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The Film Experience™ was created by Nathaniel R


 Gemini, Cinephile, Actressexual. Also loves cats. All material herein is written and copyrighted by him, unless otherwise noted. twitter | facebook | pinterest | tumblr | instagram | letterboxd 

 

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COMMENT(s) DU JOUR
Yes No Maybe So: CREED, SECRET IN THEIR EYES, STEVE JOBS

CREED "I'm so here for Michael B. Jordan becoming a bona fide movie star. It'll just take the right project to put him in the public consciousness. Creed looks like it could be it." - Kate

STEVE JOBS "Isnt it too soon for a Jobs biopic?" - Amanda

SECRET IN THEIR EYES "I loved the original -- without the background of the Argentinian dictatorship a huge element of the plot tension gets lost. I wonder how they'll deal with that." - Felix


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Entries in Team Experience (72)

Monday
Feb232015

Team Experience: Oscar's Best & Worst Moments

Neil Patrick Harris' big musical opening had fun shadow effectsAre most of you over your Oscar party hangovers now?

I polled Team Experience (and myself) on their very favorite moment and their "Agony!" bit alike from last night's show of shows and here's what they had to say about the 87th Academy Awards. Please do share your single Best & Worst moment in the comments, too as we work our way through putting this film year behind us.

BEST MOMENTS

Timothy: Pawel Pawlikowski muscling right on through the play-off music in order to pay due tribute to his late wife.

Julien: That opening song was really some... Oh who am I kidding ? Watching Julianne finally clutch that Oscar was a dream I thought would never come true. 

Nathaniel: Once you get past Julianne I'd go with 1) Emma Stone reaction shots  2) "Glory" 3) Jessica Chastain saying "Chivooooo" 4) the insanity of "Everything is Awesome" - particularly the fake Oscars and the Batman interruption 5) Patricia Arquette's infectious righteousness (sub-shoutout to Meryl & JLo). I understand that people are up in arms the day after but that's called 'missing the point because people love to be outraged' which is an epidemic online that distracts the world from progressive goals like eradicating inequality and sexism. 6) "because you're rich"

More heartfelt applause (and then some jeers) after the jump...

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Wednesday
Jan212015

...And the 3rd Annual Team Experience Award Goes To: 

Amir here, to welcome you to the third edition of Team Experience Awards, one of the most prestigious critics’ prizes around the world, bestowed on the best in cinema by members of this website sans Nathaniel. We previously honoured Leos Carax’s Holy Motors (with a lot of support for The Master) and Steve McQueen’s 12 Years a Slave (with several awards for Gravity). There was a similar situation this year, with two films gaining most of our attention across the categories. Our pick for best picture, however, was a clear consensus favourite and won by a very comfortable margin. 

As always, individual ballots proved a lot more interesting than the final results, making the otherwise tedious process of making up spreadsheets really exciting for me. Though there is no sign of it on the list of winners here, there was passionate support for films as varied as We Are the Best!, Norte, the End of History, The Babadook, Godzilla, A Most Wanted Man and The Last of the Unjust. We will get to some of those titles in the trivia section at the bottom of the post, but for now, here are the Team Experience Awards’ winners:

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Saturday
Dec132014

Team FYC: A Most Wanted Man for Best Adapted Screenplay

Editor's Note: We're nearing the end of our individually chosen FYC's for various longshots in the Oscar race. Here's Amir on "A Most Wanted Man".

Anton Corbijn’s latest film, A Most Wanted Man, is one of the year’s best American films. It’s the type of work that is elevated above the trappings of its overly familiar genre with superb performances and intelligent observations on the real world conditions that give birth to its story. It is arguably the smartest film made about America’s increasingly troubled relationship with, and its definition of, terrorism. Yet, it is surprising to compare the film's screenplay, penned by Andrew Bovell, to its original source, the 2008 novel of the same name by John le Carré, and notice the dramatic improvement that the adaptation has made to the text. 

With densely plotted novels, particularly in the espionage genre, one of the biggest challenges of adaptation is the careful omission of narrative threads without disrupting the harmony or logic of the story. Le Carré’s book is one of his lesser works, a straightforward piece about Issa (Gregoriy Dobrygin), a Chechen fugitive in Hamburg, whose history of being tortured in his homeland is sufficient cause for authorities (German and American) to assume ties with terrorist organizations. Issa’s story is intertwined to three other protagonists who are afforded equal attention in the novel: a banker named Tommy Brue (Willem Defoe), a lawyer named Annabel Richter (Rachel McAdams) and a spy named Gunther Bachmann (Philip Seymour Hoffman)...

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Thursday
Dec112014

Team FYC: The Grand Budapest Hotel for Sound Editing and Mixing

Editor's Note: We're featuring individually chosen FYC's for various longshots in the Oscar race. Here's Teo on the sound work in Golden Globe nominee, The Grand Budapest Hotel.

 By now, Wes Anderson's house style has become so familiar that it can be easy to take it (and him) for granted. But for fans, the surface similarity of his films is just an invitation to look for the differences. And in every way, a closer look at The Grand Budapest Hotel pays off.

I had the opportunity to sound edit a film over the summer. It was a documentary, but in a process like sound editing, the difference between documentary and fiction film is generally negligible. You fix what the on-set mics couldn't capture. You try to find or create sounds that can approximate what you lost. What's unique about Anderson's sound editing is that he doesn't try to make his films sound like reality any more than he tries to make his films look like reality. Instead, Wes Anderson's films are filled with sounds that are almost hyper-real. They're crisply recorded and minimal in their design...

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Tuesday
Dec092014

Team FYC: Obvious Child for Best Picture

Editor's Note: We're nearing the end of our individually chosen FYC's for various longshots in the Oscar / Globe / SAG race. We'll never repeat a film or a category so we hope you enjoy the variety of picks. And if you're lucky enough to be a voter, take note! Here's Matthew Eng on "Obvious Child". (Do you think it can swing a Globe nod?)

In the category of “Movies That I’m Thrilled Even Exist,” Obvious Child would easily take the cake this year, without question. Writer-director Gillian Robespierre, in the first of a hopefully long line of complex, female-focused comedies, has crafted a film that takes such confident and unfussily righteous pride in its pro-abortion stance, all the more crucial considering the efforts still being made to demonize and outlaw the act.

Working with co-writers Karen Maine and Elisabeth Holm, and in tandem with the warm, witty, and wondrously empathetic efforts of redoubtable leading lady Jenny Slate, Robespierre has produced a near-rarity: a romcom heroine we can believe in. [More...]

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Tuesday
Dec092014

Team FYC: Gugu Mbatha-Raw in "Belle" for Best Actress

Editor's Note: We're featuring individually chosen FYC's for various longshots in the Oscar race. We'll never repeat a film or a category so we hope you enjoy the variety of picks. And if you're lucky enough to be an AMPAS, HFPA, or Critics Group voter, take note! Here's abstew on "Belle".

As a graduate of Great Britain's prestigious Royal Academy of Dramatic Art, Gugu Mbatha-Raw was trained in the classics of British theatre. She began her career treading the boards in productions of Shakespeare's Romeo and Juliet with Andrew Garfield and Hamlet on Broadway with Jude Law. Like most classically trained British thespians making the leap to the big screen, a Merchant Ivory-type period piece would naturally lend itself to her Shakespearean background. But despite her pedigree, Mbatha-Raw probably wouldn't traditionally be cast as Queen Elizabeth I or Jane Austen's Elizabeth Bennett on film. Which is why her breakout performance as Dido Elizabeth Belle in the real-life story about a biracial heiress in 18th Century England that defied the conventions of the day, couldn't have been a better fit for Mbatha-Raw, tailor-made for her talents and utilizing her classical training.

In most corset dramas, the greatest concerns seem to be about finding a husband to secure financial stability. But Belle, while still maintaining a romance we come to expect from the genre (with Sam Reid's law apprentice, a man as noble and just as he is handsome), is concerned with loftier issues. Race, class, and social injustice are all part of the bigger picture and at its center is the remarkable Mbatha-Raw, giving a face and humanity to what could very easily turn into a film about ideas.

Raised alongside her cousin as if they were sisters, yet at the same time not allowed to dine with her own family, Dido is caught in-between worlds. Mbatha-Raw's expressive face, at turns inquisitive and knowing, effortlessly conveys the internal and emotional struggle Dido confronts everyday. In one heart-breaking scene, she rubs and beats at her skin, its color a constant reminder of her difference. Tears stream down her face as her frustration overwhelms her. And in that moment Mbatha-Raw allows us viscerally to feel Dido's plight, communicating this woman's important and fascinating story with intelligence and compassion.

And if that wasn't enough, Mbatha-Raw showed her range and versatility by delivering an equally compelling performance in a completely different role about identity as a modern-day pop star in Beyond the Lights. But as Dido in Belle, Mbatha-Raw gives the kind of performance that heralds the arrival of a new star, a signature role that will become synonymous with the actress. Hopefully the Academy takes notice as well, rewarding this young thespian with a nomination for her efforts and crowning 2014's best new cinematic discovery. 

 Other FYCs 
Costume Design The Boxtrolls | Production Design Enemy | Editing Citizenfour Makeup and Hair, Only Lovers Left Alive | Best Actor, Locke | Supporting Actress, Gone Girl | Visual FX, Under the Skin | Cinematography, The Homesman | Outstanding Ensembles | Screenplay, The Babadook |  Original ScoreThe Immigrant