DON'T MISS THIS!

Best Heroes & Villains of 2016

THE SHALLOWS, THE WITCH, ZOOTOPIA, and more...

Oscar History
Welcome

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

Like The Film Experience on Facebook

Powered by Squarespace
What'cha Looking For?
Comment Fun

Comment(s) Du Jour
To Catch a Thief

"Cary Grant and Grace Kelly are not humans. They are gods!" - Jennifer1994

Keep TFE Strong

 

LOVE THE SITE? DONATE 

Your suscription dimes make an enormous difference to The Film Experience in terms of stability and budget to dream bigger. Consider...

I ♥ The Film Experience

THANKS IN ADVANCE

For those who can't commit to a dime a day, consider a one time donation for an article or a series you are glad you didn't have to live without.

Subscribe

Entries in Susan Sarandon (27)

Thursday
May262016

Thelma & Louise Pt. 5: Crossing Over

25th Anniversary Five-Part Mini Series Event 

Pt 1 (Anne Marie & Margaret) 
Pt 2 (Nick Davis) 
Pt 3 (Daniel Crooke)
Pt 4 (Nathaniel R) 

Pt 5 (Finale) by Laurence Barber

It feels awfully daunting to write about the ending of this film, and not just because, as Nathaniel pointed out, ditching the cop who pulled them over isn’t Thelma or Louise’s finest hour. As an Australian who has experienced outback heat, that scene always makes me feel a bit nauseous even if the way their doing away with this discipline daddy is pretty amusing. More logically, they could have made use of his handcuffs to disable him instead, but you have to appreciate that Callie Khouri hasn’t constructed these crimes around what feels like pattern behaviour. Aside from Thelma’s charm assault/armed robbery, their transgressions feel genuinely like two women thinking on their feet.

Also, you catch a glimpse of a shotgun behind him as he trades shades with Louise so I’ve always believed he figured his way out somewhere down the line (shoot the lock, dummy!).

Thelma: Officer, I’m real sorry ‘bout this.”

Louise: I apologise also.”

1:40:00 This aspect of the scene has always spackled over my misgivings about it too. Much has been said and written in recent years about the way women over-apologise, exercising a kind of ingrained cultural deference to male authority. In this scene, however, their apologies become a subversion; the way Sarandon half-heartedly apologises tells us that she’s given up caring about the needs of men in any meaningful way.

Replete with her new Aviators – a hot new look Scott drinks in with a zoom that feels as awed by Sarandon as we do by this point – Louise and Thelma jump back in the Thunderbird and put rubber to the road, the final stage of their road trip stretching out before them. In a brief cut back to the police part of the plot, Harvey Keitel gravely intones, “Dreams will only get you so far, and luck always runs out.” Lighten up, toots...

Click to read more ...

Wednesday
May252016

Thelma & Louise Pt 4: The Call of the Wild

25th Anniversary Five-Part Mini Series Event 

Pt 1 (Anne Marie & Margaret) 
Pt 2 (Nick Davis) 
Pt 3 (Daniel Crooke)

Pt 4 by Nathaniel R

When Daniel wrapped up part three, he astutely described the roomful of men watching Thelma's armed robbery on TV as "blockheaded." As loathe as I am to admit it, the other adjective he used, "slack-jawed," is the one that would also apply to me in that scene. It's when I most fully relate to the men in the movie. How can you watch what these women (and actresses) are doing and not be a little dumbstruck?! Although in my case, it's more awestruck than horrifed trepidation about what they're capable of.

1:15:00 In one of the funniest exchanges in the movie, Thelma worries about how fast Louise is driving, their unruly mops whipping around in the wind, both of them reenergized by Thelma's sudden resourcefulness...

Click to read more ...

Tuesday
May242016

Thelma & Louise, Pt. 3: Pitt Stops 

25th Anniversary Five-Part Mini Series Event 

In Pt 1 of our lookback at Thelma & Louise, a fateful night at the Silver Bullet threw Thelma & Louise off their course. In Pt 2 the best friends weren't so friendly  as they struggled to find a new one. When we left them, they'd picked up a charming hitchhiker (Hellooo, Baby Brad) and but Louise needed a cup of coffee and to collect herself. Anne Marie & Margaret, our own superheroine duo in Los Angeles were grappling with the surprise killing of a would be rapist. Was it rage and pride that motivated Louise to shoot after she had already saved Thelma? It certainly provoked audiences but was there any other way to play the film's themes?

Louise is trying to plot their next move when we return to them, just before they jump back in their '66 Thunderbird - Editor

Pt 2 by Daniel Crooke

50:58 – Surprised to see her leather-faced boyfriend, Louise looks like she’s seen a ghost. Based on their last phone call, it didn’t sound like she was planning on casually bumping into Jimmy north of the border anytime soon. These men just can’t get out of our heroines’ way; is it that maddeningly impossible to trust an independent woman to chart her own course in this world? (more...)

Click to read more ...

Sunday
May222016

Thelma & Louise Part 1: Girls' Trip, Interrupted

25th Anniversary Five-Part Mini Series Event 

Thelma & Louise
Directed by Ridley Scott
Written by Callie Khouri
Released by MGM on May 24th, 1991
Nominated for Six Oscars

To celebrate the anniversary of this bonafide girls gone wild classic from 1991, Team Experience is revisiting the picture, tag-team style all week long (like we did with Rebecca & Silence of the Lambs, y'all!).

While the film begins in Arkansas, we're taking an alternate route. Grabbing the keys to begin this road trip is our own dazzling female duo over in Los Angeles, Anne Marie and Margaret. - Editor

Pt 1 by Anne Marie and Margaret

Anne Marie: 00:01. Fade in on an opening credit sequence that pulls every single late 80s/early 90s cliche. Heat-baked street? Check. Twanging guitar? Check. Harmonica solo? Check.

Margaret: Based on this alone, I would definitely expect to be watching a serious action-drama about a lovable renegade cop

Anne Marie: I mean, it's in that vein. As Susan Sarandon has pointed out (love this woman, and love how much she talks about this movie), Thelma & Louise basically is an outlaw buddy movie in the vein of Butch Cassidy & the Sundance Kid.

01:10 But more on that later. Right now let's talk about HANS ZIMMER WROTE THIS SCORE?!?

Margaret: Hans Zimmer contains multitudes.

Anne Marie: As long as those multitudes contain at least one louder-than-necessary instrument solo. In all seriousness, there is a lot of talent behind Thelma & Louise, which you get to see just in the opening credits roll: Besides our two incredible leading ladies, the incomparable Geena Davis and Susan Sarandon, we've got baby Brad Pitt without an ounce of baby fat on him, Harvey Keitel (happy belated birthday!), Michael Madsen, Christopher McDonald, and it's written by Callie Khouri, who would one day give us Nashville. Not the Altman.

Margaret: And never let us forget character actor workhorse Stephen Tobolowsky, who also appears here in compliance with state law. I also often forget that this is a Ridley Scott film. It doesn't have a "Ridley Scott film" kind of place in our cultural discourse, though it's got at least as much pop permanence as Blade Runner. (When was the last time Blade Runner got referenced in a Country radio hit?)

Anne Marie: Definitely.

02:15. Moving on, we introduce Our Fair Heroes. It's actually a great bit of screenwriting, because we learn exactly who each lady is just by this introduction

Click to read more ...

Sunday
May152016

Tweetweek 

Just for Sunday fun, Tweets that amused this week. Plus beautiful actresses (duh). But if you'll excuse me let's start with this weirdly flattering twosome. 

Haha.  The Golden Statue > The Scarlet Letter.

Right?

Huzzah Jamie! This long time TFE fan is now on the writing staff of Empire. We live for corny awards show jokes about category fraud so I hope at least one survived (I am a few episodes behind on Empire but will catch up this week).

More after the jump including Goldie Hawn, Blake Lively, The Lobster, and X-Men Acopalypse advertisements.

Click to read more ...

Saturday
May072016

The Mother of all Feuds

a must readAs you've surely heard by now, since it's one of the most striking actressy announcements in some time, Ryan Murphy's next anthology series will be called "Feud" and for its first season the subject is the über showbiz catfight: Bette Davis vs. Joan Crawford. Bette & Joan's famous loathing for each other was not confined to just the horror classic Whatever Happened to Baby Jane? (1962) but the series will be confined there since that set is the natural place to dramatize. It was the only film the two combative actresses made together. After the success of Baby JaneHush, Hush, Sweet Charlotte (1964) was intended as a reunion but ultimately Olivia de Havilland (who had her own legendary feud with sister Joan Fontaine) took Crawford's place.

Since Ryan Murphy can't live without Jessica Lange he's cast her as Joan Crawford. It's a terrible call because their screen personas are antithetical...

Click to read more ...

Saturday
Apr232016

Dean & The Meddler: A Grief Dramedy Double Feature

Team Experience is at the Tribeca Film Festival. Here's Manuel on two grief-driven features.

Dean (Winner of The Founders Award for Best Narrative Feature)
Dean (Demetri Martin, who wrote and directed the film) is a professional illustrator whose first book of drawings was described as “full of whimsy.” The same could be said for the film itself. Just as Dean’s illustrations (Martin’s own) are simple, at times humorous, sketches (a faceless man wearing a t-shirt that reads “Ask me about my face,” a centaur to a horse-headed human body: “It’s not bestiality if we 69!”), the film finds comedy in simplicity; there are some surprises here but mostly this is a straightforward affair. You could say that Dean is a whimsical bicoastal dramedy about grief and it succeeds precisely because it's so assured.

Brooklyn-based Dean has lost his mother, and the narrative follows his attempt at coping with this loss. His father, played with relish by Kevin Kline, is seemingly moving on too fast, wanting to sell the house he shared with his wife, a decision that pushes Dean to flee to Los Angeles. Both men find themselves engaging with women that help push them past their comfort zones. Lessons are learnt, and personal growth is unavoidable, but Martin uses the film’s whimsy to his advantage: split-screens and his quirky drawings visually highlight the levity that runs through his script (a meet-cute with Gillian Jacobs is impossibly twee and surprisingly spunky at the same time). That I’m using words like “whimsy” and “twee” in positive terms should tell you that I fell in love with this film even as I know it works within a very specific register that may not be for everyone; then again, any film that gives Mary Steenburgen and Kline a flirtatious scene centered on criticizing a Broadway play about (maybe?) time travel was always going to appeal to my interests. Grade: A-

Susan Sarandon shines after the jump...

Click to read more ...