Blurb Attack! Go see "Carmen" (and more) this weekend

Congratulations to Abe Friedtanzer whose review of Carmen for The Film Experience is quoted in the trailer.

Sometimes studios ask about these things but in this case we were taken by surprise...

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TIFF: Melissa Barrera and Paul Mescal in the Dazzling ‘Carmen’

By Abe Friedtanzer

There have been many films recently about young women crossing the border from Mexico to the United States and coming across someone whose attitude towards illegal immigrants softens considerably after the chance meeting. But Carmen is something different entirely, an update of much older material, based on a Seville-set novella and opera from the 1800s by Prosper Mérimée. This time the setting is present day in surroundings that will be more familiar to audiences but just as enchanting…

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Review: Scream '22

By Glenn Dunks

Movies made predominantly out of a requirement for fan service can go one of a few ways. They can give audiences just what they wanted (as we’ve seen with some MCU movies), they can give audiences what they didn’t know they needed (as we’ve seen with some MCU movies), or they can be a complete and utter dog’s breakfast (as we’ve seen with some MCU movies).

The Scream franchise isn’t as long-running or as mythologized as iconic horror brands like Halloween, Texas Chainsaw Massacre or A Nightmare on Elm Street. But what it does have that those series do not is a consistent core—both in characters (Sidney, Gale and Dewey) and tone (comically meta slasher)—that has remained unwavering across 25 years and five individual movies. Fan service here then is actually quite tricky...

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Review: "In the Heights" sets the bar high for modern movie musicals

by Nathaniel R

A young man stares out of his bodega window, his favourite block coming alive in the reflection. This shot of Usnavi, our leading man and guide into the film version of Lin-Manuel Miranda's In the Heights is already beloved and with good reason. It gives you character (this man is something of a dreamer, caught between two places), world-building (the vibrant Latinx community of Washington Heights) and joyful genre specificity (the musical). It's not even the first clever moment in the movie at that, but something In the Heights builds up in its ever-escalating opening number after already providing you with gorgeous aerial shots romanticizing NYC as 'a city made of music', sounds from hoses, traffic, manhole covers, and alarm clocks as musical accompaniment, and introducing us to most of the main characters.

Above all else this visual beat as well as the larger song sequence that contains it, instills immediate confidence that the creative team, especially director Jon M. Chu (of Crazy Rich Asians fame) understand the oft-forgotten cinematic language of the film musical...

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