Film Review: Downton Abbey: A New Era

The sprawling cast of "Downton Abbey" goes to France and gets into the movie business in this new sequel.By Christopher James

Martin Scorsese described Marvel movies as theme park rides, not films. As derisive as that is, there’s some truth to it. What are theme park rides other than rushes and thrills, zooming through a theme or story with the sole purpose of making you react and cheer? If Marvel movies are a roller coaster, Downton Abbey: A New Era is an ornate, hundred year old Merry-Go-Round. It’s a theme park ride in that it exists solely to take fans through the hallowed halls of Downton, rather than to make a grand cinematic statement. That’s what makes this installment much better than the previous film. It cycles through the greatest hits with tremendous efficiency and spirit. The large ensemble is all smiles as they sip tea and gossip. Penelope Wilton and Maggie Smith land every sassy remark with a knowing grin. Girls just want to have fun, and my is Downton Abbey: A New Era low thrills fun!

Like a schoolyard dodgeball game, Downton Abbey: A New Era sets up two sides and divides its characters up between the two plots hastily. No sooner does the wedding between Tom (Allen Leech) and Lucy (Tuppence Middleton) end before Violet Crawley, the Dowager Countess of Grantham (Maggie Smith) decides to upstage them with her own revelation.... 

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Showbiz History: Oliver!, K.I.T.T., and Linda Hamilton

6 random things that happened on this day, September 26th, in film history

1949 the Hollywoodland is sign torn down for the groundbreaking ceremony of the new shorter "Hollywood" sign.

1955 "America's Sweetheart" Debbie Reynolds (23) marries the hugely popular singer Eddie Fisher (27). They quickly have two children, Carrie and Todd Fisher. Their marriage will last only three and a half years and end in one of the biggest showbiz scandals of the 20th century when Eddie leaves her for her BFF Elizabeth Taylor...

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Year in Review: Style Icons of the Big Screen

by Cláudio Alves

As an obsessive list-maker, to write a top ten for The Film Experience's Year in Review was more of a dream come true than a challenge. As we're in festive times, I decided to give myself a gift, by fusing one obsession with another. Cinema, costume design and list-making all consumed my Christmas Eve afternoon in a haze of sartorial glory. Looking back at the movies of 2019, from opulent period pieces to humble contemporary dramas, I went in search of the year's greatest style icons. Not those of real life, obviously, but the ones who graced the silver screen.

In decades to come, we may look at them as we now look at Darth Vader's sinister countenance or Holly Golightly's Givenchy clad figure. Who knows? More than predicting future icon-status, this is a list of personal favorites, though.

Without further ado, let's celebrate 2019's style icons, but first, some honorary mentions…

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Dame Maggie Smith Unchallenged by the Abbey

by Murtada Elfadl

Did you ever feel that sometimes Dame Maggie Smith has been phoning it in as the Dowager Countess in Downtown Abbey? Did you think that despite being droll and funny she might have been playing obvious notes that we’ve seen from her before. Well you are not alone. The Dame herself agress as she told ES Magazine...

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"Parasite" is the mashup of "Shoplifters" and "Burning" we never knew we wanted

by Lynn Lee

For a 132-minute Korean film that isn’t yet in wide release, Bong Joon Ho’s Parasite is already one of the most talked-about movies of the season, and for good reason.  Alas, most of the reasons can’t really be discussed without major spoilers – but that’s all the more incentive to see it as soon as it hits a theater near you.

When I saw it, I loved it, which I wasn’t necessarily expecting considering I hadn’t been a fan of either The Host or Snowpiercer, arguably the director's most popular films.  Despite its run time, Parasite is tighter than those films, and its tonal shifts and genre-melding smoother.  It's also more focused, its treatment of one of Bong’s favorite themes – class disparities – razor-sharp yet also oddly compassionate, ultimately condemning the system rather than any individual players.

Parasite, which took the Palme d’Or at Cannes this year, also felt to me like the deranged evil twin of last year’s Palme d’Or winner, Hirokazu Kore-eda’s Shoplifters...

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