new in theaters

new on DVD/BluRay

review index





The Film Experience™ was created by Nathaniel R

 Gemini, Cinephile, Actressexual. Also loves cats. All material herein is written and copyrighted by him, unless otherwise noted. twitter | facebook | pinterest | tumblr | letterboxd


Powered by Squarespace
Comment Fun

Maureen O'Hara & Harry Belafonte

"This complete's Harry Belafonte's EGOT! Sure it's an honorary Oscar, but to quote Whoopi on this topic (on 30 Rock): "It still counts! Girl's gotta eat!- Charles

"It's time for the AMPAS to look hard at the 70's and 80's for indelible contributions. No need to wait til some of these ladies are 94.- Hayden

 "What I wish they would do is an hour long special devoted to the four recipients. They could show clips and have edited interviews with the honorees. Then it could be shown on PBS or TCM or something." - Dave


Keep TFE Strong

Your suscription dimes make an enormous difference to The Film Experience in terms of stability and budget to dream bigger. Consider...

I ♥ The Film Experience


For those who can't commit to a dime a day, consider a one time donation for an article or a series you are glad you didn't have to live without.

What'cha Looking For?

Entries in NYFF (58)


FYC: Best Actress - Marion Cotillard 

Jose here. It's that time of year when I start begging everyone to give Marion Cotillard awards, this time around I think she's Best Actress material in The Immigrant which recently played at the New York Film Festival.

In the film, Cotillard plays Ewa Cybulski, a young woman who arrives in 1921 New York City, escaping the violence in her native Poland. Her American dream is instantly shattered when her sister (Angela Sarafyan) is left at the Ellis Island infirmary and Ewa begins a destructive relationship with entertainer/pimp Bruno (Joaquin Phoenix) who forces her into prostitution in order to rescue her sister and avoid deportation.

Click to read more ...


NYFF: 12 Years a Slave

The New York Film Festival (Sept. 27-Oct 14) is in its last few days; here's JA's thoughts on Steve McQueen's 12 Years a Slave.

The free man turned slave Solomon Northrup's been sent on a trip to the grocer by the mistress of the plantation. He's to get something or other. He walks down the dirt path dutifully... until he doesn't - he darts into the woods, quickly, making pains to not be seen. His brow bursts with sweat. He dodges around trees, through vines, and he runs, and runs. We've been waiting for this moment, for his nerve to snap, for the surrounding wilderness to swallow him up and carry him back to his family up North.

If only freedom were that simple. No, simplicity belongs to the other side here. Evil comes easy. Around every corner, behind every hedgerow, a hangman. A crowd surrounding two black men, strung up. There is to be no escape - just a trip to the grocer, picking up something or other, or else. The two black men yank up into the air furiously, twitching to death, and so Solomon moves on, which is all he can do - that, or hang, twitching to death in the strange surrounding wilderness of this nowhere nothing place where he doesn't belong.

But then it's not quite a nowhere nothing place, though the plantations are all rendered as any muddy backyard anyplace, thick with moss and turned-soil stretching out - it's a specific time, and a specific place, and a specific horror where Solomon Northrup finds himself imprisoned. And to say he doesn't belong implies that anyone there does - that his birthright on one side of a line drawn on a map renders him different from the souls he now stands and suffers beside. 12 Years a Slave knows better and muddies up every distinction - freedom's just a word, its meaning rendered by the person who says it or doesn't say it, so easily snuffed out in a world built upon institutionalized indifference laid over bottomless cruelty. To say one man's a little bit better than another only seems to mean he'll push the problem, you being the problem, off on someone else - you're gonna hang either way.

To say that Steve McQueen's film renders the unfathomable brutality of this period in our history tangible in a way that I've never seen captured on-screen before is both an understatement (for one it makes the cavalier jokiness of Tarantino's Django Unchained seem terrifically misguided, to put it nicely, in retrospect) and a bit of a side-step - it does that but it somehow, miraculously, does so through inclusivity. This is not a film that pushes you away, even as it renders you breathless by its terror. We become one with Solomon. That's on Chiwetel Ejiofor's flawless and open performance of course, but also McQueen's direction and John Ridley's script, which never feel the need to force us any which way but to what's suddenly, inescapably, right in front of us. The commonness of the horror, the ease of it - it's all just so simple here, the way you can turn a corner and find freedom replaced by a sack over your head and your toes scratching at the mud, as you gasp for one last strangled breath.

The scars, by the way, never go away. The ghosts neither. We might crumple into the arms of the people who love us, or we might crumple into the dirt a battered rag doll of a person, but we're all gonna fall. It's as graceless as it is inevitable. It is what comes after that means to survive. And then, after that too. And always, the after, that's all there is, stretching scarred out towards infinity, and falling some more.


NYFF: 'Manakamana' and 'Costa da Morte'

The New York Film Festival (Sept. 27-Oct 14) is in its last few days; here's Glenn's thoughts on Manakamana and Costa de Morte.

I admire the NYFF’s commitment to what they deem the “avant-garde”. Extensive programming in this sidebar make it a rarity amongst modern high profile festivals. NYFF features no “midnight madness” section for horror, and comedies were few and far between, but if you’re interested in movies that the general public consider “boring” and “strange” then NYFF is for you. I unfortunately did not get to catch more than a very small sampling, but what I did manage to see was enticing and illuminating.

Two of these that make a compelling double feature are Manakamana and Costa da Morte? Both are very sparingly shot examinations of a natural landscape that has likely never seen before by most western audiences. The former, isn't actually a part from the avant-garde showcase, although it really ought to be, comes from the Sensory Ethnography Lab, responsible for such daring and captivating cinema as Sweetgrass and this year’s Leviathan. From directors Stephanie Spay and Pacho Velez, Manakamana lacks the immediate gut-punch reaction that those other two had. It works more or less like an omnibus film, featuring eleven mini-films taken from within the cablecars that take worshippers to the titular mountaintop temple.

Click to read more ...


Podcast: Best Actor Captain Phillips? Plus Inside Llewyn Davis

For this weekend we have a mini podcast but good things come in small packages.

Katey & Joe attended the Inside Llewyn Davis premiere at the New York Film Festival and tell Nathaniel about it from Garret Hedlund's ponytail, Carey Mulligan doppelgangers, Coen ambience shenanigans and film festival fashions.

All three of us loved Tom Hanks performance in Captain Phillips and Nick joins us, finally, to chat about the Best Actor race. We reference this "no frontrunners" article if you missed it. You can listen at the bottom of the post or download it on iTunes. Join in the conversation in the comments.

[Editor's Note: Because iTunes only hosts the 10 most recent episodes (I'm not sure why that is), the podcasts for this year's films we'll start disappearing after this particular episode so make sure and download them if you haven't yet listened to any episode.]

Inside Captain Phillips, Best Actor


NYFF: A Dog Day of a Documentary in 'The Dog'

NYFF moves into its final week Here's Glenn on The Dog.

Whether you watched Dog Day Afternoon for the first time or the tenth when The Film Experience’s “Hit Me With Your Best Shot” series featured it one year ago, you can surely attest to it being one helluva movie. I recently caught it on the big screen and, boy, does it slay audiences. It’s always refreshing to see a film go over so well from a genre that looks comparatively tame compared to modern day equivalents. Shots remain unedited for minutes and yet the action and the tension are palpable.

Now, even if you’ve never seen Sidney Lumet’s 1975 masterpiece then it’s still hard to deny that the true life story was seemingly made for movies...

Click to read more ...