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Entries in Emma Stone (38)

Tuesday
Jan272015

Red Carpet Lineup: The 21st Annual SAG Awards

Greetings, fashion followers and actress admirers! Anne Marie and Margaret here with the Screen Actors Guild Awards edition of Red Carpet Lineup. We're carrying on without Nathaniel this time, since he's over at Sundance walking some red carpets of his own.

Anne Marie:  Last night held few surprises awards-wise, but the red carpet looks were as wide-ranging as Tatiana Maslany's clones in Orphan Black. Without further ado, let's talk fashion!

Margaret: Color-wise, it was a subdued red carpet, so let's start with some of the ladies in black and white: our queen Viola (VIOLAAAAAA), it-girl Emma Stone, the Supreme Sarah Paulson, and proud "complicated woman" Maggie Gyllenhaal. Which neutral getup is your favorite?

Anne Marie:  VIOLAAAAAA! Damn, she looked good. She sounded good, too. That speech was wonderful, and almost made me forgive How To Get Away With Murder for its grievous faults. Sarah Paulson, queen of my heart and the master of photobombs, is also rocking that black and white dress. I don't, as a general rule, like two-piece separate dresses like this, but she is... dare I say... bewitching. (Groan all you like but it's true.)

Margaret: I have to say, all four of these ladies' makeup artists deserve a serious bonus. Their faces look magnificent.

Anne Marie: True. Although, what the heck is going on with Emma Stone's dress? She looks like she's wearing an oversized suit jacket with a gauze skirt stapled on.

Margaret: Perhaps it's an avant-garde nod to her Birdman role, an abstracted fashion cape?

Anne Marie:  Sort of a Lois-Lane-by-way-of-Morticia-Addams kind of thing?

Margaret: Sure looks like it. If I'm honest, I hope her people pull her something twice as kooky for the Oscars. Liven things up a smidge.

Anne Marie: Any final thoughts on our first 4 ladies in white-and-black?

Margaret: Just that Maggie Gyllenhaal's cleavage keyhole amuses me, and that I'm almost sorry that Frances McDormand beat her last night because after the glorious stoneface Ms. McDormand produced after losing at the Golden Globes, I can't help but mourn for the gifs that might have been.

Now, on to our second lineup, the theme of which is WINNERS. 

Maternity couture, OITNB, and casting ideas for a gritty Little Mermaid reboot after the jump...

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Friday
Jan162015

Supporting Actress: The Chart, The Poll, The Stats

It's funny how little news coverage there is now each time Meryl Streep breaks her own Oscar records. With her 19th nomination she's just 5 more away from DOUBLING the previous record holders (Jack Nicholson & Katharine Hepburn) whose record of 12 nominations she broke a dozen years back with Adaptation (2002), her 13th. Five would seem like a ridiculous number remaining to even mention (only roughly two dozen actresses have managed five nods in entire careers in the history of the world) but it's Meryl and she's nominated each time she makes a movie and makes them (almost) every year. Maybe she'll reach that big number before her 75th birthday in the summer of 2024?

Supporting Actress nonsense, The Arquettes, and more trivia after the jump...

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Monday
Jan122015

Big Eyes Surprise? Final Best Actress Predictions

One of last night's most unnerving moments may well have been hearing Big Eyes mentioned multiple times. It's easy to forget that the movie is out in theaters now, since it didn't make big Christmas waves in the media or the box office (it's likely to end its run as Burton's second least successful film of all time after Ed Wood which is 100 times better), didn't earn rave reviews (it's sitting at 70% on Rotten Tomatoes which is, shall we say, generous) so Amy Adams surprise upon winning is entirely understandable.

To say that I am ill prepared for this moment is a huge understatement. Huge."

The surprise win reminds us that she's been generously adored by nearly all the awards communities for years now, an embryonic-Meryl perhaps. This season provides the biggest test yet of how much of a default nominee she truly is with AMPAS. If she manages an Oscar nod this year against much stronger competition in much better films (Reese, Julianne, Felicity, Marion, Rosamund, Hilary, and Emily) and a much more willful campaign for another performance that's better than its movie (Hi, Jennifer Aniston!) you should expect her to be nominated for every film going forward, as you would Meryl herself.  

Nevertheless I don't think it's going to happen and the dye is set on this category. Our nominees will be

Best Actress Oscar Predictions
Jennifer Aniston, Cake
Felicity Jones, Theory of Everything
Julianne Moore, Still Alice
Rosamund Pike, Gone Girl
Reese Witherspoon, Wild

A few critics groups made a valiant stand for Marion Cotillard but in the end Two Days One Night killed that dream itself by arriving in theaters way too late to build any presence of its own as an impressive movie, which would have bolstered support for the shockingly real performance at its center from an actress that keeps topping her Oscar-winning role without the Academy paying her any mind. 

In conclusion, may Big Eyes greatest pop culture legacy be the opening monologue joke from Tina Fey and Amy Poehler. They announced that there was a live Margaret Keane painting at the ceremony. Cut to: Emma Stone. Well, they are gigantic. They take up her whole face like an anime character. What really sold the punchline was its coda; Tina & Amy are great at those little joke extenders when you're already laughing.


Emma reactions to a BIG EYES joke aimed at her gif via Vulture

It's cute. But it's creepy."

We might say the same of Amy Adams Awards Haul!

Saturday
Jan102015

Who you gonna call? Linkbusters

Vanity Fair Melissa McCarthy and other funny ladies in talks for Ghostbusters reboot. I'm rooting for Jillian Bell myself who is mentioned. Yay.
Buzzfeed a definitive ranking of Disney Prince butts - as great as it sounds though I'd place Prince Phillip higher because my imagination works (I love that former Prince BD Wong even replied to his ranking on Twitter)
Vulture let us all worship Charlize Theron who has demanded (and been given) equal pay to her male co-star for The Huntsman. It's not like people went to the first movie for Hemsworth...Insane. Sexism by the numbers.
The Film Grapevine Birdman and the unexpected virtue of Contrivance
A Socialite Life Andrew Garfield and Emma Stone photobomb someone actually trying to take a photo of them

Slate on why Wes Anderson movies have never been popular with the Academy Awards before (presumably) now. Fairly good reasoning
MNPP Wet Hot American Summer will become a Netflix series and the original cast is all returning
RogerEbert.com on the women in Selma: the unsung heroines of the movement
THR Samuel Goldwyn Jr dies 
Theater Mania The Color Purple is coming back to Broadway (already?) with Jennifer Hudson as Shug 

Good Long Reads
IndieWire great piece on the definitions of patriotism and exceedingly pro-gun messaging of American Sniper. Please do not let this film be nominated for Best Picture. It's just not what we need right now...especially given how many people have been killed by guns lately in the States...and still no gun reform.
Grantland Wesley Morris on Selma. Love this sprawling, provocative review / thinkpiece. I've been totally appalled and confused myself at the way the media has latched on to the Lyndon B Johnson depiction but Morris makes a great point here that helps clarify, for me, the anger and nitpicking:

A quick survey of film history suggests that the depiction of racial themes in America has always been the province of white directors, whether it’s something as spectacularly diabolical as D.W. Griffith’s The Birth of a Nation or the antebellum revenge of Quentin Tarantino’s Django Unchained. These great-man movies tend to reflect the aspirations and identities of the people who make them, which is how so many stories ostensibly about black life wind up with white interpolators. DuVernay understands the fraught, imbalanced legacy a film like this pulls her into, and she’s been as fair as she needs to be. This is not a film that undermines or questions Johnson’s ultimate contributions to the improvement of black life in this country. (It very easily could have mentioned the two decades in Congress he spent opposing civil rights legislation.) Inasmuch as there are villains, they are Wallace, Hoover, and Selma’s sheriff, Jim Clark. But because this isn’t Johnson’s story, those accustomed to seeing the president as hero (or protagonist) ultimately seem dismayed by how little of the president there is here.

The bold is mine, not Morris's. People who are angry about Lyndon B Johnson's depiction really ought to look beyond the myth and think about reality. And once they do, rather than be disappointed, they should be as generous as DuVernay is who depicts him as an imperfect man who makes a great progressive decision which changes history.

Monday
Dec222014

Red Carpet: Best Looks of 2014

Year in Review. Two yummy look backs each day!

Jose here. With awards season underway, and a whole new roster of red carpet superstars about to be born (Felicity Jones, we salute you), it's time to celebrate the absolute best red carpet looks of the year that was, which have us revisit a few familiar faces and welcome the return of old fashioned, ridiculously grand Hollywood glamour!

2014's Best Red Carpet Looks


10. Lupita Nyong'o in Ralph Lauren 
Nyong'o was the breakthrough star of 2013 with each of her looks besting whatever it is she had worn to the previous event and the celebration continuing on through Oscar night. The MVP was this red column gown with sewed in cape that she wore to the Golden Globes, which made her look like a true fashion superhero.

9. Emma Stone in Thakoon
While pink is usually a big no-no on the red carpet (only SJP and Gwynnie have succeeded in pulling it off in the last couple of decades) leave it to Emma Stone to not only wear two contrasting shades of pink, but also pull off a bare midriff, a side braid and silver accessories (!!!!) effortlessly. Kudos for sticking to a young brand and showing starlets that you can be sexy while remaining almost practically covered. 

Felicity Jones, Fan Bingbing, and perennial chart-topper Cate Blanchett come after the jump...

Click to read more ...

Tuesday
Nov252014

Stage Door: Emma Stone in "Cabaret"

Jose here. Earlier this year I reported back from the Kit Kat Club to share my impressions about Michelle Williams’ performance as Sally Bowles in the Roundabout Theatre production of Cabaret. Last night I went back to see what Emma Stone (Spirit-Nominated this morning) brought to the part...

Halfway through the first act of Cabaret, Sally Bowles realizes that life with her naive, new lover Cliff (Bill Heck) might be exactly what she needs. She sits with Cliff on a chaise lounge and for a moment she sees herself living the life of a wife and mother, satisfied with keeping home and raising her child. Suddenly, the Emcee interrupts this precious moment by bringing a microphone, its allure too powerful for Sally to resist, and drawn towards it as if under a spell, she performs “Maybe This Time”.

Onstage, the heartbreaking irony of this moment (Sally selling her soul to showbiz, while fooling herself into thinking she’s doing the opposite) is hard to detect if the actress playing her is too eager, or not eager enough; a delicate balance which I’m thrilled to report was beautifully achieved by Emma Stone.

Having already proved to be a truly magnetic screen presence, Stone brings her unusual sensuality to Sally Bowles by subverting the quirkiness that makes her so much fun to watch in movies. Gone are the traces of the goofy girl from Easy A, or the naivete of her Gwen Stacy in The Amazing Spider-Man. If anything, she’s taking on the introspective self-destructiveness of her Sam from Birdman, the same volatile qualities that make her appealing and scary. Her Sally is a teenager who has convinced herself she can fool others into thinking she can play with the grown-ups. Her levels of delusion are such that she fails to notice she hasn’t really fooled anyone but herself.

Stone is also smart enough to know that in the stage version, Sally isn’t the star, she’s part of the ensemble. To a certain degree she's also a memory conveyed by Cliff who “writes” the show as it goes by looking back at his Berlin experiences. Stone’s Sally, while not the star of the show, is so seductive that we miss her whenever she’s not onstage, partly because we want to see her again, and partly because we are afraid of what will happen to her when we’re not looking after her. The audience develops caretaker feelings towards her, combined with sexual desire, making for Stone’s most mature performance to date.

And can she sing you ask? While she is obviously no Liza (then again who is?), Stone successfully delivers her numbers, bringing a raspy, sensual quality to them. (She often sounds like Lindsay Lohan did in her pop star moment!). Stone knows that singing isn’t her (or Sally's) true forte, so she lets this be an essential part of the performance, delivering the last third of the title song completely out of pitch, furiously fighting against the notes coming from the band. If a man can’t restrict her, why does this song think it can?