Horror Actressing: Barbara Hershey in "Insidious"

by Jason Adams

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by Jason Adams
BAFTA came and went with the almost all of the Oscar frontrunners crowned. The only real surprise was Parasite taking Best Original Screenplay rather than a Tarantino victory though that shouldn't be a surprise given the Korean hits ingenious construction and terrific dialogue. After the jump the winners list in some speeches...
Carey Mulligan is an actress of immense range. Since her breakout at the 2009 edition of Sundance with An Education, she’s given us many tremendous performances. All of them heartbreaking and deeply felt in different ways, whether she’s a replicant trying to make human connections (Never Let Me Go), F Scott Fitzgerald’s famous Daisy (The Great Gatsby), a broken sister singing her heart out as a last cry for help (Shame) or a wife and mother facing the dissolution of her marriage and the paucity of choices after (Wildlife). And once again she gives an exceptional performance in Promising Young Woman.
This time she’s Cassie, who at 30 still lives home with her parents (Clancy Brown and Jennifer Coolidge), whiles her days away working in a coffee shop where even the boss (Laverene Cox) thinks the job is beneath her. Little by little we find out the reason for her apathy. An event that happened during college made her dropout and become a sorta avenger against “nice guys” who take advantage of vulnerable women...
This week, in advance of the 2019 Oscars, Nick Davis is looking back at the Academy races of 20 years ago, spotlighting movies he’d never seen and what they teach us about those categories, then and now...
the surprise winner
Spotlight Movie: The Red Violin
One of the most exciting things that can happen on Oscar night is when a movie with no other nominations wins one of the “craft” or “technical” or “below-the-line” categories—three bad names for the races where very few contenders are celebrities. In a year like the current one, where the Best Picture nominees ran the table to a historic degree, and consuming most of the spots in every other race, we have even fewer prospects than usual to see this occur. I’d love to watch The Lighthouse win Cinematography or Ad Astra win Sound Mixing, both because they deserve these victories on merit and because it’s nice (but mostly false) to hope that Oscar voters make discerning judgments from category to category based on each discrete department of artistry.
The Red Violin’s Best Original Score trophy at the 1999 Oscars represented one of these glorious instances, and registered as a significant upset at the time...
This week The Film Experience will be celebrating Lana Turner for her Centennial. Here's Cláudio Alves
According to legend, Lana Turner was discovered in 1936, when she happened to be spotted by the publisher of The Hollywood Report while drinking a Coke at Schwab's Pharmacy. As with most myths of the cinematic Olympus, the story is unlikely to be true, though that doesn't take away from the allure of the actress. Whatever her origin story, Turner appeared in her first film the following year and quickly became one of Hollywood's most beloved sirens, an icon of glamor and sensuality, a megawatt star the likes of which we haven't seen in decades.
Despite it all, stardom doesn't necessarily equal prestige. Turner was often seen as little more than a pretty face and her acting craft was underappreciated. In 1957, a conflagration of many scandals, personal and literary, secured her a single Oscar nomination for Peyton Place. That wasn't the first time she was in the running for awards, however...