Posterized: Rosamund Pike

by Nathaniel R

Pike earlier this month in LAYou can see Rosamund Pike's acclaimed performance as a war journalist in A Private War today in movie theaters -- the movie's now gone wide. Pike, who is 39, was born in Hammersmith London, the only child of musician parents. We've been fans of Pike since her slyly terrific work in An Education (2009). Though she's headlined one huge hit (Gone Girl) it still seems like she's waiting for that one role / star vehicle to cement those career gains, and make people remember her name, doesn't it? If you were her agent or management what would you be fighting for right about now? I know I'd immediately put the kabosh on 'the girl' in male-driven action ensemble pictures and fight for more complex female leads -- why not another play? She hasn't been onstage in quite a while.

I'd also be looking for a drama which flirts with mysterious woman elements to capitalize on her Gone Girl fame and her sometimes deliciously remote aura without attempting to recreate that film. Just make sure it's a juicy role because she's up to the task. 

After the jump all the posters from her feature film filmography. How many have you seen? And did you remember that she was in them (since you probably saw a few before Gone Girl!) 

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Valentine's - Gone Girl

Team Experience is celebrating Valentines Day with favorite love scenes. Here's Chris...

Let’s not allow the roses of Valentine’s Day to let some thorny romances go unnoticed. For all its shocks and grisly goings-on, Gone Girl is still something of a morbid romance - if you can get past the extremity (ya know, like murder) to see its proposition that successful relationships require big compromise. And also that a relationship can’t expect to keep up its picturesque beginnings.

Take Amy and Nick’s rose-colored glasses moment: in a literal haze of sweetness, the two exchange a kiss, Nick grazing her lips in a distinctive cool move. It’s a sexy and definitive moment, one that defines what their love will forever chase when things get much more difficult.

The memory of the confectionary kiss is almost too good to be true, certainly at least too “perfect” to maintain. When Amy sees Nick recreate this with his mistress, it isn’t just a betrayal of fidelity but of the veneer they had created together, a moment she thought was theirs alone. She recounts this (a version, at least) to Lola Kirk’s shifty confidant with such reverence as to reveal more of Amy’s storytelling abilities, but a true genuine love for Nick as well. Amy’s sociopathy means she plays with a different language in expressing her affection, one that requires mining through terrible deeds to understand but is there all the same. Interpret Nick’s decision to stay together as you must, but their twisted game isn’t without actual love.

What's your favorite twisted love story?

Gangster Chic & Patriarchy Toppling? Tell Me About It, Stud.

On this day in history as it relates to the movies...

1877 Edmund Gwenn is born. Wins the Oscar seventy years or so later as Kris Kringle, helping adults to believe in Santa Claus again in Miracle on 34th Street (and yes, that's one of the all time best wins in Supporting Actor. Do you agree?)
1888 T.S. Eliot, one of the 20th century's great poets, is born. Though few movies are made from his work he did lead to Cats on Broadway. He was played by Willem Dafoe in the movie Tom & Viv (1994)
1898 A true musical genius George Gershwin is born in Brooklyn. Movies and TV shows still use his music today.

gangsters and musicals after the jump

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Interview: Rising Star Boyd Holbrook ("Narcos")

Boyd Holbrook © Flaunt magazine, Fe Pinheiro, photographerI regret to inform you that I cannot begin this story with the sizzling lede I'd intended. But the redacted story, of where Boyd Holbrook called me from and the new project he's working on -- were nevertheless a good reminder that he's been an exciting talent to watch. That's not just because he's so engaging onscreen but because he doesn't want to get stuck in a rut; it's hard to guess where his creative muse will take him next.

So let's jump to our real topic. Boyd Holbrook was calling to discuss his role as DEA officer Steve Murphy in the Netflix series Narcos. The debut season was nominated for Best Drama Series at the Golden Globes and before its second season airs, it's undoubtedly hoping for Emmy to follow suit (balloting closes tomorrow). The story revolves around the drug lord Pablo Escobar (Wagner Moura, Globe nominated for Best Actor) and the attempts of DEA agents Steve Murphy (Boyd Holbrook) and Javier Peña (Pedro Pascal) to bring him down. Though it's somewhat of a three-lead series, Holbrook and Peña are both on Emmy's Supporting Actor Drama ballot since Escobar is the subject matter. Holbrook's character is our window to the story and a handy historical reference guide as narrator. The early episodes have to impart a ton of information we couldn't be expected to know about both Colombia and the US in the late 70s and early 80s as well as technological limitations of the time in hunting and surveillance of your prey.

I talked to Boyd about the peculiar demands of the part, half-exposition and half-character work, but we begin with what I suspect is his multi-hyphenate inner artist [Interview after the jump...]

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April Showers: Gone Girl

In April Showers, Team TFE looks at our favorite waterlogged moments in the movies. Here's Chris on Gone Girl (2014).

Gone Girl is a variation on Who's Afraid of Virginia Woolf?, its Nick and Amy being the new George and Martha.  But instead of a pair of unwitting guests, this George and Martha use the media to attack one another - and the verbal barbs are traded in for actual bloodshed. David Fincher loads the film with the darkest rapid fire comedy, much like Edward Albee's acidic play, and the final beats of both can spark immediate audience conversation.

The final act of Gone Girl is where the film reveals its darkest side. If you haven't yet seen the film or read the source novel, then you don't know that the first two acts are pretty twisted themselves. The film's structure and narrative conceits keep us from seeing the true version of this George and Martha together until Amy's third act return...

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