Doc Corner: The Dandy Glam of 'Love, Cecil'

by Glenn Dunks

Cecil Beaton was a dandy. He was an elegant fop, an aesthete, a bright young thing, a (mostly) homosexual. These are all words used to describe him in Love, Cecil, a charming bio-doc from director Lisa Immordino Vreeland. They are words not used in malice, but in reverence to a man whose singular attitudes flew in the face of what men were ‘supposed’ to be. Cecil Beaton had about him an air of posh aristocracy that belied his place in society, but which would ultimately allow him to become ingratiated into the inner-sanctum of Britain’s upper-class (including right up the Queen herself), the world of celebrity, and even the Academy as the Oscar-winning designer behind Gigi and My Fair Lady. He also just happens to be one of the great photographers of the 21st century

Love, Cecil is Vreeland’s most accomplished film to date...

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Halfway Mark - Box Office Hits of 2018 (Thus Far) in Multiple Categories

by Nathaniel R

It's time for the annual "halfway mark" festivities. With the first six months of the year done, we are triggered to look back at one came before. To make this far more interesting than just "biggest blockbusters" we're listing the biggest hits of multiple categories. If we've written about them extensively, talked about them, or reviewed them, that's where the links take you.

Key: The totals are domestic as of estimates this weekend.Titles that still have life in them (i.e. are still in active release and not done or just about to leave) have up arrows next to them. OKAY THE LISTS. Ready? Let's go!

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Doc Corner: 'Three Identical Strangers'

by Glenn Dunks

“Truth is stranger than fiction”, nudge, wink, geddit? It’s fairly common that that old chestnut of a phrase makes its way into writings about documentaries as more and more filmakers uncover strange but true stories that then make their way into cinemas and onto streaming services. Crazy! Amazing! Insane! Shook! Whatever. Sometimes it's justified (Hi Tickled!) and then there’s Three Identical Strangers. A film that would almost certainly be a farce if invented in the mind of a screenwriter. There’s no way such a story could play as straight drama. It’s just too nutty. It is crazy and amazing and insane and I was shook.

Three Identical Strangers starts the way somebody telling this story might. Have you heard of the one of three brothers, identical triplets, who were separated at birth? That's where we begin...

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Doc Corner: In the Shadow of Kubrick with 'Filmworker'

by Glenn Dunks

Sometimes you really can tell a book by its cover. Or in this case, a movie by its poster. The artwork for Tony Zierra’s Filmworker shows a photograph of Stanley Kubrick on set with his long-time yet little-known collaborator Leon Vitali hovering behind him. Kubrick, normally the focus of these sort of non-fiction works, is unusually blurred. Our eye naturally focuses on Vitali despite Kubrick’s appearance that can’t be entirely obscured no matter how hard they try.

It’s fitting for Filmworker, a documentary about Vitaly not Kubrick. Although, as was probably always inevitable about a film about the people around one of cinema’s most commanding and famous names, Kubrick remains a constant presence who is too hard to ignore...

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Doc Corner: 'Nanette' Will Be a Defining Work of 2018

Rarely do stand-up comedy sets gain the sort of immediate notoriety that has greeted Hannah Gadsby’s Nanette. The comedian, writer and some-time actor who is probably best known to American audiences for Please Like Me (at least the few who actually watched it) has become a rare Australian exclusive for Netflix who are releasing Nanette alongside an ever-growing roster of stand-up comedy. It would be easy for this one to slide between the cracks of the streaming service’s much larger names. Who is Gadsby to non-Australian audiences anyway and why should they watch her? What about Nanette means it deserves to cut through the chaos especially when she comes across as so hostile towards the medium itself?

Well, for starters, to call Nanette a mere stand-up comedy special would be to do it a great disservice. As funny as it is, it isn’t the sort of work that neatly sits alongside Ali Wong, Chris Rock or John Mulaney. No, because Nanette is much more: it’s a manifesto, a doctrine, a philosophy. It’s a work of such searing potency that it deserves the attention of every man and woman with a Netflix account – and those who do not. It deserves to be hailed a landmark by LGBTQI audiencs, too. If you are wanting something to stake a claim to the most essential of-the-moment work of filmed entertainment for 2018, then Nanette is probably it.

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