Chris Gives Thanks!!

Team Experience members were invited to give thanks this week so you'll be hearing from a few of us. Here's Chris Feil...

Thank you love, thank you life, thank you faithful Film Experience readers!

2018 has been a busy year for yours truly! Between being TFE's resident soundtrack obsessive, starting a podcast, and having another go at TIFF, it's nice to indulge in a little bit of reflection on what this year has meant to me cinematically. As always, I'm grateful to our benevolent host Nathaniel for allowing me to share my voice with you all and my fellow genius cowriters here at TFE. In a terrifying world, our little corner of the internet is a salve. But as for the movies, I am most thankful for...

• "[staccato piano keys] ... I'm alone in my HOUSE!"

• Nicholas Britell's majestic If Beale Street Could Talk score. The rare beast that feels inextricable from its images, forever tied together in my brain.

• Janelle Monáe's Dirty Computer in general, but specifically "Pynk" in particular. Listen, if folks are allowed to put Twin Peaks on their best films of the century lists, I can put a music video in mine...

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With A Star is Born going 'Drama' where does that leave the 'Musical/Comedy' race at the Golden Globes?

by Nathaniel R

Perhaps you've heard that both A Star is Born and Bohemian Rhapsody will being competing as Dramas rather than Musicals at the Globes. That's a fairly shocking move since dramatic biopics about musicians generally campaign as "Musical or Comedy" -- think Walk the Line, Ray, Beyond the Sea, Coal Miner's Daughter. Presumably Warner Bros has bought into the stigma that "Comedy or Musical" is the lesser category which is really unfortunate because it's one of the best things about the Globes. The Comedy or Musical prizes are filled with great stuff that Oscar SHOULD have recognized throughout the years.

The Globes really ought to have consistency with who they allow to compete where but since they don't, it's a savvy move on Warner Bros part especially in the field of 'Best Actress, Drama' where Glenn Close's campaign probably felt that the win was all but locked up until Lady Gaga (already a Globe favorite) muscled in. Glenn Close has won two Globes herself so it's not like the Globes don't like her but it's worrying that the Globes have only given her prizes for her TV work. Like Oscar they went in other directions every time she was up for movie roles during her highly popular 1980s run. As for Bohemian Rhapsody it's a strange choice since Rami Malek will probably have a tougher time breaking into Best Actor, Drama... 

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Soundtracking: "Tully"

by Chris Feil

Despite being the most isolated character study of Jason Reitman and Diablo Cody’s collaboration, Tully still makes space for a subtle musical world inside its protagonist’s head. Tully is a story about motherhood and mental health, taking some big narrative risks as it moves towards healing. When music trickles in, it offers its own kind of mindful balm attuned to the psyche of Charlize Theron’s Marlo. It’s the most musically subtle of the Cody/Reitman empathy trilogy, but no less effective...

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Ranking Tully's Figures of Speech

Seven years after fucking up Charlize Theron’s silk, Jason Reitman and Diablo Cody teamed up again to fuck up just about every other fabric in her house in this year’s Tully. Here Theron plays Marlo, a soon-to-be mommy of three struggling to find any room for excitement or naps in her caffeine-deprived days. Enter Tully (Mackenzie Davis), the night nanny she hires to add some hours of sleep to her frustrations.

From the opening scene, Cody assures the audience she has no intention of grounding these characters in the reality that corresponds to them. Her script keeps this up throughout by frequently using figures of speech and occasional underwater reveries to buoy up the characters in their imagination. She reinforces the fantasies her script's players construct and dress themselves up in (from Tahitian home bars to cat ears headbands) with an equally rhetorical language. We've ranked enough of our favorite metaphors and similes from Tully that we can already hear the wheels of your high school English teacher’s TV cart rolling up to your classroom.

Ten of our favorite lines and very wet spoilers after the cut...

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C O N S I D E R - Best of the First Half of the Film Year

by Nathaniel R

For our halfway mark party we've covered biggest hits of multiple kinds, favorite actresses, and favorite actors. To be eligible for these "best ofs / favorites" whatever you'd like to call them lists, a film must have been released from January 1st through June 30th in 2018. Oscar holdovers like Loveless (Russia's nominee) don't count because the Oscar nomination permanently marks them as a 2017 film even though they weren't released until 2018. To conclude our halfway mark year in review party, here are seven favs from each category we hope Oscar will at least think about once the onslaught of fall prestige films happen. So, ready? Here we go...

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