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.)
Arts.Mic Our Manuel dives deep on TV's family sitcom through history and how it does and doesn't reflect our changing world. Fun and depressing stats. Dark Horizons BBC will try adapting Phillip Pullman's "His Dark Materials" into a franchise. Exciting since those books are so complex and adult (movies were probably never the right approach) but that said... good luck besting Nicole Kidman's Miss Coulter in the aborted movie franchise Oscar Conversations [video] director, costume designer, and composer talk Beasts of No Nation Africa is a Country Noah Tsikas with an alternative perspective on the much lauded Beasts of No Nation
Pajiba lists 20 upcoming sci-fi fantasy movies that are NOT from a franchise. How exciting. Original or fresh adaptations. Of course some of these will launch franchises if they're big Guardian Colin Welland, Oscar winning screenwriter of Chariots of Fire has died. People Adele cites Madonna's "Frozen" as an inspirational song in her life. Same. That song rescued me at the time, no joke. (Love it when artists show Madonna respect rather than dissing her) Little White Lies has a whole freaking issue on Carol ! Beautiful motion cover, too Los Angeles Times the ongoing drama of Quentin Tarantino vs the police Boy Culture somehow I missed this Mommie Dearest night in Manhattan with actress Rutanya Alda (TheDeer Hunter, Mommie Dearest) and Michael Musto Awards Daily talks to Tab Hunter about the documentary Tab Hunter: Confidential which is really fun if you're into Old Hollywood history Playbill Here's a project with potential I hadn't heard a peep about: Shirley Maclaine and Amanda Seyfried will co-star in a movie about an old woman who wants to control everything including her own obituary. A young reporter has other ideas. Variety Brad Pitt & Marion Cotillard (what a lovely pair) are headling Robert Zemeckis next feature and its got an Oscar hungry Thanksgiving 2016 release date
Beauty Breaks if you need it -- and who doesn't from time to time? My New Plaid Pants Edgar Ramirez three times NY Times amazing never before seen 80s photos of Madonna, Warhol, and Basquiat Queerty on Empire's Jussie Smollet. Mmmm. Are any of you watching Season 2 of Empire? I don't like it quite as much this year but Jussie & Taraji & Gabby are still great fun Vogue chooses best dressed: Meryl, Alicia, and someone named... Sienna Miller (sp?) VJ Brendan Nicholas Hoult in Hero magazine. I saw this mag cover in London but if I'd known the photos were this good. It's a pretty pretty pretty pretty pretty pretty pretty pretty reminder that he was so great in Mad Max Fury Road earlier this year. FYC people.
Manuel here to talk about a new entry in that ever-growing queer horror genre, just in time for Halloween!
What if you were so steeped in irony that, when a random (but totally hot) stranger creeps up to you, admits to stalking you and having killed his ex-boyfriend you think it’s the funniest thing in the world, because, like, who even says things like that?
“Well, he’s not scary. He’s gorgeous! He just has a weird sense of humor…”
That’s the premise behind Jim Hansen and Jeffery Self’s You’re Killing Me, a horror comedy playing at NewFest just in time for Halloween.
Who or what was your MVP of this past week on your small screens at home?
We polled Team Experience to share theirs. In this new world of infinite screens and schedules, whether you're bingeing, right up-to-date, or on demand surfing, we're all probably on different time tables so please do share yours as well.
If you watch these shows do you have the same MVPs?
MVPs of the Week
Homeland's Showrunner Alex Gansa, showrunner of Homeland, has managed to take a great-show-turned-shitshow and make it thrilling again. I said it. I said thrilling. About late season Homeland!? Am I crazy? Maybe. The thing I fear is that it will all fall apart, that three (out of three!) excellent episodes this season will turn, by season’s end, into a fluke. But here’s what we’ve got: Characters behaving in ways that don’t immediately strike you as utterly stupid. Unpredictability. Twists. Bigger twists. Signature Homeland footchases involving losing people in crowds (we all love that, right?). A connection of the CIA to geopolitics that is complex. And I have no idea what Saul Berenson is up to. I mean, I could have given the MVP to Mandy Patinkin just for drumming his fingers, but there’s so much going on visually, and in the writing, that Alex Gansa is my guy. (I’m recapping weekly here if you’re so inclined.) - Deborah Lipp
The Flash - Whoever Thought This Callback Up In a strange reversal of current billion dollar movieverses, Marvel goes dark for television (see Daredevil and the upcoming Jessica Jones) and DC (The Flash/Supergirl) lightens up. The Flash's first season was a shock to the system, in that it was genuinely good: well plotted, bravely silly (Gorilla Grodd anyone?), filled with fizzy action sequences, jokey quips, and an unashamedly sentimental soul (has a lead male in a TV series ever cried as much as Grant Gustin on The Flash?) in other words: just like a comic book. Season 2 hasn't been as fun but the addition of drama from Earth Two (don't ask) in the form of another Flash Jay Garrick (played by TFE favorite Teddy Sears from Dollhouse/Masters of Sex) is promising. And this joyful bit ripped directly from comic book pages when a victim calls out for Flash and both heroes come running was pure throwback bliss. It was like I was a little kid hungrily flipping comic book pages again. - Nathaniel R
Bob's Burgers's Kristen Schaal Confession: I love Kristen Schaal. In many circles that is a somewhat controversial stance since her comedy is at times almost intentionally grating (see 30 Rock which half the time didn’t know what to do with her Hazel Wassername). When it’s harnessed correctly (see The Daily Show, Flight of the Conchords) it is magical to behold. Seeing as her comedy so depends on her distinctive voice (a loony rubber band of a squeal) it’s no surprise she’s found success doing voiceover work (in the Toy Story franchise, in the great Gravity Falls, even in the amazing Archer). But it is her work as Louise Belcher in Bob’s Burgers which may be her crowning achievement. A conniving, no-nonsense, entrepreneurial nine year old whose adult schemes are hilariously at odds with her signature pink rabbit-ears hat, Louise prides herself on being the smartest person in the room. The latest episode, "Hauntening", where her parents attempt to give her a worthy scare with the world’s lamest haunted house was a brilliant showcase for Schaal, as her Louise goes from blasé indifference to outright fright by the end of the episode. - Manuel Betancourt
Brooklyn Nine-Nine's Chelsea Peretti When Captain Holt was transferred out of the 99 at the end of season two, and Gina Linetti loyally followed him out the door, devotees of TV's most reliable sitcom feared the worst. But of course the show wasn't going to let its two most valuable characters (give or take Rosa Diaz) go that easily, and if nothing else, the third season's initial episodes have made their contrived inclusions of the pair's new office a chance for Gina to exercise her superiority over everyone in the vicinity. "Gina Linetti," she introduces herself at one meeting, "the human form of the 100 emoji." Stand-up comedienne Chelsea Peretti has been acing this part from the very beginning, giving Gina a confidence that never seems arrogant despite almost complete narcissism. Whenever she speaks, her self-love seems completely genuine, because it is completely valid, but Peretti also roots it in an unspoken sense of the subservience Gina knows most women in her position would likely feel, and makes that rebellion even more empowering. Brooklyn Nine-Nine's most surprising strength is its variety of strong female characters in a workplace not typically kind to females, and Gina Linetti, despite her stereotypical role, is the crown emoji. - David Upton
Crazy Ex-Girlfriend's Musical Numbers The pilot of the CW's Crazy Ex-Girlfriend does not get off to the strongest possible start. But then, about ten minutes or so in, protagonist Rebecca Bunch (the supremely GIF-able Rachel Bloom) bursts into song, singing the praises of "West Covina, California" - the sun-dappled home of her former summer camp boyfriend Josh, who she not-entirely-accidentally runs into on the streets of NYC. Of course, she decides (much like Felicity before her) to ditch her soul-killing Junior Partnership at a high-powered law firm to follow him. In true movie musical fashion, she moves from the grey-blue streets of NYC to the golden-hued roads of CA over the course of the number, and in so doing kicks the show into high gear. The number just gets funnier and funnier as it goes, until it ends with Rebecca ascending to the heavens on a giant pretzel. It's musical comedy heaven. And that's just the first number. After what happened to Smash and Glee, it's tempting to think that musical series will only disappoint, but right now it looks like Crazy Ex-Girlfriend is on the glitter-strewn path to greatness. - Dancin Dan
Last week was a good one for Gold Derby. Not only did Ryan Murphy elevate their brand status by ____ them to death with an Oscar on American Horror Story but their story that David O. Russell's Joy would go Drama at the Golden Globes got a lot of "whoa, really?" press. I'm sure it's true-ish now but people are so exciteable about any "news" that I'm always finding myself in the position of splash of cold water realism. Truth: there are few certainties this early as it's only October and there's lots of wiggle room still for campaigns and precursor ponderings and such. Films are still entering (The Big Short) and exiting (I Saw The Light) the 2015 calendar and some switcheroos of fate/precursors/campaigning happen at all junctures on the way to Oscar: remember when My Big Fat Greek Wedding and Gangs of New York were suddenly Original Screenplays (oy); remember when Oscar decided abruptly that all the precursors were wrong and Kate Winslet was a leading lady in The Reader (they were right of course but it was super gross how all the precursors and media were all "Yay, category fraud!!!"); or when Whiplash was determined to be Adapted too late for its FYCs to urge voters to vote that way.
So let's assume that Joy is out of the Golden Globe Musical or Comedy and let's assume The Martian is in (though obviously things could change on either front). And after shedding whatever tears must be shed that the Coen Bros Hail, Caesar!is not opening in time to own this category, we move on.
About five disorienting minutes into The Lobster, all pretense of disorientation for disorientation's sake is stripped flatly away as the headmistress of the hotel (a terrific Olivia Colman) where Colin Farrell's character has found himself lays out the movie's premise. And oh how small the word "premise" seems in relation to what The Lobster has up its sleeve: Singletons will be turned into an animal (meaning a literal non-human creature) if they cannot find a mate in an ordained amount of time!
It's a moment as surprising as it is funny (her notion of what is and what isn't absurd is the definition of absurd itself). While director Yorgos Lanthimos' previous films Dogtooth and Alps both reveled in their inscrutable rules, forcing the audience to pick up the fragments of what's offered and chase behind the film, trying to cram them together, everybody in The Lobster instead can't stop telling us exactly how this insane world works ("Didn't you read the guidebook?" is asked multiple times), and the more they lay it out the funnier and funnier it all gets.
And The Lobster is a very very funny film, seemingly finding all new ways to be funny that have never been found funny before - I wouldn't want to spoil its dark surprises but let's just say some of its punchlines got several audience members at my screening up on their feet and right out the door with madcap quickness.
But for all of its laugh-out-loud cynicism about the way our own world works, refracted through the not-so-fun-house mirrors of how its own world works, Lanthimos' film has a heart, maybe black but beating hard, under its strange shape. He manages to make the old-fashioned obstacles of another sad love story hum with newness, scraping the gunk off romance and holding this bright shiny new thing high and proud. It's a marvel, like nothing else, singular from every single stupefying angle.
Alchemy will distribute The Lobster in the US. No date has been announced. For previous posts on the Lobster click here. Follow Jason on Twitter and read his blog MNPP
Wednesday, November 4, 2015 at 12:30PM 
Beauty Breaks 
