "No Stings" Dilemma

Year in Review Fun... Much more to come! 

Herewith the 20th minute and 11th second of the movies of 2011 in chronological order of US release dateIt's like flipping channels for snapshots of the film year! For those who like a mnemonic challenge, I've written the film titles in invisible ink below each screencap (you can highlight to see them). Would any of these tiny glimpses make you want to stop channel surfing and watch?

january | february | march | april


Our ranks have been decimated. You must deliver her."


Holy....! Kato, are you a pervert?


We are trying to relax! Everything is going to be fine."


["Did i have sex with anyone...?" and other awkward January moments more after the jump.]

Click to read more ...


Oscar News: 15 Documentary Finalists. Major Snubs Are Mandatory.

The Academy have announced their finalists in the Best Documentary Oscar category. Guess what isn't it the running anymore: Senna, The Interrupters, Page One: Inside the New York Times, and The Carrier! And that's just the biggies off the top of my head without research.  Amir was just pontificating about Senna's Oscar hopes and he's hardly that movies only über fan. People will be up in arms. I suppose it wouldn't be the Best Documentary Feature, that storied and oft-controversial category, without these anger-making decisions. Remember when Grizzly Man got the boot? I know, right? Unthinkable though that still is...

The finalists are...


  • Battle for Brooklyn (RUMER Inc.) 
  • Bill Cunningham New York (First Thought Films)
  • Buck (Cedar Creek Productions) 
  • Hell and Back Again (Roast Beef Productions Limited)
  • If a Tree Falls: A Story of the Earth Liberation Front (Marshall Curry Productions, LLC)
  • Jane's Journey (NEOS Film GmbH & Co. KG)
  • The Loving Story (Augusta Films)
  • Paradise Lost 3: Purgatory (
  • Pina (Neue Road Movies GmbH)
  • Project Nim (Red Box Films)
  • Semper Fi: Always Faithful (Tied to the Tracks Films, Inc.)
  • Sing Your Song (S2BN Belafonte Productions, LLC)
  • Undefeated (Spitfire Pictures)
  • Under Fire: Journalists in Combat (JUF Pictures, Inc.)
  • We Were Here (Weissman Projects, LLC)

The highest profile films here are Buck, Pina (also eligible in Foreign Film), Project Nim, and Paradise Lose 3: Purgatory... but that's almost a whole shortlist in and of itself so expect more drama ahead.

Who are you rooting for and which snub makes you crazazy? 



"I slept in a few dumpsters."

"Maybe I slept on some babies."



Ask Nathaniel...

So last week we did two Q & A columns, parts 1 & 2 to make up for our late late lateness with this column. (sigh). But here we go again. Curveball: No questions about legendary actresses this week! We talk about them all the time anyway.

Ask away: no multi-part questions, no top ten lists... the more succinct the question, the more chance it gets answered. Go!


From the Archives: Kirsten Dunst Interviewed

I've been racing around this week from interview to interview. You'll start seeing them as soon as I can catch my breath. For numerous reasons my mind kept leaping back to last year's precursor season when I met with Kirsten Dunst while she was on the promotional circuit for the true crime romantic drama All Good Things. Her name popped up Wednesday while I was talking with Ben Foster (Rampart) -- he's a past co-star and endearingly describes himself as "a silly fan of Kirsten" -- and Melancholia is never far from my mind as one of the most provocative and essential films of 2011. Her mysterious bewitching lead role as a severely depressed bride has, at this point, not garnered as much Best Actress traction as the performance merits, but there's little doubt that her career is most decidedly back on track. I read yesterday that she'd just joined the cast of Red Light Winter which will reunite her with Mark Ruffalo. This interview was already on my mind, and that sealed it since she had such happy memories of working with him.

So let's travel back in time a year to a pivotal re-energizing moment in her career when neither we nor Kirsten knew what to expect from Melancholia and the rollercoaster of the film's Cannes debut, controversial press conference, and Best Actress win was still future tense.

The Return of Kirsten Dunst (A Very Good Thing)
***Originally Published in December 2010***

It might sound silly to say, but seeing her in the flesh is something of a shock. Kirsten Dunst has been in the movies for many years, and she's made an indelible mark in them, whether as a child vampire, an unknowable teen dream, a disciplined cheerleader, a superhero's better half and so on; one half expects her to flicker when one meets her, as if she's being projected still. But there she was earlier this month at a New York City luncheon honoring her heartbreaking work in All Good Things. Her image did not fade or dissolve but remained steady in medium shot. She ate, she sipped, she walked around the room talking with reporters, friends and peers.

There was, however, a close-up. We shook hands and exchanged a few pleasantries. Then she was whisked off, not by a sharp edit, jump cut or a quick pan, but by her people taking her to the next reporter. Imagine it!

I reminded her of the busy luncheon a few days later over the phone. She's already thousands of miles away.  This time, she's a disembodied voice which is surprisingly more familiar, like a movie image. "You were so in demand," I say, reminding her of the crowd and well-wishers.

"You know...," she says, and I do having been there, "A lot of babies to kiss. A lot of hands to shake."

It's good to hear the smile in her voice and remember her amiable presence in the room that day. Especially considering the sadness that lingers from her fine work in All Good Things. People have won Oscar nominations for giving much less to their films than she does here, in one of her finest performances. She starts out sunny and delightful, the girlish woman we sort of recognize from numerous other films but she's soon torn apart by her husband's (Ryan Gosling) dark almost alien soul.  The film is based on a true story, the unsolved mystery of the disappearance of Katie Marks (Kirsten), the bride of the heir to a wealthy New York family.  I've followed her career enthusiastically for many years, once even referring to her as "the future of the movies" but naturally we start with the present and the subject at hand.

It's not the first time she's played a real life character but how did she tackle someone who isn't easy to research, someone who went missing? Here Kirsten cedes most of the credit to her director, who knew the case inside and out.

KIRSTEN: Everything that we knew about [Katie] is in the script. She's not a public figure. Yes, she's a real person but not someone that we know her mannerisms. It was really about making her feel like a whole person that was unravelling, as he was in a way, someone with her own strong motives so it wouldn't just be The Victim of this crime.

Nathaniel: You have to have the full range of their romance.

KIRSTEN: That was so important. You have to believe these people were completely in love with each other in order for her to stay and to excuse the behavior

Did anything change a lot from filming to the finished movie?  You're acting piecemeal and the movie takes place over a really long span. Did anything surprise you about the finished product?

KIRSTEN: With every movie you kind of never know how exactly it's going to come together. I had an idea but obviously I wasn't there for the last half of the movie. [She pauses briefly, considering] ...I only saw Ryan in drag once on the set so I wasn't sure how all that was going to come together.

While we were working we played things very differently; we improvised a lot. The scene where he asked me to marry him was very different in the script. We got to play around a lot which was exciting. But you never know what it's going to end up being.

I thought it was interesting that this movie  opened so close to Blue Valentine, another unravelling Ryan Gosling marriage, and then I remembered that you've worked with Michelle Williams before on Dick. Hollywood is a small world.

KIRSTEN: It is a small world. I'm friendly with Michelle. That's funny. [Pauses considering the two movies]  Ryan... he loves a good love story, that one! [laughs].

With some movie stars chemistry is a hit-and-miss thing but I've always felt from your films that you have a dependable connection to your co-stars/scene partners. What do you attribute that to? 

[Kiki's answer and her favorite films after the jump]

Click to read more ...


The Adventures of Linklink

You may have heard that Ricky Gervais will be hosting the Golden Globes again. I don't have the stomach to give this its own post but let it suffice to say what I already said on twitter... Gervais smug superiority is so offputting. You have to back that shit up and was Gervais the funniest best awards show host ever? No. 

Link Time
Tom the Dancing Bug
on Steven Spielberg's The Adventures of Tintin
The Advocate fun interview with Dylan McDermott on American Horror Story, nude scenes and sexuality and Steel Magnolias
Ad Age wowee but those Oscar ads are expensive. $1.6 million for 30 second of air time please. 
The Playlist the competing Linda Lovelace porn star biopics. It's Amanda Seyfried vs. Malin Akerman. You'd think that was an easy call but for the news that Sharon Stone will play Mama Lovelace in the Akerman version. Sharon Stone!
Empire Will Amy Adams sign on to co-star with Clint Eastwood in The Curve, a father/daughter drama? He plays an aging baseball scout. We're betting that he won't be portrayed as indelicately as the "they're fossils!" approach in Moneyball. (A film we love, don't misunderstand. It's just hard on the old scouts.)
BuzzFeed 63 Reasons why Bradley Cooper is not the "Sexiest Man Alive". No matter what People magazine says. 
Speaking of Bradley Cooper...

In Ye Olden Times when I used to watch Inside the Actors Studio I couldn't help but make immediate "you'll never make it!" assumptions about many of the audience members seeking professional advice. So it's totally crazy to see an actual future star asking one. 

Puppet Mania
Flickr Muppet illustrations covering the whole alphabet
YouTube Clever Inglourious Basterds/Fantastic Mr Fox mashup

Finally, Drew McWeeney at HitFix had his son Toshi interview Kermit and Miss Piggy on the eve of the release of The Muppets. So cute...

It's a great angle for an interview since The Muppets biggest marketing muscle might well be partents taking their kids who missed out on the Muppet phenomenon to "meet" them on the big screen.


This Happened on Tuesday. Miraculously The Earth Continues Spinning.

How is it possible that the entire universe did not implode from Too Much of A Good Awesome Thingness when planets as magical as Tilda and Pedro collided right here in NYC? Also present - photographic evidence at Paper Mag: Rossy de Palma, Courtney Love, Bruce Weber, Sarah Jessica Parker, John Waters... and so on. The WOW Report shows you what Emma Stone, Elizabeth Olsen, Cindy Sherman and other luminaries were wearing to the same event.

Not present: me. Which is perhaps for the best since I would have imploded.