goodness gracious, great links of fire

• Variety Susanne Bier to direct Nicole Kidman in the miniseries The Undoing about a therapist whose husband goes missing
• Paste Kyle Turner on the "literary drag" of Can You Ever Forgive Me?
• Decider Julia Roberts 'queen of comebacks she never had to make'
• Pajiba an ode to Missy on Big Mouth (also my favorite character on the show)
• AV Club Emma Thompson wore sneakers to her damehood ceremony
• IndieWire it's foolish to bet against James Cameron even if you think the idea of four more Avatars is insane

• Remezcla why was the Cuban submission Sergio & Sergei left off the Oscar Foreign Film list?
• THR will Netflix caving on an exclusive theatrical window for Roma mean more films will get that treatment?
• Vulture on the extreme closeups in this season's awards contenders
• i09 interesting piece on why we need more utopian fiction (it's all dystopias out there currently)
• Vulture unexpectedly good article "in defense of the medicore music biopic" on Bohemian Rhapsody, Great Balls of Fire, The Doors, and more...
• People Idris Elba named "sexiest man alive" for 2018
• Gizmodo MoviePass didn't kill the dream of subscription-based moviegoing. A new competitor Sinemia has lots of tiered pricing options and a $24 monthly charge if you want unlimited one non 3D movie a day.
• /Film Nothing ever stays dead onscreen. Breaking Bad will now get a film version with Aaron Paul expected to return (as a sequel to the series)
• Broadway World Angela Bassett and Cicely Tyson named honorary chairs of the 60th anniversary gala of Alvin Ailey American Dance Theater

Post Election Blueishness
• Slate offers a practical optimistic way to look at the election results yesterday
• New Yorker "Putin Loses Control of the House" - funny piece!

A look back at Gods and Monsters (1998)

Please welcome guest contributor Anna to discuss Gods and Monsters for its 20th anniversary. You can follow her on Twitter @MovieNut14

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Based on Christopher Bram’s novel "Father of Frankenstein," Gods and Monsters – which references a line from Bride of Frankenstein – focuses on the final months of retired film director James Whale (Ian McKellen). Recovering from a series of minor strokes, he lives alone with his housemaid Hanna (Lynn Redgrave) and memories of his past. Because of his weakening state, he slips into a depression and contemplates suicide (which he would ultimately follow through in 1957). But the presence of gardener Clay Boone (Brendan Fraser) gives the aging man something to live for...

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Review: Bohemian Rhapsody

The review was originally published in Nathaniel's column at Towleroad

‘C’mon Gay Shame!’ That’s what we imagine the movies are shouting at us right now, spirits ablaze and fingers snapping. Though it’s surely a coincidence, the Freddie Mercury biopic Bohemian Rhapsody (‘yaaas, Queen’?) and the gay conversion therapy drama Boy Erased have arrived simultaneously. This accidental double feature is a double closeted whammy. 

It’d be wonderful to report that they’re both worth seeing, but only one might rock you. And it isn’t the one with the famous “we will we will rock you” chorus. But more on Boy Erased later since it’s just beginning a platform run on 5 screens and will be expanding as awards season heats up. Bohemian Rhapsody, on the other hand, is opening wide on 4,000 screens and hoping to fill them like Queen filled stadiums…

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Months of Meryl: The Iron Lady (2011)

John and Matthew are watching every single live-action film starring Meryl Streep. 

#43 —Margaret Thatcher, the polarizing British prime minister.

MATTHEW: After decades of heavy speculation about when, not if, Meryl Streep would finally win her third Academy Award, the most widely admired actress of all time picked up another trophy for a performance that may best be remembered as a textbook study in How to Win an Oscar. Despite stiff, down-to-the-wire competition from The Help’s eminently deserving Viola Davis, who transcended lackluster material in much the same way that Streep herself did in her most acclaimed tour de force, the actress sailed to victory after a season’s worth of ovations and exposure. The months preceding Streep’s first Oscar win in nearly 30 years found the acting legend accepting her eighth Golden Globe, her fourth New York Film Critics Circle Award for Best Actress, her second BAFTA Film Award, her very first Vogue cover story, a Kennedy Center Honors lifetime achievement tribute, and endless publicity concerning one of the most challenging roles of her late career, that of Margaret Thatcher in what should rightfully be called Phyllida Lloyd’s The Iron Lady, but might just as suitably be described as Meryl Streep’s The Iron Lady. And when one truly considers the sheer size and notoriety of the role, who could have possibly topped Streep that year? Conversely, when truly considering the actual performance that returned Streep to Oscar glory, away from all the myth/history-making hubbub that surrounded it, one could be forgiven for wondering, Is that all there is?

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Middleburg Sneak: "Stan & Ollie"s gentle charms

Stan & Ollie had its world premiere in London today and we caught a sneak peek at the Middleburg Festival...

by Nathaniel R

The original odd couple of screen comedy, Laurel & Hardy, had several familiar gestures that delighted audiences in the 1930s. Thin Brit Stan Laurel's main move was to scratch his head comically from the top, his hand like a curious clawed hat. Rotund American Oliver Hardy's sometimes did a fey little wave, hand tight against the body, the fingers doing all the wiggling work. Why these were funny to audiences at the time will possibly be a mystery to contemporary audiences.

Stan & Ollie, starring Steve Coogan and John C Reilly, is a brisk well-paced movie about the legendary early-cinema comedy act in their waning days. It doesn't attempt to explain their appeal to us in 2018 but merely exists in the space between then and now...

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