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• Vulture Jackson McHenry surveys the current scam artists on TV dramas
• The Grio Ruth E Carter to be honored with an NAACP "Vanguard" Award
• BuzzFeed Reliving the Lizzo vs Melissa MCCarthy Little Mermaid casting drama, now with fresh quotes
• Vox Emily VanDerWerff on the rise of art about evangelicals from Midnight Mass to The Righteous Gemstones to current novels, too

More after the jump including Jessica Chastain, The Northman, Sean Penn, Peter Sarsgaard, and the shirtless dancers from Euphoria...

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Hit Me With Your Best Shot: Nightmare Alley (2021)

Welcome back to the series, "Hit Me With Your Best Shot" by Nathaniel R. Each week we'll discuss a single movie via a particular shot. Anyone who'd like to participate can choose their own!

Best Prop

When you're reading your mark, as former circus psychic Pete (David Strathairn) teaches us, you're searching for external clues to internal damage. The fatal flaw of Nightmare Alley, up this year for Best Picture, may well be that Guillermo del Toro, though a gifted filmmaker, isn't much for interiority. But oh his surfaces! Overly lacquered beauty and the ugly rot it's faililng to hide are the greatest assets of his latest film. On that note we must pause to honor the funhouse sequence early in the film which operates like a veritable FYC ad for the Oscar-nominated Production Design. The set amazes and one particular prop in the 'funhouse', a mirror stating "TAKE A LOOK AT YOURSELF  SINNER" is a perfect offhand joke. We know very little about Stanton Carlisle (Bradley Cooper) but he already knows he's "no good". The camera lingers for a second on the mirror, to make sure we do... 

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Review: Jessica Chastain and those "Eyes of Tammy Faye"

By Nathaniel R

A makeup artist fumbles, discovering she can't undo what Tammy Faye hath wrought. It's not a matter of removing the makeup and starting fresh as some of it is tattooed right on. The former televangelist's lips are permanently lined and the raccoon eyes are there to say; mascara as monument. Was this scene at the beginning or the end of the new biopic The Eyes of Tammy Faye? One can never remember with framing devices that flashback to tell you the whole story that got us there but it hardly matters. The point that comes across is not so much how we got there -- though perhaps the filmmakers think go given the framing device-- but that Tammy Faye's clown makeup bioqueen persona is an absolute. She didn't will into it existence so much as uncover and reveal its eternal nature. 

Is this laying it on too thick? The prose, I mean, not the mascara. Of course! But "too much" is just right for anything Jim and Tammy Faye Bakker related...

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Nathaniel in Venice: It's a brutal world but men sure make it worse!

Nathaniel reporting from Venice, final days...

On day one Parallel Mothers set the theme that Venice would be about death. Not Death in Venice, mind you (different movie). And now the death of my Venice trip as I'll be flying across the Atlantic as you read this back to NYC. Power of the Dog  (also on the first day of the fest) also revealed that you would not be able to escape films examining toxic masculinity. So here are three more doing the latter, one from Italy and two from Mexico.

The Catholic School (Stefano Mordini)
This mainstream Italian film which premiered out of competition belongs to the ever popular “true crime” genre. It seeks to analyze the environment that led to an infamous rape/murder committed by three upper class school boys in 1975 that set the Italian nation on edge...

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Locarno Diary #2: Lost men and religiosity

by Elisa Giudici

Heavens Above, a new Serbian film

Locarno has been in, let's say a strange transition period. I first started going when Carlo Chatrian was the Artistic Director (back in 2012). He left for the same position at Berlinale and his successer Lili Hinstin wasn't there long -- under two years which generated a lot of gossip. Giona A Nazzaro is the new director but because of COVID-19 this is his first edition. Maybe I was just lucky or my tastes align more with Nazzaro's than previous directors but this festival started with more energy and verve. (Until now my perception of Locarno was that it held a small number of amazing discoveries diluted in a pull of dull old fashioned auteurial selections.)

I choose today's two movies following my gut instinct and I especially liked how the films were having almost having a dialogue between themselves, despite major differences in tone and setting. Both of them are about the end of the world as known for the male protagonist. Hinterland and Nebesa (Heavens Above) try to describe how men struggle with change and the death of their previous idealogies...

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