Split Decision: "All Quiet on the Western Front"

No two people feel the exact same way about any film. Thus, Team Experience is pairing up to debate the merits of each of the awards movies this year. Here’s Eric Blume and Cláudio Alves on Germany's Oscar contender.

ERIC:  Claudio, let's get down and dirty on Edward Berger's All Quiet on the Western Front.  I'm in camp "love" and I think you're in camp "don't love"?  The only real dissent I've heard from folks is that "it says nothing new about war" (which I look forward to addressing).  But let's start with overall impressions of the film.

CLÁUDIO:  Well, it's adapting a seminal anti-war novel – maybe THE anti-war novel pre-WWII – already made into a Best Picture Oscar winner before. So it's not like it had much hope of saying something new about its subject. Nevertheless, Edward Berger and company bring plenty of "new things" to the narrative presented in the literary work and its previous adaptations, so there's that...

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Review: Hanks Makes 'A Man Called Otto' Watchable

By Christopher James

The practice of remaking international films for an English language audience is a lazy process. Though we sometimes get a stray hit like Scorsese’s The Departed, too often we see a film’s teeth and charm whittled down to nothing (see Oldboy, Downhill, Ghost in the Shell to name a few). A Man Called Otto isn't an abject artistic failure like some of those, but it doesn't bring anything new to its Swedish counterpart, A Man Called Ove. It doesn't feel quite like a Google translate job (most of the American-ized changes work), but definitely only exists because it feels US audiences are unlikely to seek out the Swedish original.

You may think you’ve seen a curmudgeon before, but you haven’t met Otto (Tom Hanks). Every morning he makes his rounds, which includes cleaning up his small neighborhood development, closing the gate on his street and sneering at every smiling “idiot” he comes into contact with...

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Yes No Maybe So: That other "Pinocchio"

by Nathaniel R

Pinocchio is everywhere. It's a cyclical thing that happens with a lot of "public domain" characters who are essentially free IP for storytellers. Consider that in the 21st century alone Pinocchio has appeared --take a deep breath the list is long-- as a supporting character multiple films in the Shrek franchise, as a character in a TV musical (Geppetto), as the subject of two live action adaptations (interesting enough both were Italian films) and three animated adaptations (from Canada, Italy, and Russia). Next up in the next several months he'll be the lead in a new video game (only hot and 20something this time), and have two more feature-length adaptations of his story. We've already seen the trailer for the Guillermo del Toro's stop motion version of the story which arrives in December. Now we get the trailer to the live action (with lots of CG characters) version from director Robert Zemeckis which will be on Disney+ beginning September 8th.

A Yes No Maybe So™ breakdown after the jump...

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I'll Link to That

TODAY'S MUST READ Self-Styled Siren debunks myths surrounding John Wayne and Sacheen Littlefeather at the Oscars in March '73. Really interesting piece as it shows you how press and stars speak about charged incidents, how incredible stories get started, how they change over time, and how often they're accepted as gospel once enough time has gone by. (P.S. Personally speaking I have always disliked John Wayne but even so, I have had trouble believing this story)

More after the jump including a biography of an Almodóvar regular, funeral screenings for Batgirl, the cult of A24, Black Panther toys, and a couple of remakes. Question: why does the entire internet call all remakes (and even some sequels) reboots now? The three separate words actually do mean three separate things... 

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Judy Garland @ 100: "A Star Is Born"

Team Experience is revisiting nine Judy Garland movies for her Centennial. Here's Cláudio Alves on the star's first Oscar nomination.

A Star Is Born is Hollywood's favorite legend about itself, a mythic middle point between propaganda and self-critique filmed four different times from the 1930s to the 2010s. Five, if one considers George Cukor's What Price Hollywood? since that was likely the basis for the '37 version. Though flexible, the story remains mostly unchanged throughout its interpretations. Norman Maine, an alcoholic star on the decline, meets Esther Blodgett and immediately falls in love, with the woman and her undeniable talent. Opening doors for her in the entertainment industry, he watches as she's rebaptized Vicki Lester and rises to the top, far surpassing him. After their wedding and an awards night, whereupon Norman ruins Vicki's moment, she considers giving up her career to take care of him. Realizing this, he kills himself, intent on saving his beloved from his downfall. 

Though every A Star Is Born has its merits, the 1954 musical tends to be the consensus pick for the best iteration in no small part due to Judy Garland's performance in the titular role…

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