Yes No Maybe So: Hillbilly Elegy

Can the movie world please slow down? After months of nothing much happening, everything is happening at once. Three more festivals start today and the trailers keep hitting. It's as if we're in a typical year's mid October even though Oscar nomination battles are not two months away (as they'd usually be) but four months away. Early buzz on Hillbilly Elegy has been a bit hard to read. Is it going to be bad? Is it going to be good? Is it going to be so bad it's good camp classic. Is it going to wow and compete for all the Oscars or none after face-planting? 

Glenn Close and Amy Adams Arguing About Who is Going to Win the Oscar First: The Movie (2020) pic.twitter.com/VDZgSVjQze

— Nathaniel Rogers (@nathanielr) October 15, 2020

We'd argue that the trailer does not answer these questions although there is a lot of capital A acting (which is always hard to judge out of context though lord knows everyone does when they see trailers) So we invite you to contribute your own Yes No and Maybe So in the comments as we're at a loss.

P.S. We've adjusted the Best Actress (Amy) and Best Supporting Actress (Glenn) charts to reflect the confirmed campaigns. 

"Enola Holmes"

by our new Italian contributor Elisa Giudici

It's been a while since a Netflix film prompted me to write in my cinephile What's App group chat: "ok everybody, I have a fun movie to suggest." After the boring disappointments of The Devil All the Time and Project Power, after the unspeakable horrors I witnessed in The Last Days of American Crime, I confess I log in my Netflix account holding my breath. Enola Holmes brought a sigh of relief. Nothing life-changing, mind you, just a fun, entertaining movie that reimagines the canon of Sherlock Holmes, the classic of classics. Conan Doyle's detective is one of the few fictional characters who keeps getting adapted in fresh ways without ever wearing out his welcome. 

Giving Mycroft and Sherlock a little sister is not entirely new...

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NYFF: "Isabella"

by Sean Donovan

As part of their series of drive-in events, the New York Film Festival programmed Matías Piñeiro’s latest Shakespeare-influenced drama Isabella alongside Pedro Almodóvar and Tilda Swinton’s delicious queer treasure The Human Voice (previously unpacked by Nathaniel). In some ways this choice makes sense: both films relish in vivid expressions of color, the kind of experiences you would want to have in as close to a theatrical environment as we can get right now. But in terms of intensity and impact the films could not be more different, Human Voice’s sledgehammer playfulness is a misplaced introduction to Piñeiro’s foggy and ultimately disappointing drama.    

Isabella is named after the main character of Shakespeare’s Measure for Measure, one of the bard’s ‘problem plays’ positioned awkwardly between comedy and drama. Isabella displays no proclivities towards the comedic, but it may have internalized the problem play position of being stuck between choices and controlled by doubt...

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First Images: "Ma Rainey's Black Bottom"

by Nathaniel R

Look, it's the first images from Ma Rainey's Black Bottom, based on the August Wilson play of the same name. It's part of his Pittsburgh Cycle of 10 plays documenting the African American experience (with each of the ten plays set in different decades). Denzel Washington is planning to produce all 10 (2 down, 8 to go... how many more will Viola get to star in?). Ma Rainey's... is set in the 1920s and stars Viola Davis as the singer Ma Rainey and Chadwick Boseman as her trumpeter Levee (the two 'star' roles in the show) and involves a very heated recording session and fights therein. The costumes you see here are by the indefatigable four-time Oscar nominee Ann Roth, who is still doing great work regularly at 88 years of age...

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How Mulan got the Rey Palpatine Treatment

by Ginny O'Keefe

After I watched Mulan (2020), the lackluster live-action remake of the beloved 1998 animated movie, I couldn’t help but be reminded of the bitterness and anger I felt after watching The Rise of Skywalker back in December. The feelings of disappointment and resentment were incredibly familiar, all stemming from the fact that both Mulan (2020) and The Rise of Skywalker (2019) refute the idea that a hero can be anyone and come from anywhere. This is where both films ultimately fail their two female leads. 

In the original animated film, Mulan is an ordinary girl who feels incredibly out of place and cannot seem to do right by her family or the deeply ingrained misogynistic society that surrounds her. She has no fighting skills, no hunger for war, no royal heritage, no outstanding measure of beauty. She has nothing that could suggest she is “special” besides her brave and kind heart...

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