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Entries in musicals (697)

Saturday
Nov232019

Review: Frozen II

By Tim

Frozen, the 2013 feature from Walt Disney Animation Studios, is one of the decade's most extreme success stories: it's the highest-grossing film of the decade that's neither a remake nor a sequel, as well as the highest-grossing animated feature in history (depending on where you set the definition of "animation"; this summer's all-CGI remake of The Lion King bumped it down a notch). Even given Disney's historical reluctance to produce theatrically-released sequels, it's not really much of a surprise that the studio has succumbed to the temptation to chase that blockbuster with a six-years-later follow-up. And so it is that Frozen II is upon us.

The biggest question facing the film is, of course, "does it live up to the original?" And I do wish that I had a less wishy-washy answer than "maybe." A lot depends on what you think about Frozen: for me, it's the third-best of Disney's three original princess movies this decade, behind 2010's Tangled and 2016's Moana, largely because of what a shambling wreck it becomes as the story structure loosens in the second half. Frozen II has the same problem, but in reverse: the first half of the movie feels more like script notes than a script, scene after scene in which neither the stakes, nor the locations, nor the emotions, nor the narrative momentum seems to carry through. Then, at a particular point midway – the particular point depicted in the film's dramatic teaser trailer, no less – everything snaps into focus and the plot and mood suddenly seem like they make sense, more or less. Which is irritating, because it means that talking about everything Frozen II does well would bring us into spoiler territory, and thus this review is going to involve a lot more complaining than the film necessarily deserves...

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Wednesday
Nov202019

Soundtracking: Yentl

by Chris Feil

Some might reduce it to simple star vehicle, but Yentl does something quite uncommon within the musical genre: through song, it places us in the mind and isolation of exclusively one character. All of the songs belong to Barbra Streisand’s protagonist Yentl, locked in the chamber of her mind, until it triumphantly breaks out in her reality. It might seem criminal to have the likes of her costar Mandy Patinkin going songless despite being at his Evita and Sunday in the Park with George-era peak, and maybe more condescending viewers would chalk this up to ego on the part of Streisand. But the effect gives us something that quietly defies musical convention, turning song into metaphor and providing richer payoff to the character arc. It’s only a musical inside the head of our heroine, a way of reflecting the strictures that limit her voice.

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Tuesday
Nov192019

Over & Overs: "Sister Act"

Please welcome new contributor Kyndall Cunningham...

As a churchgoing kid with a fairly good singing voice, choir took up a big chunk of my adolescence. I attended weekly rehearsals, went to my choir mates’ houses to practice and woke up at the crack of dawn on Sunday mornings to perform for the congregation (and God). I had a strong affection for gospel music, but my intense involvement in ministry at such a young age felt deeply uncool at times, if not isolating from the rest of the world. It wasn’t until I picked out Sister Act from my family’s VHS closet one day that I saw that part of my life tied to pop culture in an exciting way. Needless to say, I began screening the film religiously. 

Sorry. 

Like a lot of stories about women turning a new leaf, Sister Act begins with a breakup and ends with a love story...

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Friday
Nov152019

Banderas, a 'singular sensation'

by Nathaniel R

Campaigns for hotly competitive Oscar categories require a good deal of presence on the circuit. Which makes Antonio Banderas's journey to a first Oscar nomination a bit of a question mark at this writing. After a Best Actor win at Cannes for his indelible turn as a famous Almodóvar-proxy director named Salvador Mallo in Pain & Glory, an Oscar nomination was clearly a target worth investing in and aiming for. In fact, it was arguably the stuff of a slam dunk barring the subtitles: aging gorgeous actor (everyone knows they make the pretty men wait), long uncelebrated-by-Oscar career meets meaty role with intertwining "narratives" (a triumph with the director who discovered him nearly 40 years ago and his own recent heartattack dovetail superbly with the role). It's a potential nomination that the media, industry, and fans could all get excited about. But as the season began to heat up all sorts of viable options for the Best Actor shortlist have emerged. This coveted nomination feels like a 'will he or won't he' coin toss now.

If you've been wondering why Antonio hasn't been quite as ubiquitous on the campaign trail as you'd expect given the heavy competition, look no further than his hometown of Málaga, Spain where he's in the process of playing another iconic director...

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Wednesday
Nov062019

Soundtracking: Judy Garland Takes Over The Criterion Channel

by Chris Feil

Forget Disney+, this month we have Judy+. For those of you not already subscribers to the streaming platform, The Criterion Channel has (in addition to a slew of other old studio musicals) added seven classic Judy Garland musicals to the platform for the month of November. Spanning a decade of Garland’s film career, it’s a treat from more famous titles like Meet Me In St. Louis to other oddities such as The Pirate. To entice you to binge as I did, let's run down one of Judy's songs from each of the films available...

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