Film Bitch History
Oscar History

The Film Experience™ was created by Nathaniel R. Gemini, Cinephile, Actressexual. All material herein is written and copyrighted by Nathaniel or a member of our team as noted.

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Why No One Can Win "Best Picture" This Year

"I really don't see any of these movies as Best Picture Oscar material. "Roma" is the most artsy.
"Green Book" the most satisfying. "The Favourite" lost me with that WTF ending." -Jaragon

"All I know is there are at least 3 plausible outcomes for BP this year, and that's pretty unusual. I won't be surprised if Roma, Green Book, or Blackkklansman take it. " - Rob

"A foreign language film winning BP is weirdo, but everything is going to be weirdo this year." - Fabio

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Entries in Soundtracking (90)


Soundtracking: Bridget Jones's Diary

by Chris Feil

We have so many emotional ties to movie music that represents love fulfilled, love remembered, love not meant to be. As Valentine’s Day comes around, and with it annual love story rewatchings, we’re reminded of the “(I’ve Had) The Time of My Life”s and the “The Way We Were”s with sudden impact. But for some folks still waiting for their love story to begin, the reflection of their romantic reality gets foolishly less heralded. People like Bridget Jones...

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Soundtracking: Cold War

by Chris Feil

Pawel Pawlikowski’s Cold War serves us romance as allegory, a love story that represents a falling out with and tidal pull towards national identity. The film’s lovers, Zuzanna and Wiktor, meet in rural post-war Poland, beginning an affair that spans years and countries, their inevitable frustrated split and reuniting not unlike a national identity continually struggling to redefine itself. But crucially, Pawlikowski positions them in a musical world, one where genres and tastes charge forward like the evolving, indifferent world around his torn protagonists.

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Soundtracking: The "Alone Yet Not Alone" Snafu

by Chris Feil

A moment that will live in Oscar infamy, it happened so fast we could barely take in the joy of “Oscar nominee June Squibb” as a realized concept. Five years ago Cheryl Boone Isaacs, standing next to Chris Hemsworth, downshifted from announcing supporting acting categories into the much more low-pressure Original Song category. And then unleashed chaos onto announcement morning.

What the hell was “Alone Yet Not Alone” from Alone Yet Not Alone?

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Soundtracking: 2018's Original Song nominees

by Chris Feil

Best Original Song always gets its fair share of side-eye among Oscar snobs and agnostics alike. Granted, some recent nominees have made a decent enough case for their argument - Alone Yet Not Alone, you are lost but not forgotten (or... alone in terms of being a bad nomination). But does this year's crop of tracks continue the category's uptrending in quality? I would argue it does and then some.

While our most expected nominee ("Shallow" obviously) provides the lineup a genuine hit song, we also have idiosyncratic picks as well as musicals and major artists nominated. This leaves the telecast with no rational choice but to allow all numbers to perform on the show, as they have been hesitant to do with lesser known nominees. So in addition to ranking the nominees, I have some suggestions on how to present all of them...

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Soundtracking: Connie and Carla

by Chris Feil

These days, the act and art of fandom is self-reverentially chasing its own tail. But tell that to quietly minted cult classic Connie and Carla, one of our few musicals ABOUT musicals. Or at least about the love of the art form. In this jukebox musical repurposing other musicals, Broadway fandom shines because of its capacity for endless streams of references and ouroboros devotion.

It’s flop status ensured that the film got buried fast but it is primed for a revival to a new generation of musical lovers...

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