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.)
The standard formula for sequel-making is easy to remember: do it again, only bigger. Elizabeth Banks has taken this to heart while working both sides of the camera. Pitch Perfect 2 marks her feature directorial debut but she's still fully visible as one half of the insult-comic pundits that barrage the acapella groups with shade as we watch them perform. The absurd notion of live commentary during vocal performances continues to be a pretty good unspoken joke unto itself so naturally Gail (Banks) and John (John Michael Higgins), have larger roles this time. They're like the Waldorf & Statler to the Bardem Bella's Muppets only hornier and way more intrusive. The comparison may be fusty but so is the jokey tone - vaudeville sized in its caricature driven gags and completely shameless at wringing laughs from crude, repetitive and stereotype-loving jokes. In fact, it's so broadly cartoonish that it's easy to imagine virtually any of the cast members as muppets, especially Fat Amy (née Fat Patricia).
Who among you didn't visualize Rebel Wilson as a Muppet just now; the resemblance is uncanny!
The Star is TIFF about to get an "In Competition" slate at their annual festival? They've always avoided it Playbill Sutton Foster visited "The View" and talked Thoroughly Modern Millie and her new show Younger (which she is typically excellent/adorable/funny in if you haven't yet watched it. No musical numbers yet though, boo!) Wired has a longform oral history of ILM (Industrial Light & Magic) for its 40th anniversary, the fx house created originally for Star Wars that changed movies. The Daily Beast on Flula Borg, the German scene stealer from Pitch Perfect 2 Playbill this always kind of annoys me but non-nominated musicals will be performing at the Tony Awards: Gigi, Finding Neverland, and It Shoulda Been You. Better to spend the time focusing on nominees, I think. Comics Alliance Vertigo Comics was totally prepared for the world to go wild for Mad Max Fury Road. They already have prequel comics and an art book with pre-comissioned tributes by major comic artists. Towleroad Nick the Gardener takes you on a behind the scene tour of Magic Mike XXL for Ellen
Cannes Cannes RogerEbert.comloves Hou Hsiao-hsien’s longawaited epic The Assassin starring Shu Qi. Another Palme d'Or contender? This year seems highly competitive. But mixed on Youth... which is apparently highly influenced by 8½ Awards Daily Sasha says that Paolo Sorrentino's Youth about two old men in the film industry, one retired (Caine) one still working (Keitel) will be catnip to Oscar voters In Contention says Emily Blunt is "spectacular" in Sicario but Benicio del Toro is the MVP The Playlist [NSFW] has a clip from Gaspar Noé's Love
"Mad" Must Reads Because people can't stop writing about the Mad Men finale and George Miller's fourth Mad Max film. These are highly recommended!
Emily Nussbaum on the "existential brilliance" of the Mad Men finale Julianne Escobedo Shepherd examines how the meaning of Don Draper --or what we thought the show was about -- seem to have shifted over time Alan Sepinwall grapples with the two Dons or rather Don & Dick and what we want from a person/character and who they really are Mark Harris on "Artisinal Macho" and why the Mad Max Fury Road action scenes make recent action films feel so weightless Arthur Chu offers up a rundown of the long form feminism and "toxic masculinity" of the Mad Max franchise - the headline and subheader are kind of misleading but the actual point by point content / argument is terrific
1979 to Go Criterion Collection got Bette Midler to reminisce about The Rose (1979) for a dvd release!!! Take a look.
Saturday, May 23, 2015 at 1:30PM 
The standard formula for sequel-making is easy to remember: do it again, only bigger. Elizabeth Banks has taken this to heart while working both sides of the camera. Pitch Perfect 2 marks her feature directorial debut but she's still fully visible as one half of the insult-comic pundits that barrage the acapella groups with shade as we watch them perform. The absurd notion of live commentary during vocal performances continues to be a pretty good unspoken joke unto itself so naturally Gail (Banks) and John (John Michael Higgins), have larger roles this time. They're like the Waldorf & Statler to the Bardem Bella's Muppets only hornier and way more intrusive. The comparison may be fusty but so is the jokey tone - vaudeville sized in its caricature driven gags and completely shameless at wringing laughs from crude, repetitive and stereotype-loving jokes. In fact, it's so broadly cartoonish that it's easy to imagine virtually any of the cast members as muppets, especially Fat Amy (née Fat Patricia). 
