Venice Gowns '22, Round 3

Belgian goddess Virginie Efira (at Venice for Other People's Children) and French icon Isabelle Huppert (presenting Le Syndicaliste) often exude sexual danger onscreen, but only Huppert opted for murder weapons as heels (look at those!). Efira went with a non-dangerous but gorgeous carmine velvet dress. Spain's movie queen Penelope Cruz hit Venice to promote her new Italian film L'Immensita and stunned as usual; truly one of the bonafide MOVIE STARS of our era. American actresses Hong Chau, Sadie Sink (both promoting The Whale), Patricia Clarkson (Monica), ad Britich actresses Jodie Turner-Smith (who is at every red carpet event in Venice this year), and Mia Goth (promoting Pearl) complete today's red carpet lineup. 

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Round 1 - Jodie Turner-Smith, Catherine Deneuve, Julianne Moore, etc...
Round 2 - Timothée Chalamet, Tessa Thompson, Cate Blanchett, etc...

Almost There: Peter Dinklage in "The Station Agent"

by Cláudio Alves

With Cyrano in cinemas at the end of the month, Peter Dinklage is on the hunt for his first Oscar nomination. Playing a musicalized version of the classic role, the actor can capitalize on his stardom, which has been steadily growing over the past decade. After years of being ignored, Dinklage's stint in Game of Thrones made him a household name, beloved by the industry and with a slew of trophies to show for it. Will an Oscar nomination be next? It's the second time he's seeking Hollywood's most coveted statuette, having also been a contender back in 2003. Tom McCarthy's The Station Agent was Dinklage's breakthrough, an indie gem with incredible acting across the board…

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1998: Patricia Clarkson in "High Art"

We're revisiting the 1998 film year in the lead up to the next Supporting Actress Smackdown. As always Nick Taylor will suggest a few alternates to Oscar's ballot.

Unlike my last two companion pieces for 1998, which opened with well-deserved grousing about the meager recognition Velvet Goldmine and Beloved received from audiences and industry professionals alike, I actually feel pretty good about how High Art was received on the indie circuit. No, it didn’t get any notices from Oscar, but five nominations at the Independent Spirit Awards, with Ally Sheedy deservedly winning their Lead Actress prize, is a damn good run for any film, to say nothing of how well its reputation has grown since it debuted. But surely the best thing to come from High Art’s success is giving us Patricia Clarkson, Character Actress Extraordinaire™. Her highwire turn as the perpetually soused, washed-up German actress Greta earned Clarkson a handful of runner-up citations from critics groups who would go on to throw prizes at her for the first half of the ‘00s. The remarkable career that High Art made possible for Clarkson gives her performance a wonderful afterglow, and the fact that it still holds up as one of her best turns makes it even more glorious . . . .

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Sharp Objects: Episode 8 - Finale "Milk"

by Chris Feil

Sharp Objects has come to its conclusion, bringing with it some scratched heads and hesitant praise wondering when we would be served some real clues on the identity of its killer. Meanwhile it built it’s own slow burn reveals from the inside of Amy Adams’ Camille, leading to a firestorm of consequence and context in its final few episodes that had nothing and everything to do with who killed those girls.

For those of us who had already read Gillian Flynn’s source novel, we also watched the unfamiliar audience as we waited for the rug to pulled out from under them. We knew this was never to be a show built on closing cliffhangers to maximize bingeability and serve standard genre water cooler moments. But its bombshell final moment did just that and cruelly so, giving a conditioned audience the moment it craves the very second it completes; there is nothing more to come, we just have to reconcile its cruel dispatch. In some ways, Sharp Objects has challenged the serialized medium, or at least how we consume and engage with it.

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Sharp Objects: Episode 5 "Closer"

Previously: Episode 4 "Ripe"

by Chris Feil

This week’s Sharp Objects installment opened with its morphing opening credits turned into an ominous cooing, as if from the lullaby of a captor. And this week was similarly barbarous with its flailing comforts. “Closer”, its chapter title promises, describing both our discovery of the mystery and the shows encroaching brutal intimacy. This is the most contained episode yet, taking place over the course of a single day and mostly set on Eudora estate with all of the players brought together. It’s been a show built on a backbone of knowing glances, and “Closer” stacks several atop one another at once. Everyone has eyes on them, and no one feels fewer than Amy Adams’ Camille...

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