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.)
If The Film Experience were its own media empire the first thing we would do is some sort of annual gallery of celebrities a la Vanity Fair or the New York Times. For this year's New York Times video gallery ["Vamps, Crooks and Killers" (photos) "Touch of Evil" (video)] the Times has famous actors playing famous film baddies or villainous archetypes. We've mentioned we love this actors as actors business muchly before. It always thrills.
Here's Glenn Close as Theda Bara the vamp and Viola Davis as Nurse Ratched (One Flew Over the Cuckoo's Nest) for appetizers.
The Close image reminds us that Glenn has always been thisclose to being a cartoon character who just happens to be made of flesh and blood. That's how most iconic film stars and characters come across... at least after decades in the pop cultural air, though it didn't take Close that long to achieve it.
Doesn't the Nurse Viola Davis Ratched immediately make you want to see her in a villainous role? It hadn't even occurred to me before but it'd be super scary to watch her soulfulness curdle in some choice role. I bet she'd be great. On her performance in this video she says...
I tried to channel all the parts of myself that are probably not pretty. That are not necessarily nice."
Rooney Mara, Michael Shannon, Kirsten Dunst, Brad Pitt and Mia Wasikowska, after the jump...
Since we have a great roster of erratic contributors here at TFE, we should use them more often, right? What has Team Experience been watching?
What's the best and/or worst thing you saw this week?
Kurt (Cinema de Gym): The best thing I saw this week was Page One: Inside the New York Times, a doc that filled a little empty spot in my soul. Of course it's slanted so as to exalt the Gray Lady, but so what. It's thus far the most comprehensive film we have to address where we stand in the world of media, and thank GOD for the invaluable David Carr, a shut-up-and-listen voice of reason who defends the fundamentals amidst legions of people blindly barrelling toward an all-digital climate of media without merit. The worst thing I saw was Bad Teacher (my review) which couldn't even appeal to my sinful love of hating on goody-two-shoe types ("Bad Santa" this is not) and it contains the year's worst character in Lucy Punch's Amy Squirrell. She's unwatchable.
Robert G: Best: Noriko's Dinner Table--so many questions, so few answers. How could Suicide Club become more confusing and addictive with a sequel? Worst Thing: 8213: Gacey House--I have a high tolerance for bad horror. This overloaded my circuits.
JA: I'm sort of completely and totally obsessed with Adrien Brody's brief bit as Dali in Midnight in Paris right now. I can't stop hearing him pronounce "RHINOCEROS" inside my head. He says it so many times that the word loses all meaning and becomes this jumble of sound, all nonsense, which is obviously the point - hysterical nonsense.
Robert (Distant Relatives): I caught up with the 1962 samurai film Hara-Kiri. It's always great to have even high expectations exceeded and see an old film that still feels modern and poignant.
Craig (Take Three): The best thing I saw this week, cinematically, was Bridesmaids, which was a daftly hilarious experience. (Yes, there categorically should be Oscar nods for Wiig and McCarthy. I ain't kidding.); worst thing, sadly, was Dario Argento's The Card Player (2004) apart from a ludicrous scene involving a life-or-death poker match played on train tracks to a pounding techno score.
Alex "BBats" The best thing I saw this week was a documentary at the Los Angeles Film Festival called Salaam Dunk about a group of Iraqi female students playing college basketball. I love sports docs (ESPN's 30 for 30 was amazing) and the concept of one focusing on women in the middle east was too interesting to pass up. It was a well balanced film about positive changes that are coming to the region while keeping the problems and challenges in clear perspective (I always forget that Iraqis call the war "The Invasion") The girls are all so wonderful and their coach is hilarious and so caring towards his students. Definitely check it out when you get a chance. Didn't see any terrible things this week, but will say that Paddy Considine's Tyrannosaur, while having great moments and acting, was a very emotional confusing movie. It's like a revenge drama where revenge is taken within and often against oneself.
Andreas (Mix Tape): The best movie I watched was John Ford's unduly obscure Two Rode Together, which is essentially Jimmy Stewart & Richard Widmarkreenacting The Searchers. The film is dripping with moral ambiguity & gets really emotionally intense toward the end; also, the usually lovable Stewart plays a total scumbag. It works. I loved the movie.
REGARDING CARS 2 I (Nathaniel) meant to write a review but every time I sat down to do so I was just angry. I hated -- and I do mean h-a-t-e-d -- the decision to make Pixar's absolute worst character "Mater" the lead of a nearly two hour movie. I figured I had to ask if there was anything salvagable in the concept of anthropomorphic cars.
Which movie car would you willingly spend two hours with?
Jose: The Phantom Carriage so I could grab Cars 2 and send it to hell where it escaped from! (*sob* I really tried to like it.)
RobertG: What could be better than a ride on Chitty Chitty Bang Bang? A ride where the flying car lets you know how to avoid the Child Catcher and just have a good time.
Michael (Unsung Heroes): I would like to see a full length feature starring the second hand police car driven by Dan Aykroyd and John Belushi in The Blues Brothers. It would have a nice deadpan sense of humor, its radio would play nothing but great rock and roll, and unlike the insufferable Mater it would be a car of few words.
JA: My first thought was Sam Raimi's 1973 Oldsmobile Delta 88, which has made an appearance in all of his films. It could star in its own documentary - I bet it's got stories to tell. Like, I've always wanted to know what having a 23 year old Bruce Campbell sitting on you was like.
This is where we get off."
Kurt: I have a soft spot for the Batmobile from the 60s TV show/movie, which actually just made an appearance at my favorite local theater (alas, I missed it). The car reminds me, of course, of watching the show (Pow! Thwack!), but also of being dragged to auto shows with my dad, which I hated in the moment but now think of fondly. They always had cars like the Batmobile at those things. I imagine the Batmobile and I would discuss chasing Julie Newmar and Eartha Kitt, how it was ever able to sleep with all those Batcave gadgets buzzing, and if there's any competition among the other Bat vehicles (that Batsub will cut you!).
Alex "BBats": I wish the car from The Car (1977) would follow Mater across a bridge...
YOUR TURN, READERS... What have you been watching and which movie car would you gladly see anthropomorphized for a couple of hours?
Love that accompanying illustration by Tom Gauld. Spot on, spot!
Here's a morsel from the article on the narrative transformational journeys of Thelma (Geena Davis) and Vivian (Julia Roberts), the "ingenues" as the narratives go.
...only Thelma transitions into a new, more independent self, while Vivian finds a way to be preserved as a wide-eyed child-bride forever.
It was precisely this happy ending that made people love “Pretty Woman,” just as it was the flying-off-the-cliff part that made some people object to “Thelma and Louise.” But while Vivian was happily giving herself to a callous oligarch who would purchase her personhood (as she chirped inanities about “rescuing him right back”), Thelma was saving herself by holding up a gas station and locking a cop in the trunk of his car. As every moment of Vivian’s transformative love story — from buying new outfits to subsuming herself to her Pygmalion husband — is transactional, every step of Thelma’s transformation is about evolving from chattel to free agent. In fact, you can make the argument that it was actually Vivian, not Thelma and Louise, who ceased to exist at the end of her film.
Guess which film predicted the next two decades of pop culture? Sigh.
In the magazine version (alas not online) the sidebar features Susan Sarandon Haikus by Adam Sternbergh. These were the two funniest:
Kind Sister Prejean Bravely faced down injustice And Sean Penn's Acting.
Nun, hooker, stepmom, Your only regret, no doubt: "Mr Woodcock," yes?
Teehee.
Come back to the five and dime Susan Sarandon, Susan Sarandon. And by five and dime, we mean "good movies."
Wednesday, December 7, 2011 at 3:45PM 
