The Film Experience™ was created by Nathaniel R. All material herein is written by our team.
This site is not for profit but for an expression of love for cinema & adjacent artforms.
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Sunday, October 20, 2019 at 6:56PM by Nathaniel R
| Weekend Box Office [ESTIMATES] Oct 18th-20th 🔺 = New or Expanding / ★ = Recommended |
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| W I D E |
PLATFORM / SPECIALTY TITLES |
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| 1 🔺 MALEFICENT: MISTRESS OF EVIL $36 *new* |
1 🔺 PARASITE $1.2 on 33 screens (cum. $1.8) PODCAST ★ |
| 2 JOKER $29.2 (cum. $247.2) REVIEW |
2 🔺 PAIN AND GLORY $463k on 67 screens (cum. $1.1) REVIEW, PODCAST ★ |
Sunday, October 20, 2019 at 8:42AM 
Photograph by Luke Gilford
Michelle Pfeiffer pfotographed and profiled for The Sunday Times. Still the most beautiful movie star alive.
Saturday, October 19, 2019 at 9:29PM by Michael Frank
Zombieland: Double Tap doesn’t waste time telling you that you’re watching a zombie movie. The Columbia Pictures logo comes to life, fighting off multiple would-be enemies, leading to a Deadpool-esque opening credits sequence. It’s not new by any means, but it reminds you why you like zombie movies in the first place: they’re fun as hell.
The rest of the film follows its opening: an enjoyable movie-going experience with a lack of plot, a lack of originality, yet just enough movie stars, inside jokes, and heart to make it worthwhile. Double Tap follows our leads from a decade earlier, Tallahassee (Woody Harrelson), Columbus (Jesse Eisenberg), Wichita (Emma Stone), and Little Rock (Abigail Breslin), as they traverse the new-look world that’s still full of zombies. The actors themselves have aged nicely as well, with Harrelson, Eisenberg, Stone, and Breslin all maintaining prolific and award-winning careers. If anything, they’re more likeable than they were 10 years ago, an difficult feat for a cast to pull off. They bring their full arsenal of charisma to their roles in Double Tap, giving generous performances to a film that cares more about its world than its characters...
Saturday, October 19, 2019 at 11:03AM by Nathaniel R
The Middleburg Film Festival is halfway over and we've yet to report! We were off to a troubed start with a very late flight (8 hours in the airport for a 45 minute flight. ARGH!). Given the gusty NYC weather, we missed the Virginia premiere of Marriage Story, the opening night film. We'd already seen it at TIFF and loved and are pleased to report that the movie was met with great enthusiasm yet again. A Los Angeles friend came directly towards us at the Q&A (which we arrived just in time to see ending) apologizing for her wet face. Never apologize for crying at beautiful movies...
Saturday, October 19, 2019 at 9:32AM by Cláudio Alves
The Domain opens with the sort of scene that works as a mission statement. Its first image seems like something out of a western, a vast landscape, the horizon slashed by the silhouette of a great big tree. From one of its branches, a body hangs by a noose. It’s the eldest son of the rich owner of all the land we can see. The father, far from being heartbroken, watches on dispassionately, a glint of disappointment in his eye.
In an act of cruelty, the patriarch forces his youngest son to confront the corpse of his brother, his weak brother. Frightened, young João runs away from the morbid tableaux, taking refuge in the mossy ruins that stand in the middle of a nearby river. Death, parental cruelty, coldness confused with strength and an escape from the horror of reality to the warm embrace of a long-forgotten past - such are the main themes of this epic, shot like a western and paced like a funeral...
