Doc Corner: A24's 'Boys State'

By Glenn Dunks

I watched the new Apple+ and A24 documentary Boys State and, sorry to break it to you, but America is nuts. Like, really. A lot. I’m allergic to nuts—anaphylactic, send me hospital kind of allergic—and I felt as if I were about to break out in hives watching Amanda McBaine and Jesse Moss’ compelling and unsettling new movie. A film about the next generation of wannabe political leaders that stands as a frightening neon-lit (just barely) metaphor for the country’s political climate.

The premise here is something that sounds far more bizarrely foreign to me than anything with subtitles. A strange, long-standing experiment known as Boys State, a social summer camp of sorts that requires military interviews for some reason where 1,200 young Texan teenage boys seek the life-changing opportunity to seemingly learn how to best weaponize their gender, their race and adopt all the sleazy tricks in the political book. "That’s politics—you play to win...”

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The Furniture: Accuracy and Allegory in "The Poseidon Adventure"

Daniel Walber's series on Production Design offers a digestif for our Shelley Winters festival. Click on the images to see them in magnified detail.

Does it matter to you if a disaster movie is realistic? This is an honest question. How solid is your suspension of disbelief when it comes to airplane explosions and burning buildings, tsunamis and earthquakes? Do you sit on the couch fact-checking on your laptop while expensive catastrophes unfold on your TV?

I ask this because I was surprised to learn how much the team behind The Poseidon Adventure cared about accuracy. Paul Gallico, who wrote the original novel, was inspired by an actual trip on the Queen Mary he took in 1937, during which the ship turned on its side. And he did plenty of research to make sure it was possible for an ocean liner to be flipped entirely upside down by a rogue wave. 

Director Ronald Neame and production designer William Creber were equally concerned. By the time The Poseidon Adventure went into production, the Queen Mary had begun a long retirement docked in Los Angeles. Much of the film was shot on the real ship, including this pleasant glimpse at the deck...

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Emmy Review: Guest Actress in a Comedy

By Juan Carlos Ojano

More complicated than it seems, this race features acting veterans, comedic geniuses, and double the Maya Rudolph. Saturday Night Live has been dominant in this category since 2009 (the first year they were allowed to compete with the "Outstanding Individual Performance in a Variety or Music Program" category discontinued). So dominant, in fact, that they've only missed a nomination one year (2015) and in most of those 11 years they've had multiple nominations. SNL has won nearly 50% of the time since it began competing here. Meanwhile, Maya Rudolph makes history as the  first actress to be nominated in this category twice in the same year. Does that support her cause or result in a vote split? 

Let’s consider each nominee…

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Shelley Winters @ 100: Pete's Dragon (1977)

Concluding our Shelley Winter's Centennial party, here's new contributor Baby Clyde...

My film obsession started around the age of 12 when I somehow acquired my first "Encyclopedia of Movie Stars". It changed my life. I spent literally hours pouring over it, utterly entranced by the legends of the Golden Age of Hollywood. I remember it introduced me to the likes of Luise Rainier and John Garfield who I had never heard of before, but mostly I remember being totally confused by the entry on Shelley Winters.

Who was the glamourous woman who had been a sex bomb and serious actress before going on to win two Oscars and how was she in any way related to the harridan who had been the stuff of my childhood nightmares? Whilst I understood that actors played different roles, I don’t think I’d quite grasped at that point just how different they could be and how the same woman could go from this...

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The New Classics: Lincoln

By Michael Cusumano 

Abraham Lincoln abilities as a writer probably would have earned him a place in history even without his accomplishments as a statesman. He is surely the best writer that has ever occupied the Oval Office. Capable of expressing complex ideas with remarkable economy, he had a deft hand with allusions and was responsible for many evocative turns of phrase that resonate far outside the political context of their time, “The better angels of our nature” or “The dogmas of the quiet past”.  Hell, simply opting for “Four score and seven” over “eighty-seven” reveals a writer’s ear for the musical potential of language.

It's a fitting tribute then, that the most prominent film about the sixteenth president, Steven Spielberg’s Lincoln, with a screenplay by Pulitzer prize winning playwright Tony Kushner, exudes that same love of language. There’s scarcely a scene without some memorable linguistic spin. There's much to admire in Spielberg’s film from the beautifully worn production design to the momentous performances, but the real reason I’ve returned to it repeatedly since 2012 is simply because the characters are such fun to listen to. All of the film’s dramatic peaks involve the spectacle of verbal fireworks, particularly my favorite scene, where Tommy Lee Jones blasts his way out of a political trap firing off ornately worded insults like cannonballs... 

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