TIFF 50: Benoit Blanc looks for grace in "Wake Up Dead Man"

by Cláudio Alves

If Wake Up Dead Man is the weakest Knives Out mystery yet, the blame lies at the feet of its outsized thematic ambition. In that regard, the new flick outdoes its predecessors and then some, touching on the same satirical points and terminally online observations of our socio-political present while stretching hands up, toward the heavens, in search of an ineffable grace. Rian Johnson thus tackles religion and belief and absolution with a Gothic twist and perverse glee, a complex proposal further complicated by the way he keeps playing with the whodunnit model in his usual deconstructionist manner. The director boldly adds Poe and Carr to the pantheon of authors he'll crib from in a metatextual game that reaches out an invitation to its audience. Share the pleasure of my mischief, it whispers in your ear…

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Goodbye, Gena Rowlands (1930-2024)

by Cláudio Alves

Gena Rowlands in OPENING NIGHT (1977) John Cassavetes

Two days ago, cinephiles worldwide were met with some sad news, tragic beyond belief. Gena Rowlands died at the age of 94 after a few years battling with dementia, as her son, Nick Cassavetes, had previously revealed to the public. It's a loss that defies comprehension because Rowlands' talent was just the same, a generational marvel whose importance can't be overstated. Cinema, especially independent American film, is what it is today because of her contribution. The same can be said about the art of screen acting, in general. So much so that even those who don't gel with her mercuriality must contend with Rowlands' place in the annals of history. 

Even as I loathe to use the term 'undeniable,' Rowlands is the exception to the rule. Consider her undeniable influence on countless artists. Consider the undeniable mark she left on those who watched her and felt themselves freefalling into the deepest recesses of the human soul, a chasm you love to get lost within…

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Beauty vs Beast: Pre Endgame

Jason Adams from MNPP here with this week's "Beauty vs Beast" -- a little movie called Avengers: Endgame will be hitting a couple of screens this weekend (we count Thursday nights are "the weekend" now in blockbuster world) with the blunt force of a megaton bomb; this time next week it'll be nothing but breathless box office masticating and eulogies for the fallen. So today, in the ever so brief calm before that oblivion, let's look back at last year's Infinity War appetizer and face down the great big goof heard round the galaxy -- that time Peter Quill aka Star-Lord (Chris Pratt) let his emotions get the best of him and let Thanos (Josh Brolin) live to snap another day... 

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PREVIOUSLY While every week is a good week to be Emma Thompson Week last week we made it official in honor of her 60th birthday, and the Merchant Ivory character to top them all turned out to be, with 68% of your vote, Margaret from Howard's End. Said Marsha Mason:

"Remains of the Day is the better film imo, but her performance in Howards End sticks with me a little more."

Interview: The Emotionally Resonant Visual Effects Work in "Avengers: Infinity War"

It's our final Oscar nominee interview of the season! 

On a break from their post-production madness for Avengers: Endgame (opening in 66 days!) we spoke with co-directors Joe Russo and Anthony Russo and the visual effects team of MCU's colossal two-parter. Part one, better known as Avengers: Infinity War, is culmination of ten years of serial storytelling within the Marvel Cinematic Universe and is Oscar-nominated for Best Visual Effects. Given how strangely difficult it's proven for superhero films to win the Best Visual Effects Oscar --- only one has managed that competitively: Spider-Man 2 (2004) with Superman (1978) also getting a special achievement Oscar -- the odds are probably against Avengers: Infinity War, But, consider this: If Infinity War does win this Oscar no one will gripe that this team didn't deserve it. 

Hell, the 'snapture' alone warrants it! Now excuse the dust as this team tries to top themselves once more in Endgame. Since our interview was with multiple people we're presenting it in a series of quotes rather than a conversation. Hope you enjoy...

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10th Anniversary: Milk (2008) is Aging Beautifully

by Eric Blume

This month marked the tenth anniversary of the release of Gus Van Sant’s semi-biopic Milk, chronicling the last eight years of the life of gay politician Harvey Milk.  If you’ve never seen Milk, get ye post haste to it, if for no other reason than to be fully immersed in this crucial window of history.  If you saw Milk when it was released a decade ago and haven’t seen it since (which was true for me), watch it again:  it’s aging beautifully.

Olympic diver Tom Daley’s husband, Dustin Lance Black, won the Oscar for Best Original Screenplay for this movie, and the trophy was richly deserved.  Black not only manages to avoid almost every biopic cliché, he captures the beginning of the gay rights movement with precision, pain, and most importantly, humor.  Black’s script starts when Harvey Milk turns forty, had been mostly closeted, and was not politically aware. He chronicles his consciousness-raising without a hint of clumsiness or fake nobility.  And while Black keeps his focus squarely on Milk, his real achievement is in casting a wider net: he gives Milk’s real-life contemporaries a vivid presence, and shows us a full community within the Castro neighborhood in San Francisco.  This script manages to be both macro and micro, and throughout you can see Black’s gigantic heart and passion for this story...

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