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Entries in Margaret (11)

Monday
Dec282020

Year in Review: Top 10 First Watches of 2020

by Christopher James

Many people discovered new hobbies while under quarantine. I, however, re-discovered my love for movies. As many film fans can attest, it sometimes feels like you have to watch so many new films each year that it can be hard to find time to fill in classic blind spots. But with the 2020 quarantine (plus the fun of insomnia), I turned to the Criterion Collection and basically got a whole second film school education. As 2020 comes to a close, I’ve had over 120 new-to-me watches for the year, not counting films released in 2020. They span from silent era cinema through Camp (2003). 

Since the final week of December is always about lists, here are my top 10 favorite first-time-for-me watches from 2020...

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Friday
Apr242020

Performing Spectatorship

by Cláudio Alves

As people who love cinema, I think we can all understand the power art can yield over those who experience it. Whether finding refuge in an escapist dream or seeing an ugly truth reflected at us, the act of being an audience has the potential to startle and surprise, to devastate and entertain. I can often recall those moments when a film overwhelmed me in such ways that I ended up making a spectacle of myself. There were my sobbed laughs at a Whitney Houston karaoke in Toni Erdmann, the breathless shock at Hereditary's peanut panic, the miraculous tears when faced with Parasite's perfect montage and so much more. Those memories are like precious jewels, bright reminders of why I love cinema.

Because of this, I have a special fondness for films that try to capture that inchoate ecstasy that happens when an audience is similarly enraptured…

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Thursday
Apr142016

April Showers: Kenneth Lonergan's Margaret

In April Showers, Team TFE looks at our favorite waterlogged moments in the movies. Here's Chris on Margaret (2011).

If you missed Kenneth Lonergan's Margaret during it's microscopic release in 2011, you aren't alone. The film spent four years in the editing room after wrapping in 2005, leading to a litigious post-production and a bare bones theatrical run. Even with its bursting ensemble of recognizable faces like Mark Ruffalo, Matt Damon, and lead Anna Paquin, Margaret couldn't get an audience without promotion, so it died.

But if you ever want to complain about Film Twitter, remember Margaret as the poster child for its ability to create a movement around a worthy film. Thanks to #TeamMargaret, led mostly by the film's passionate British fanbase, word of mouth (and curiosity) spread quickly. Eventually distributor Fox Searchlight made the film more readily available, even sending screeners out to a handful of critics for end-of-the-year consideration. The home release also features an extended version closer to Lonergan's original intention.

Sometimes we just miss a masterpiece, but they always have a way of coming back. (more after the jump)...

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Thursday
Jul122012

8 Degrees of Linking

/Film Angela Lansbury wanted for Wes Anderson's next film? Gah!
My New Plaid Pants JA delights me when he reorganizes the world. #TeamCharbender ! 
Oscar Metrics returns (yay Mark Harris!) with a conversation about 2012's first ½
Low Resolution thinks Salma Hayek is g-r-e-a-t in Savages and that the movie isn't so bad either 
Hollywood Reporter Channing Tatum's next two projects are lined up: Foxcatcher for Bennett Miller and another filmed version of daredevil Evel Knievel's life, both true stories.
Daily Mail ...and Chan is also interested in a Magic Mike sequel and has made a not-very-serious offer to play the male lead in the erotic drama 50 Shades of Grey
Guardian Chris Nolan is suggesting that someone make a Catwoman spinoff for Anne Hathaway. "She deserves it." 
Empire Josh Trank will helm the Fantastic Four reboot as expected (that's one reboot we'll be happy to see -- bad movies deserve to be rebooted, not good ones!) but Daredevil has lost its director. The rights to Daredevil may shift back to Marvel if the film isn't in production by the fall. Please let Fox biff this one. Marvel is better at this now! Keep them all in the same universe.

Have you picked up the Margaret Blu-Ray yet to see what #TeamMargaret was all about last Dec/Jan? I'll discuss it soon if you want. Here's an 8 Degrees of Separation Infographic detailing the various cast connections. I love that Ladyhawke is mentioned. So very random!

Friday
Feb032012

Oscar Symposium Day 3: Farewells and Futures

On Day 1 of the symposium we partied with the Best Picture field and considered Star Vehicles. On Day 2 we discussed movies that are hopelessly in love with themselves (to good and bad effect), the forever contentious Lead vs Support debate, the invisible arts of editing and screenwriting. We pick up there. Nathaniel was admitting he wasn't entirely comfortable falling for Margaret.... 

Nader & Simin: A SeparationNATHANIEL:  I've scraped my knees up on cold hard pavement. I too was caught up in #TeamMargaret excitement. I love it when critics remember that part of their job is to advocate for buried treasure rather than merely rubber stamping the critical darlings over and over again (Did Michelle Williams really need to hog the majority of critics awards for My Week With Marilyn, which is straight down the middle awards bait? They didn't see anything off the golden path that was worthy of praise?). But when I finally saw Margaret, I left somewhat dejected. There's a lot to love. But there is also just an awful lot. It plays, to me, like a series of brilliant pieces that haven't quite been shaped to fit the genius-level mosaic they're intended for. Or maybe I was just thrown by the length and those phone calls to daddy. Lonergan is a brilliant writer but a brilliant actor not so much.

And maybe I was still just high on A Separation (my choice for Best of the Year) which illuminates a bit of the same ground in terms of personal actions creating ripples that we can't possibly grasp the full reach of. And they both show us how flawed people (i.e. all of us) can get tangled up in very difficult moral, social, religious, political and ethical webs they probably helped spin.

KURT: I'm glad you brought up that comparison between A Separation and Margaret, because it's definitely something I was thinking about while watching the latter (in between all the reveling in how Lisa initiates an allegorical, post-9/11 war that's ultimately futile and only reaps money for people who don't deserve it). Though vastly different in structure (one drum-tight, one manic and sprawling), these two scripts hold a lot of similarities, and are, in my opinion, at the tip-top of the year's best.

I'm also glad that Mark brought up Margin Call and Tinker Tailor in the same thought bubble because I found myself linking those two in my head a lot as well. Both films are essentially corporate dramas with power players coping with crisis, and both teem with a kind of impenetrable language you really have to crack. I hail from the team that doesn't really buy all the "Speak to Me Like a Golden Retriever" crap, because A) I don't believe those folks would actually expositionally coddle each other, or need coddling, in that way, and B), as mentioned, the movie keeps promising through dialogue that it's clearing things up, when it's really just thickening its fog of jargon. I do believe Chandor took a highly commendable crack at presenting this world, and I don't know if I've seen anyone do it better in terms of writing (Oliver Stone certainly didn't), but there's a lot of pretense about those scenes that irks me. (I prefer his small details, like the gross arrogance the company shows by firing Tucci's head risk manager, and little shots like the one of Demi and Simon Baker in the elevator with the cleaning lady.)

...and we've reentered MI6 where we began!

As for Tinker Tailor, there isn't a lick of coddling, just a glimpse into a radically rarefied world, filled with so much code talk, names and lingo it's like Tolkien does MI6.

Symposium Wraps with Bridesmaids, eye candy and film futures after the jump.

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