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Entries in musicals (701)

Monday
Dec242018

Podcast: Aquaman Into the Poppins-Verse

Nathaniel R and Murtada Elfadl and Chris Feil talk new films


Index (51 minutes)
00:01 Mary Poppins Returns, the songs, the costumes, the Blunt
20:17 James Wan bonkers vision of Aquaman, shirtlessness and the lack thereof, and the kick-ass fun Nicole Kidman is having as Aquamom
30:08 Returning to the Poppins-Verse for a moment 
33:20 Spider-Man: Into the Spider-Verse and comic book style
40:40 Split opinions on Cold War but we all love the cinematography, music, and the performance of its leading actress Joanna Kulig
46:47 Murtada makes us talk about Beale Street... again.
49:45 Wrap-up

Further Reading / References
Pawel Pawlikowski on KCRW's "The Business"
Chris's review of Aquaman
Yahya Abdul-Mateen underneath the "Black Manta" suit 
Jason's review of Cold War
Tim's review of Spider-Man: Into the Spider-Verse

You can listen to the podcast here at the bottom of the post or download from iTunesContinue the conversations in the comments, won't you? 

Into the Poppins-Verse

Sunday
Dec162018

Top 25 Reasons to Watch "White Christmas" This Season

Members of Team Experience have been asked to share their favorite Christmas movie. Here's new contributor Eurocheese...

25 Reasons to Watch White Christmas (Again)

01 Eye popping color (the first VistaVision film!) at every opportunity

02 The “Sisters” number! A surprise drag number where the actors can’t stop giggling in the 1950s? Yes please.

03 The way the movie teases snow until we almost demand it...

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Tuesday
Dec112018

Let's dance

Thursday
Dec062018

Months of Meryl: Ricki & The Flash (2015)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 

#49 —Ricki Randazzo, a rock singer who returns home to the family she abandoned.

MATTHEW: Throughout his eclectic and gloriously unpredictable career, the late Jonathan Demme paved the way for peak performances from actresses as disparate as Mary Steenburgen, Melanie Griffith, Michelle Pfeiffer, Jodie Foster, Oprah Winfrey, Kimberly Elise, Thandie Newton, Anne Hathaway, Rosemarie DeWitt, and Debra Winger. Like George Cukor before him, Demme was devoted to telling stories about women, which comprise the bulk of his narrative output. The director committed to shaping these narratives with the same heady, inquisitive vigor and nonjudgmental consideration that electrified all of his subjects, from Anthony Hopkins’ lip-licking Hannibal Lecter to David Byrne, who indelibly bopped around the stage in a business suit at least six sizes too big during Demme’s landmark concert documentary Stop Making Sense.

Ricki and the Flash, Demme’s final narrative feature, sometimes conjures the capricious, loop-the-loop feeling of a concert documentary in its depiction of the type of story that Demme loved to tell, that of an unorthodox woman shouldering her burdens and confronting any and all perils as she forges ahead with the life she has chosen to lead...

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Thursday
Nov292018

Months of Meryl: Into the Woods (2014)

John and Matthew are watching every single live-action film starring Meryl Streep.  

#48 —The Witch, a witch.

JOHN: In his reserved review of the original 1987 Broadway production of Into the Woods, Frank Rich summed up the plot of Stephen Sondheim and James Lapine’s beloved musical as such: “Cinderella and company travel into a dark, enchanted wilderness to discover who they are and how they might grow up and overcome the eternal, terrifying plight of being alone.” Rich noted that, “in remaking Grimm stories, Mr. Sondheim's lyrics and Mr. Lapine's book tap into the psychological mother lode from which so much of life and literature spring.” Sondheim and Lapine’s dextrous, intertwined reimagining of classic Grimm fairy tales, from Little Red Riding Hood to Cinderella, offers a subversively adult version of these hallowed childhood fables and an artistic vision that seems fundamentally at odds with family-friendly Disney, the machine behind Rob Marshall’s 2014 screen translation.

When unhappy fans pressed Sondheim upon the film’s release to defend what felt like a compromised adaptation, he admitted that concessions were in fact happily made to secure a PG rating...

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