Saturday, November 26, 2016 at 12:00PM There are 120+ titles leaving either Netflix or Amazon Prime this week as December arrives so if you've been meaning to see any of these, now's your chance. As is our practice we'll freeze frame a few selected titles at random and display what we found. Which will you be watching?
The list and screenshots after the jump...
LEAVING NETFLIX
Tuesday, April 26, 2016 at 3:00PM For our impromptu Actors Month, members of Team Experience were free to choose any actor they wanted to discuss. Here's Daniel Crooke on Willem Dafoe.
Willem Dafoe is a Greek god, in the most ceramic of ways. Rather than present himself as a blank canvas, Dafoe’s vessel is a malleable lump of clay that he shapes on the kiln as the character sees fit. His fire-burnt expressions, calcified in psychic scars, detail their histories in an unrelenting mask of past, present, and future. The man is drama. But his tragic side so often overtakes the comic in the cultural consciousness that his nimble lightness often sneaks under the radar. As his performances play out in the frame, he tactfully tears at their rigid façades to reveal the far more complicated, often contradictory stories within; He’s always got a secret.
The severity for which his performances are known is only half the story. Just as his luminescent Sgt. Elias in Oliver Stone’s Platoon offsets the pitch-blackness of Tom Berenger’s sadistic Sgt, Barnes, Dafoe has an uncanny ability to hide his radiant purity behind a stalwartly strict face. For God’s sake, he defined the model of a conflicted Christ in Scorsese’s Last Temptation; doing the impossible, he reconfigured the Messiah’s pop cultural characterization as a man with a pulse, who sinned and lived off the cross. He is a duplicitous study, ready to convince you that he’s a treacherous monster until he reveals on his deathbed – over a ceremonial sip of Bean’s delicious cider – that he was a misunderstood sideliner all along.
More Willem worship after the jump...
Monday, December 28, 2015 at 2:45PM 
JA from MNPP here christening 2015's final episode of "Beauty vs Beast" with one of my favorite movies of ever, which is celebrating it's 15th anniversary this week - E. Elias Merhige's Shadow of the Vampire, which fictionalized the filming of F.W. Murnau's Nosferatu by adding in some actual behind-the-scenes bloodsucking, was released on December 29th, 2000 -- I have strangely fixed memories of seeing this film for the first time, from the dreamy Art Deco opening credits on down; anyway it left a mark, so don't ask me what the hell happened to Merhige after this. He's only made one more feature-length film since, the 2004 serial killer thriller Suspect Zero with Ben Kingsley.
As for Shadow of the Vampire it didn't do great box-office-wise but it did manage to score two Oscar nominations - one for Make-Up and a much-deserved Best Supporting Actor nomination for Willem Dafoe, playing the actor Max Schreck "playing" the creature Nosferatu as a hilarious spin on Method acting. ("Thissss is hardly your peecture any longgger!" is weekly chatter in my house.) But under-sung if you ask me is John Malkovich's twisted take on the director Murnau, meeting Dafoe every inch in their dance towards Hell without the benefit of literal blood-thirst - his hunger is movie-making, the magic on the screen, and he makes it, by god he makes it.
PS if we want to wrap this movie into the now its influence can easily be seen on Jemaine Clement and Taika Waititi's hysterical vampire mockumentary What We Do In the Shadows, which unleashes a house-full of Nosferatus (Nosferati?) on some unprepared filmmakers.
PREVIOUSLY I hope everybody celebrated the past week the new cool way to do it - by storming around downtown Los Angeles dragging prostitutes and pimps around like sacks of flour, cackling all the way - speaking of, in last week's Tangerine duel Sin-Dee (Kitana Kiki Rodriguez) grabbed a clump full of our collective hair and wouldn't let go, taking a full 3/4s of the vote! Said BD:
"Oh my gosh, that whole door-busting, hair-pulling sequence was so bad-ass."
Thursday, July 2, 2015 at 3:00PM If you're new to Anne Marie's 'Women's Pictures' it's a weekly series that takes on a new female director each month. Previously covered: Ida Lupino, Jane Campion, Sofia Coppola and Agnes Varda. - Editor
Kathryn Bigelow & Andy Warhol in 1981. Photo: Philippe LedruWelcome to Kathryn Bigelow month!
Considering that July is traditionally one of the bigger blockbuster months, it seemed like the perfect time to delve into the career of one of the most famous female directors currently working. Undoubtedly, Bigelow is most famous for being the only woman to win an Academy Award for Best Director. In 2008, she and The Hurt Locker unexpectedly became the symbols of art "fighting back" against bloated CGI behemoths represented by Avatar, directed by her ex-husband, James Cameron. The irony of this is that before making smaller, serious war movies, Bigelow had made her name (occasionally working with Cameron) on action flicks. So, pop some jiffy pop, lie back in your recliner, and let's get ready for some gun fights!
...But maybe not just yet. Surprisingly, 1981's The Loveless is virtually devoid of any explosions, catch phrases, car chases, or fun. Co-directed and co-written by Monty Montgomery (who would eventually produce Jane Campion's The Portrait of a Lady), The Loveless is a biker movie that falls into genre cliches even as it tries very hard to shed them.
Willem Dafoe (in his first credited film role) plays Vance, one of a gang of bikers who stop in a small town to fix a bike on the way to Daytona in the 1950s. The presence of the oversexed, understimulated bikers sends violent ripples through the stifled town, but the movie takes a long time to build to its climax. First, there are scenes of nearly shirtless Dafoe staring moodily into the distance while smoking. There are homoerotic knife games between gang members. There are downright voyeuristic shots of the biker boys as they leer at women. It's a sex-obsessed movie, is what I'm saying. Just not in the way I expected.
There is either a lot going on in this movie, or nothing at all...
Thursday, October 2, 2014 at 12:31PM Our coverage of the New York Film Festival continues - here is Jason tackling Abel Ferrara's biopic Pasolini with Willem Dafoe.
This is a review of Abel Ferrara's Pasolini, but let me just start by saying that I loved Bertrand Bonello's Saint Laurent. Nathaniel reviewed Saint Laurent and he was more measured in his appreciation of it than I would be - I was bowled over by its style and its sex appeal. I loved it. I went into it with next to no expectations - I'm usually indifferent to fashion bio-pics, I haven't seen Bonello's other films, and Gaspard Ulliel's left me cold up to now - but near to three hours later I was a disciple. Saint Laurent tells the story of a gay man, a creative force to be reckoned with, whose flirtations with reckless sex in the 1970s led him to a muddy field, beaten bloody...
the real Pier Paolo Pasolini... which brings us to Pasolini, the story of a gay man, a creative force to be reckoned with, whose flirtations with reckless sex in the 1970s led him to a muddy field, beaten bloody. I took the long way around but I got there, bridging the two, and I bring up the way the two films shadow each other for more than superficial purposes - it's in the part about "a creative force to be reckoned with" where I see Bonello's film sparking to life while Ferrara's remains curiously distant.
