Mae West on Criterion

by Cláudio Alves

When she's good, she's very good. When she's bad, she's better. 

Mae West was one of the great stars of the Pre-Code era, though her reign as one of Hollywood's most popular queens was short-lived and curtailed by the advent of the Hays Code. Like Orson Welles and Herman J. Mankiewicz after her, West was a target of William Randolph Hearst's ire. According to legend, the millionaire wanted revenge on West after she had made insulting remarks concerning the acting abilities of Marion Davies, his mistress. Such conspiracies are fun and it's easy to paint Hearst as Old Hollywood's perennial villain, but they're rarely 100% true. Mae West's fall from grace is more complicated than a vendetta from a mogul and a bunch of outraged Catholics. She was one of a kind, a symbol of licentiousness and indecency, a provocateur whose triumph was as amazing as it was temporary... 

Click to read more ...

Almost There: Andy Serkis in "The Lord of the Rings: The Two Towers"

by Cláudio Alves

The particularities of screen acting make it a collaborative effort, even in the most low-fi of situations. What gets left on the cutting room floor, what reactions are chosen by the editor and director, the sound, the makeup, the way a cinematographer lights the performer's eyes, all shape what we see projected on-screen. Still, when it comes to awards, there's a belief that performance is the sole responsibility of the individual in front of the camera.

When the collaborative aspects of screen acting are made inescapable, it's  difficult to collect golden accolades. We see that happening to voice-only performances and motion-capture efforts, in particular. With The Lord of the Rings trilogy new to streaming on Hulu, we have a good opportunity to explore the mo-cap performance that came closest to Oscar glory. I'm talking about the paradigm-shifting work of Andy Serkis as Sméagol/Gollum in 2002's The Lord of the Rings: The Two Towers…

Click to read more ...

The 2020 Christmas Movie Catalogue

by Tony Ruggio

It wasn’t so long ago that Christmas movies were dead and buried, outside of Hallmark’s copious output anyway. They were no longer of much interest to major Hollywood studios and inherently verboten for indie distributors. Thanks to Netflix, Hulu, and the streaming wars, the genre is back and more prolific than ever. And in a year like 2020, we might need them more than ever...

Click to read more ...

Between Anachronism and Pastiche: The Look of "Mank"

by Cláudio Alves

After months of great anticipation and even greater expectations, David Fincher's Mank is here. For some, the picture's a rousing success, a politicized look at Old Hollywood's insidiousness through the eyes of Citizen Kane screenwriter Herman Mankiewicz. For others, it's a disappointment, history and fantasy mushed together with pretension and aggrandizement. I find myself in the middle of these reactions, though my immediate feelings were probably more inclined to the latter than the former.

Still, a good way to consider a film's power is to see how it lasts in one's memory. For me, Mank has aged oddly in the last week. It's not that my perspective is warmer but that I can't shake it off. As the days go by I find myself ruminating on David Fincher's formal conception of this manky flick, its weirdness and intrinsic contradictions…

Click to read more ...

Review: "The Prom" on Netflix

by Nathaniel R

I first saw The Prom on Broadway during its sort of sleeper success run (I believe it broke even? but for a Broadway original without stars, that's a success!) and I loved it as much as Principle Hawkins (Keegan Michael-Key) reveals that he loves going to the theater. I relate to Hawkins, okay? And I know what that says about me. Consider if you will, these potentially cringe lyrics about seeking escape through art in  "We Look To You"... 

Click to read more ...