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.)
Jason from MNPP here - while we're all sitting patiently on our hands waiting for Black Panther to hit theaters this weekend let us use the occasion of today's "Beauty vs Beast" to gaze backwards in Ryan Cooglar's filmography to the flick that no doubt gauranteed him this Marvel gig, 2015's great big crowdpleaser Creed. Coming nine years after Rocky Balboa, Sylvester Stallone's original "goodbye" to the character that gave him his career, Cooglar's Creed opened the franchise up and breathed new life into the Philadelphian boxing saga via Michael B Jordan's Adonis, son of Rocky's deceased opponant and friend Apollo, and with Adonis' attempt to find selfhood in the shadow of his legendary father. The relationship between Rocky & Adonis formed the core of the film, it was one fraught with tension, which brings us to...
PREVIOUSLY Nobody was going to beat The Lovely Laura Linney on her birthday, not even Mark Ruffalo's probable finest performance opposite her in You Can Count On Me - she scored a sizeable 70% of your vote in the end, proving you can indeed count on her. Said RV:
"One of the all time great screen pairs -- both so flawed, both so connected to each other. Lonergan's uncomfortable (for me, maybe not for him) commitment to Casey Affleck aside, he deserves enormous credit for providing such rich writing and understated directing to two amazingly talented performers. "
What's new or newish for home viewing? Let's see... It's been two release weeks for Oscar contenders. Several of them now available for rentals and sales hot off their Oscar wins.
• Creed. See why we all fussed about it and why so many were rooting for Sly (who lost in one of many surprises Sunday night) despite an unspectacular career. That's the German cover to the left. I include it because it's intereting to note that overseas they have to mention Rocky in the title somehow "Rocky's Legacy," not trusting that just Creed would do it. • The Danish Girl. See why Vikander won the Oscar. (Hint: Huge leading role and she's playing a Long Suffering Wife, in short Oscar's two favorite things in the Supporting Actress category) • Fargo Year Two - I hear it's good. Why am I still resisting? • The Good Dinosaur - Tim was relatively kind in his review. I was not impressed -- could not relate to the weird juxtaposition of photoreal backgrounds and bright green rubber dinosaurs -- but I did love "Spot"... such a cutie • Legend Tom Hardy x 2 • Miss You Already Toni Collette + Drew Barrymore. It was easy to miss them in theaters. Gone already? Love both of them though so let's catch up. • My All American Finn Wittrock headlines. But it's straight to DVD • Room See Brie Larson's Oscar winning work and Jacob Tremblay's and the Production Designer's shoulda been nominated work - hey, at least we honored them! • Secret in their Eyes The remake of the Oscar winning Argentinian film. I'm getting so far behind on the Kidman pictures. Must catch up, regardless of the quality but she makes a lot of movies so it's easy to fall behind. • Spotlight See why this won Best Picture despite the odds. Hint: it's a) really good and b) hard to dislike and thus scored well on the Academy's Preferential Ballot against a field of decidedly more divisive competitors. • Youth So curious how y'all will like it who haven't yet seen it. It's quite divisive but it is not uninteresting. Jane Fonda bears her teeth. Harvey Keitel mopes. Rachel Weisz gets a mud bath. Paul Dano wears... no, that's a spoiler. And there's a really big opera number that should've made a great Oscar moment ("Nah... we can't have a famous Asian woman singing on stage in a year where we're dinged for being too white!" - Some Academy producers somewhere.)
READERS CHOICE I hinted that we might try a series wherein you choose the latest instant watch title for Nathaniel to write up. A Reader's Choice Date... perhaps biweekly? So here are your first options. All new to Netflix or Amazon Prime beginning on March 1st (or thereabouts). Make your case in the comments or simply vote. I'll revisit the title you pick and wrote about it on March 10th. American Psycho (2000) is also new to Amazon Prime -- just in time for the new Broadway musical starring Benjamin Walker -- but we've talked about that modern classic a lot in the past so we'll skip it this time. (A is for Amazon; N for Netflix)
We're nearly finished* with 2015 Film Bitch Awards, our own annual year in review yearbook/party and of imaginary Oscar ballot (well, half of it is that). Today the remainder of our Best Scene categories with six final scene categories. This group hands more nominations to films from the top ten list of course but for highlights to point out here on the blog before you click over, we're using films outside the top ten list.
Obviously this page (and post) of awards contains mild spoilers so if you haven't seen the films and wish to stay pure, these are not the awards categories you're looking for. Here is one nominee I felt the need to gab about (maybe you will too?) from each category...
BEST KISS While Creed was mostly ignored by the Academy, chances are its big box office (which significantly outgrossed Stallone's last two attempts are reigniting the franchise) will insure a big career for Michael B Jordan. Can Tessa Thompson hope for the same (it's always trickier for actresses of color)? They're wonderful together. Especially endearing is the scene in her apartment where Adonis makes up a godawful wrap and they end up collapsed on the floor, caught up in the moment. It's an upside down shot from above and they're something beautifully innocent and pure but also sexy about this kiss. (Later they'll bring the heat in a proper sex scene at Rocky's house. "but what about your Uncle?" / "He old!" Ha!)
SEX SCENE Angelina Jolie's third directorial effort By the Sea was mercilessly trashed upon arrival but this was always going to be its fate. The Jolie-Pitts are extremely mainstream-famous. And household name blockbuster stars that the public has longed to see paired again onscreen aren't supposed to reunite for an indulgent overly serious tribute to Euro art cinema of the 1970s. That's for the other kind of movie star, like the Julianne Moores and the Ryan Goslings of the world, whose filmographies are built on eclectic sensibilities and crisscrossing between the ittybitty and the giant. But By the Sea isn't without its moments. The best scene, repeated in different forms like a musical riff, is when the couple sits on the floor in their hotel room and shyly watches another younger couple (Melanie Laurent & Melvil Poupaud) make love in the next room through a peephole. It's beautifully sympathetic and tragicomic, an estranged couple tiptoeing back to intimacy through surrogates.
OPENING SCENE David O. Russell's Joy is an easy movie to quibble with. It often feels like five different movies that haven't reconciled themselves. This problem (?) is embedded right in its prologue which jumps from inside a stylized soap opera, to Diane Ladd's wonderfully expressive fable-like narration, and back to the soap opera but this time "outside" of it through a TV set, and into little Joy's bedroom where she makes a castle and theorizes about her possible superpower (maybe she doesn't need a Prince?). Ladd's Grandma guides us through this collision of styles and ideas with an expertly dropped line about Joy's creativity that doubles as a guide to how to watch and make ambitious movies.
The patience to figure it out."
Will Joy grow on us with time? Perhaps it might. Perhaps we quibbled too much. Perhaps Russell didn't have the patience to truly figure this one out but there's a lot to figure therein.
ENDING Spotlight may have the most mellow finale we've ever nominated in this category but there's something about its sober work ethic and the core ensemble wide shot, with Walter "Robby" Robinson centered, that really lands emotionally and elevates the film. His phone rings and they all just return to work. Where they've always been.
Spotlight..."
CREDIT SEQUENCE I've been disappointed these last few years that it's more and more common for films to have virtually no credits at the beginning and double up at the ending. So shout out to Mission: Impossible - Rogue Nation which has great opening and closing credits. The opening credits would be spoiler-alert central if they didn't come at you so aggressively with machine-gun montage speed. The ending credits are even more stylish --both an homage to the TV show and film appropriate -- with action frames from the film outlined by the wicks of time bombs; this movie is a blast.
MISCELLANIA - A DOZEN FAVORITE SCENES When writing about the Film Bitch Awards I often revisit a whole bunch of movies in clip forms, particularly the earlier releases that are blurry int he memory. Here we are at the end of the prize-giving and here comes Diary of a Teenage Girl and it suddenly looks just as good as everyone claimed it to be (I was previously in the admired but only admired camp). It was easy to turn certain movies off after checking the scene in question but I kept getting sucked into this film, as if it were the first time. One of the best moments is an animated interlude "The Making of Harlot" where a 'Beautiful Junior,' getting it on with Minnie, remarks upon her aggressive sexuality with something like judgment in his voice (though he's benefitting). Giant Minnie, holding him in her King Kong paw, turns away, with a single teardrop and casts him aside. True movie magic.
* Only three categories left to announce (Limited Roles x2 & Line Readings). Can you believe we're actually going to finish this year before the Oscars**?! Wheeee. We'll announce those three categories plus all the Gold Silver and Bronze medals at some point in the next 24, ya dig?
** Okay technically I won't have finished, damnit. I never named the Animated Feature nominees (we only go 3-wide here) because I was trying to see Boy and The World before voting. So we'll be finished with everything but that category.
Michael B Jordan was top dog at the Annual NAACP Image Awards taking both Outstanding Actor and Entertainer of the Year prizes for his work in Creed, which obviously should have netted him an Oscar nominations (we honored him here). Creed was a big player, too, taking Writing and Directing and Supporting Actress (Phylicia Rashad) prizes only to lose the Outstanding Motion Picture prize to Straight Outta Compton.
In other curious developments Idris Elba, fresh off a SAG win, lost the Supporting Actor prize to O'Shea Jackson Jr for Compton. As a reminder of the strange nominee list, of the central trio in Compton only Jason Mitchell (who played Easy E) was snubbed, despite being the actor who received the strongest reviews within the film.
The image awards, now in their 47th year, are kind of an all purpose awards show for black artists so they also honor literature, music, and television. black-ish and Empire were the big television winners and Anthony Anderson hosted the awards show.
The Film Bitch Awards "extra" categories have commenced. We've already discussed Ensembles, Breakthrough, and Casting and now we hit Action Sequences. These are sometimes hard to define as with the much celebrated fourth installment of Mad Max which could be described in its entirety as "chase sequence" but I've tried to break it down a bit for these purposes. Given the choreography, wonder and passion happening on Fury Road the bar was high and even hugely entertaining fight sequences that I thought would be easy placements for the category like the "Hulkbuster" fight in The Avengers: Age of Ultron or technical wows like Johnson vs. Sporino in Creed (all in one continuous shot!) were edged out.
Films with standard action setpieces, whatever their other strengths, like the two biggest blockbusters of the year (The Force Awakens and Jurassic World) or films with inventive brief moments that didn't quite transcend their otherwise rote action beats (Ant-Man) didn't really stand a chance in this high energy competition that put the motion in motion pictures.
Click the image for more on fine action sequences of the past year in cinema
Monday, February 12, 2018 at 2:12PM 
PREVIOUSLY Nobody was going to beat The Lovely Laura Linney on her birthday, not even Mark Ruffalo's probable finest performance opposite her in You Can Count On Me - she scored a sizeable 70% of your vote in the end, proving you can indeed count on her. Said RV:
