Year in Review: Best Movie Posters

by Nathaniel R

Movie posters may be an endangered artform since movies are seldom chosen from lobby posters or slapped on DVD covers anymore. Most people see only those interchangeable rectangles of movie star faces deployed by Netflix or Hulu in scroll bars. Nevertheless we still love the way posters at their best can brand or encapsulate a movie, become iconic pieces of art in their own right (rare), or cleverly tease or suggest the kind of experience you'll be having when you watch the movie.

Movie posters are often lazy so we want to cheer the good ones. Some titles that missed the following list but remain noteworthy are:  Benedetta which arranged the text in an invisible crucifix frame, Annette, which memorably placed its romantics underneath a tidal wave, the teasers for The Matrix Resurrection and Black Widow  which went minimalist and flat but impactful, Swan Song and The Eyes of Tammy Faye for the way they presented the main character's face while also obscuring it emotionally, and the graphic whatsthis? boldness of both Titane and Tragedy of Macbeth.

The best movie posters of the year after after the jump...

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FYC: Simon Rex for Best Actor

by Cláudio Alves

Ever since the project premiered in competition at the Cannes Film Festival, Red Rocket's leading man has been praised by critics and spotlighted as a potential Best Actor contender. Perhaps more accurately, Simon Rex has been described as one of those cases where a performance should be in contention even if their chances are null. Indeed, Rex seems to have been forgotten by awards voters as the season progresses, even though reviews still sing his praises. Now that Sean Baker's latest movie is hitting theaters, maybe the actor can get his moment in the sun. While the man's turn as a washed-up porn star could have been nothing more than stunt casting, Rex transcends such pitfalls. His take on one of the year's most loathsome characters is Oscar-worthy…

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AFI Diary #2: "Red Rocket" and "The First Wave"

Christopher is covering the 2021 AFI Fest Film Festival. Follow along for his reviews.

It's hard not to be reminded of COVID as we return to festival season. It's a terrific pleasure to be back in theaters again (even in masks). However, it also makes me recall fighting with virtual platforms last year so I could watch movies alone in my living room. Day Three of the festival brough us two films that, directly and indirectly, were born out of the COVID-19 pandemic. The First Wave obviously covers the harrowing first months of the pandemic in New York. Additionally, Sean Baker's Red Rocket stands as a testament to the nimble, persevering nature of art under lockdown, as the film was shot in August of last year. From searing documentaries to comedies about porn stars, two films could not be more different. So which was the best of the day? Let's dive in!

Red Rocket (Sean Baker)

With the success of Tangerine and The Florida Project, writer/director Sean Baker has found himself in a new echelon of indie filmmakers. What makes him such an interesting director is his ability to naturalistically present subcultures as they are without the artifice that comes from a more stylized director. The location and the people within it are the core of Baker’s projects. Each film represents its own strange ecosystem that we get to study. With Red Rocket, Baker has made his prickliest film yet. Even with that said, the film cares for its subjects, even if the subjects don’t care for one another...

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"Passing" and "The Lost Daughter" lead Gotham Awards nominations

by Nathaniel R

It was a good year for forthcoming Netflix content helmed by actresses turned directors with the juries of the Gotham Awards. Rebecca Hall's artful black and white drama Passing and Maggie Gyllenhaal's artful thorny adaptation of the novel The Lost Daughter led the nominations. They'll hit Netflix on November 10th and December 31st respectively. With both the Gotham Awards and the often slighlty more mainstream Spirit Awards it can be hard to know exactly what is eligible. Usually budgets make all the difference in film (for example Power of the Dog was ineligible) which creates a fuzzymath accounting line between mainstream and 'indie. But how do they decide with television? Did they not like Mare of Easttown (which scored zero nominations) or was it just not eligible though its chief Emmy rival The Queens Gambit obviously was since Anya Taylor Joy was nominated. 

Nominations and commentary are after the jump...

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Middleburg Film Festival to open with "King Richard", close with "Power of the Dog"

by Nathaniel R

The 9th annual Middleburg Film Festival, which will be returning to an in-person experience this October 14th-17th in Virginia's historic wine and horse country (about an hour's drive from DC) has announced the first six films in this year's selection. The festival will open with Warner Bros King Richard on Thursday evening, Focus Feature's Belfast as its Centerpiece, and close with Netflix title Power of the Dog on Sunday night. Yours truly will be returning to Middleburg and I couldn't be happier about it.  (You might remember that for the past couple of years we've co-hosted a "Coffee and Contenders" panel there early in the morning to discuss the Oscar race.)

Ticket packages are now on sale and individual tickets go on sale on October. 

With health and safety being a top priority, MFF 2021 will require festival goers to be fully vaccinated and present proof of a negative COVID-19 test administered within 72 hours of arriving at the festival. Additionally masks will be required for all indoor screenings and events.

Other films announced for Middleburg 2021 are A24's Red Rocket, Netflix's Hand of God and NEON's Flee as the three "Spotlight" titles for US, International, and Documentary respectively. More films and panels will be announced as we get closer to the fest!