Mira Sorvino Pt 2: A Mini Retrospective

By Nathaniel R

Mira Sorvino in MIghty Aphrodite (1995)

After interviewing Mira Sorvino about her new projects, the Emmy hopeful Hollywood and two recent indies, our conversation drifted back over her whole career. 

For fun, we asked her to program her own mini three or four film retrospective by naming her favourite projects. She acknowledged immediately that Mighty Aphrodite (1995) would be selected for any retrospective since it was her Oscar-winning role, but she wanted to shine the light on lesser-known titles. "I fall in love with every project," she noted, as that three or four film group kept growing and becam eight titles in our conversation. She might have changed the list on another day but here were the titles she hoped people would rediscover or see for the first time that she's very fond of.  How many how these have you seen? 

BARCELONA (1994)
"One of my first movies, shot in Spain. It's beautiful and fun."

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The New Classics: Kiss Kiss Bang Bang

By Michael Cusumano 

The best genre parodies are so full of affection for their targets that they can’t help but make a superior example of the very thing they aim to satirize. It can be fun to throw tomatoes at a genre’s contrivances and cliches from the outside, but titles such as Young Frankenstein or Down With Love circumvent your ironic detachment to provide the far more satisfying experience of playing with these tropes from inside a story you care about. 

This kind of rare pleasure is one of the reasons Shane Black’s crime caper comedy Kiss Kiss Bang Bang has amassed the following it has since it underperformed in theaters back in 2005. Black’s film actually does double satirical duty, lampooning both the world of Raymond Chandler-esque noir and the world of the hyper-masculine, wise-ass body cop action movies of the 80’s and 90’s, a subcategory Black helped to inflate to absurd levels as the big gun screenwriter behind films like Lethal Weapon and The Last Boy Scout...

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Halfway Mark Links

A Must Read
• Tom & Lorenzo "One Iconic Costume" a fascinating funny and poignant piece on Dorothy Gale in The Wizard of Oz

More Links
• Paper terrific piece on the new generation of queer comedy: Matt Rogers, Grace Kuhlenschmidt, Alex English, Cole Escola, and many more. 
• Cartoon Brew despite Academy efforts toward gender parity the animation and visual fx industries are still struggling with inclusion of women. (Only 1 in 8 people invited to join the visual effects Academy branch are women this year.)

More after the jump including Hamilton, Netflix hit 365 Days, best of the first haf of the year and more...

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Bergman in '57

by Cláudio Alves

Ingmar Bergman is my favorite filmmaker of all-time. That being said, I'm aware of the difficult reputation his cinema has earned over the decades. As Nick Taylor wrote in his fabulous piece about Harriet Andersson, few directors have so masterfully captured the overwhelming pain of unhappiness as Ingmar Bergman did. In his films, God is either dead or a giant stony-faced spider, a monster intent on causing suffering to everyone, making for a cinematic cosmos where agony is the most universal experience of all. It's heavy stuff which justly earns the fame of depressing art, though I'd argue that there's more to Bergman's cinema than constant unbearable ache.

Just look at his 1957 masterpieces, The Seventh Seal and Wild Strawberries…

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Filming the Marvelous Mrs Maisel's Musical Numbers

Guest Blog Day! Please welcome Tom Mizer, one half of the songwriting team Mizer & Moore (The Marvelous Mrs Maisel), a longtime TFE reader and previous Smackdown panelist. 

me on the set of The Marvelous Mrs Maisel. A dream come true

by Tom Mizer

When Amy Sherman-Palladino, the producer/director/creator and all-around whiz-bang brain of The Marvelous Mrs. Maisel, asked my writing partner Curtis Moore and I to write original music for the third season, we knew immediately it was going to be a big challenge. (Also, let’s be honest, wicked cool.) The songs needed to sit alongside the needle-drop classics they deploy so expertly on the show (don’t tell anyone but the show is a musical in perfectly pink disguise). They needed to help tell the story and illuminate character while also being believable pop hits of 1959. They also needed to be written, approved, and recorded before filming in a few weeks. So, yeah, just a wee bit challenging.

What we didn’t know was how welcomed we'd be into the “family” of the show. Instead of just turning in demos and hoping for the best --fly free little songs, fly free! -- we were invited to collaborate during the whole process....

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