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.)
JA from MNPP here - René Clément's Purple Noon played at MoMA here in New York yesterday and those lucky enough to get in to the sold-out show had a giant wall of that staring at them. SIGH. Can you imagine? I love Matt Damon's performance in Minghella's 1999 Talented Mr. Ripley, but it for me it never quite had that... this. The sensation that "Okay yes Tom I am completely hypnotized now I will do whatever you say eyes eyes eyes oh my god eyes yes whatever you say." I like that this.
...almost never saw, or is it? Paolo here again. I'd normally be the first person to watch a movie that features attractive men wearing fedoras and Emily Blunt doing contemporary dance, but fate had other plans. But between The Adjustment Bureau's theatrical release and now, it was a movie that had a minor 'bucket list effect' on me.
In one of its DVD extras 'Leaping through New York,' writer/director George Nolfi praises the city as an all around "magical place". But the film's visual version of New York is underwhelming and dour, since we mostly see colours like blue and grey and it seemingly takes place in perpetual dawn or autumn. That's how I felt the first time, although repeated viewings made me appreciate how the sunlight would hit on the upper half of the city's Metropolis-like art deco skyscrapers.
New York, as this film depicts is, makes its citizens feel anomic. We get this feeling specifically through the way the titular adjusters are depicted within the shots, as when four mid-level adjusters look out from a rooftop to countless windows in front of them. That image is essentially repeated when two adjusters Harry (Anthony Mackie) and Richardson (John Slattery) look out a window inside the bureau. A high angle long shot of the bureau's library before we see Harry thinking about one of his cases, David (Matt Damon) offers a similar feeling. The city is an overwhelmingly large frame for an internal and masculine struggle, as Harry becomes wary of how his job affects others. But maybe the film dwarfs the adjusters to highlight a part of their function, to have the least ripple effects, as invisible, microscopic, unnoticed.
David and his star crossed lover Elise (Blunt) are also lonely people without family...
In this edition of Let's Count the Oscar Winners, err, Yes, No, Maybe So, we take a look at Steven Soderbergh's Contagion. Details of this film had been kept quite secret until this trailer was released a few days ago. I'd seen snippets from the film at a distributors event a few months ago but they highlighted star wattage over plot. So now the trailer has arrived and in a move that has some condemning Soderbergh for spoiling his own film, he pulls off a Game of Thrones seconds into the trailer (at the bottom of the post)
YES - That cast!
All of them either have Oscars or have been nominated on multiple occasions but the best part is that they're not just "movie stars", they're all incredible actors. Is this like the "serious version" of Ocean's 11? Soderbergh gets bonus points for that The Talented Mr. Ripley reunion, but where is Cate when you need her?
NO - How can Steven Soderbergh deliver such a superb trailer and threaten us with early retirement? Also, considering he has developed a tradition of delivering one artsy film followed by a fun one, which one is this? His last movie was a documentary, so does it count or should we use The Informant as reference? The director has a tendency to work with genre and this looks like it could be his take on the psychological film or the disaster movie (I smell a fun double bill with Melancholia!)
Soderbergh is also one of the most ambitious directors in contemporary history. Most of the time he gets away with whatever he wants, but given the political references spotted in this trailer this could either be brilliant or end up turning into a bland piece of meh like Blindness.
MAYBE SO - With the revelation that Gwyneth Paltrow's character dies, we have to ask ourselves, how much will this affect the rest of the film? Some people have already called this a monstrous spoiler and are pissed at the director for letting this piece of information come out.
PSA: Gwyneth Paltrow in The Perils of Gambling!
Killing one of your main stars isn't something completely new but it still sends waves of how-dare-they and where-are-we-going-now terror among audiences who want it the easy way. This revelation tells us that either her character was meaningless and there are bigger shocks to come or that Soderbergh is the kind of director you want to work with so badly that you don't care if he kills you before the movie is even released.
I for one am beyond excited to see what he has up his sleeve this time. How about you? Are you as impressed by the cast? Should Soderbergh retire yet?
As I was confessing on Twitter yesterday, I have literally never watched the Superbowl. Not once. The only football bits I've ever seen were in high school (I hung with the band geeks but was a choirboy), comic strips (Lucy is so mean!), in movies, and in Friday Night Lights. L-O-V-E that show. It returns in April for its final season. *sniffle*
Since movie studios bleed gazillion$ worth of their future profit$ to air 30 seconds of their potential blockbusters I $hould $hare them. It's like a hydra-headed episode of Yes, No, Maybe So. I'm listing them in the order I was curious about them BEFORE I saw the spots. Things may have changed.
Consider this a reboot. A retooled second (third?) season, if you will. With a brand new website, awesome technical support (aside from blog import issues -- still working on it -- Squarespace has been a dream thus far), and the countdown to Oscar, it's time for the lost podcast to return home.
Katey, Joe and Nick have returned to help me kick off this year's audio Oscar-madness. Having been quiet for too long, our conversation spilleth over. Second part coming up shortly.
Monday, August 15, 2011 at 1:26PM 
