What's next for the cast of "Star Wars"?

by Cláudio Alves

For actors, franchises can be a gift and a curse simultaneously. Money is a plus, certainly, and so is the newfound fame and recognizability. However, such treasures often come at the cost of artistic risks and availability to do anything other than the series they're then chained to. Long preproduction, long shoots and even longer reshoots fill the calendar and then there are endless promotional tours. In the end, the victims of the franchises are the performers' fans.

With the "end" of the Skywalker saga, it's a good time to ponder what comes next for the stars of the third Star Wars trilogy. Will these actors be able to ride the wave of popularity into exciting careers or will they forever be tied to these Disney-owned characters? We'll see…

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Review: Little Women

By Lynn Lee

Did we need another one?

That question hangs over any movie based on a novel that’s already been adapted multiple times – even moreso if there’s a previous adaptation that’s particularly beloved.  It may not, however, be the right question.  As potential movie material, perhaps great books should be treated more like great plays are for the stage, in the sense that if the work has enduring appeal, every new era deserves its own adaptation.  So perhaps the better question is whether this adaptation speaks to us, the viewers of today?

As applied to Greta Gerwig’s Little Women, the answer is yes…with a few caveats.  Full disclosure: I came to the movie as someone who read Louisa May Alcott’s coming-of-age classic so many times that my copy literally fell apart at the seams, and my devotion to Gillian Armstrong’s near-perfect 1994 adaptation starring Winona Ryder (which you should absolutely see if you haven’t) is a matter of TFE record .

While Armstrong’s version remains my favorite, I found a lot to like and admire about Gerwig’s...

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2019's Best Screen Animals

Different lists each for our "Year in Review"

We had hoped to put the entire cast of Cats on this list of the big screen's best animal characters but alas... very few of them are worthy to ascend to the Heaviside Layer let alone our year end list of the best big screen animals! This list is dedicated to bunnies as those beady-eyed cuties had a rough year at the movies. They were used solely for unsettling mood, multiplying sybolism and raw meat (gross) in Us and later popped up as an instrument of toxic masculine shaming in Jojo Rabbit. Bunnies deserve better in 2020! Which filmmaker will answer the call and treat them well onscreen?

Without further ado let's talk the screen animals we fell hardest for at the movies this year.  

11 Dumbo (elephant)
Here's the thing. Tim Burton and Screenwriters and (presumably) Disney corporate were so intent on expanding the movie (it's 48 minutes longer than the original Dumbo!) that it keeps pointing to everything but the star mutant attraction. Dumbo is as adorable as his ears are big but he's a supporting player in his own movie. They lost the thread or Dumbo could've topped the list.

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Tweeting to the Heaviside Layer

Amusing movie-related tweets curated for you this week...

The most depressing part of LITTLE WOMEN (1869) is not when Beth dies but when Jo's short story wins a prize of $100, reminding any fellow writers reading the book that freelance rates have remained roughly stable SINCE THE RECONSTRUCTION ERA

— Jennifer Morrow (@jenniferemorrow) December 27, 2019

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Interview: Chinonye Chukwu on 'Clemency' and Alfre Woodard's astounding close-ups

by Murtada Elfadl

Anchored by a staggering performance from Alfre Woodard, Clemency is a powerful, precise and scorching indictment of capital punishment. We follow Woodard as prison warden Bernadine Williams, as she prepares to execute another inmate (Aldis Hodge), and deal with the toll, years of carrying out death row executions have taken on her life and relationships. 

Director Chinonye Chukwu won the Grand Jury Prize at the Sundance Film Festival last January. She started working on the film after Troy Davis was executed in a Georgia State prison in 2011, when “the sounds of the hundreds of  thousands who protested against his execution kept ringing in my ears, and I couldn’t help but wonder: if so many of us struggled with what had happened to Mr. Davis, what about the people who actually had to carry out his execution? What if some of them were also grappling with having to kill this man?”

We recently met with Chukwu in New York. [This interview has been edited and condensed for clarity.] 

Murtada Elfadl: Congratulations on the film. You start your movie with an execution, you end it with an execution. So it's these two bookends. That was a bold, strong choice. Can you talk about why you made that choice?

Chinonye Chukwu: I did that for a couple of reasons. One, to show Bernadine's arc and that she's not in the same place at the end as she was at the beginning of the story. Also, I wanted to get at the cyclicalness of the space of a prison that with or without her, this cycle of capital punishment is going to go on.

This film is very performance driven. Did you write it with Alfre Woodard in mind?

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