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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 | deviantart 

 

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 "I love that two people independent of one another gave Claire Trevor an extra star simply for being Claire Trevor." - Glenn

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Entries in Team Experience (74)

Tuesday
Mar102015

We Cant Wait! #12 "The Dressmaker"

Team Experience is counting down our 15 most anticipated for 2015. Here's abstew...

Who & What: Writer/Director Jocelyn Moorhouse adapts Rosalie Ham's 2000 novel about a 1950s Australian dressmaker named Myrtle "Tilly" Dunnage (Oscar winner Kate Winslet) who returns to her rural Outback home to care for her ailing mother (Oscar nominee Judy Davis). Tilly has not been home since she was 10 years old and forced to leave when she was accused of murder. With her return, she plans to bring the power of haute couture to the village...and seek revenge against those that wronged her.

Moorhouse has described the film as "Unforgiven with a sewing machine" and in addition to Winslet and Davis, stars an impressive Australian cast that includes Liam Hemsworth as Tilly's love interest, Hugo Weaving as the town's police officer, and Sarah Snook and Sacha Horler in supporting roles originally cast with Isla Fisher and Elizabeth Debicki. Creating the film's '50s fashions are Emmy nominated costume designer Marion Boyce with Margot Wilson in charge of Tilly's clothes and 2 custom-made gowns by French designer Sophie Theallet.   

This is apparently what she wears to a rugby game...DIVAWhy We're Excited About It: We love Kate Winslet here at TFE, but just last year I wrote about how Winslet was in need of a career comeback. Divergent was a hit with its built-in YA popular novel source material, but it was hardly her involvement in the project that made it so. (Can you even remember anything she did in it?) This year, on paper, is looking much more promising: the Divergent sequel is a likely hit; she has a supporting role in the all-star cop drama Triple Nine; and then there's a potential awards-buzzy role in Aaron Sorkin's Steve Jobs (directed by Oscar winner Danny Boyle). Her lead role in this film is most intriguing and will hopefully be a return to form for Winslet who hasn't received an Oscar nomination since her win. 

What If It All Goes Wrong? The fact that director Jocelyn Moorhouse hasn't directed a film since 1997's failed awards contender A Thousand Acres doesn't seem like a good sign. And she never really lived up to her exciting breakthrough with 1991's Australian film Proof. And it could be a tough balancing act tonally as a comedic revenge drama (those seem like 3 different genres). But at least one thing is certain - the clothes will be to die for! 

When: The film finished shooting back in late 2014 and this past February had footage shown to potential European distributors at the Berlin Film Festival. No US date is confirmed yet, but Universal Pictures International has already confirmed an October 1st release date for Australia. If buzz is strong, expect it at fall film festivals in time for awards season.

Previously...
#13 The Hateful Eight
#14 Knight of Cups
#15 Arabian Nights
Intro Pick a Blockbuster

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