Drag Race RuCap: “Charisma, Uniqueness, Nerve & Talent Monologues”

For a second there, it looked like Detox was back on the Drag Race stage.

NICK TAYLOR: As with last season’s top six challenge, we get a pairs main challenge which relies heavily on the queen’s ingenuity to spin gold from straw. Comparing this episode to "Bathroom Hunties" immediately makes me grateful for how much "Charisma, Uniqueness, Nerve & Talent Monologues" allows the queens shake their shit without a safety net rather than making them literally sell something. The interpretive dance/monologue combo is still a very strange prompt, but as the best duet showed, it’s a fun platform for the queen’s creativity, trust, and improvisational skills to shine through. That’s a very generous spin on a challenge the queens and the audience absolutely should not have sat through, but even so, we got a very deserving winner and one of season 17’s stronger lip syncs. But then the lip sync winner was eliminated, and that’s not fun. How about you, did you have a good time this week? 

CLÁUDIO ALVES: Mama, this is garbage…

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Review: "Snow White" exceeds expectations, but that's not saying much

by Cláudio Alves

When was the last time the live-action remake of one of Disney's animated properties presented something worth watching? One supposes Cruella had those Jenny Beavan-designed Oscar-winning costumes to recommend it for, and Winnie the Pooh was alright in its melancholic tone. By my account, the last wholly successful of these enterprises was Kenneth Branagh's Cinderella, released a whole decade ago this year. Part of it stemmed from a willingness to deviate from the original, an understanding of the tale's inherent qualities beyond its value as nostalgia fodder, and the lavish production values courtesy of Dante Ferretti and Sandy Powell. 

The latter is back to Disney's mercenary recycling scheme with Snow White, a project that harkens back to Cinderella without reaching the same modest heights. Sandy Powell innocent, though. Well, mostly…

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VistaVision @ the Oscars

by Cláudio Alves

With The Brutalist, Brady Corbet and cinematographer Lol Crawley revived VistaVision for a 21st century cinema. In the process, they also brought the format back to the Oscar stage, becoming the first film since Alfred Hitchcock's To Catch a Thief to win the Best Cinematography Oscar for a VistaVision lensing. If you've read my reviews over the years, you might have noticed I have a passion for film form. This fascination encompasses the innovations that took over the medium in the midcentury, with the introduction of new aspect ratios, processes, and techniques after decades under the 4:3 Academy ratio hegemony. 

I really love VistaVision, a happy medium between more extreme widescreen propositions and the classical square-ish proportions that dominated pre-1950s cinema. It's quite beautiful, harmonious and the technique itself lends itself to rich images, full of detail, crisp yet not in the sometimes bloodless way of digital filmmaking. But what is VistaVision exactly? And how have films shot in this widescreen variant performed at the Oscars? Let's find out…

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Drag Race RuCap: “Ross Matthews vs The Ducks”

Jewels wasn't the only one yawning through this acting challenge.

CLÁUDIO ALVES: After last week’s shitshow of an episode, the follow-up would necessarily feel like something of a disappointment. Don’t get me wrong - it’s a fine hour of reality TV, but not especially exciting in terms of drama, nor spectacular as far as the queen’s performances are concerned. It culminated in some dubious judging and a tragic elimination, fair as it might have been. Oh well, not every episode can be a winner. Overall, I’m still liking this season, in no small part, because of the contestants. It’s been a while since we had such dynamic characters on Drag Race, messy and rough around the edges, not untalented but generally unpolished. Well, most of them. If you call Samantha Star unpolished, she might just kill you.

NICK TAYLOR: It’s a genuinely great cast, and you can tell because they bring real personal stakes to such a mediocre acting challenge. And the elimination order is still surprising enough I don’t feel totally comfortable predicting a top four. We haven’t had a shocker of a frontrunner going home like Plasma last year, but neither has anyone been as generously over-protected despite some patent limitations as Q was. No one feels like they’ve snuck through the competition to make it this far, and give or take some bold judging, the track records for our seven queens (now six) feel fair to me...

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The 97th Academy Awards (Cláudio's Version)

by Cláudio Alves

ALL WE IMAGINE AS LIGHT | © Janus Films / Sideshow
It's been a week and change since the 97th Academy Awards. At this point, we have to start saying goodbye to the season that was and start looking ahead to a new cinematic year. And yet, there's still some business to take care of - some Fernanda Torres ruminations, the traditional Best Picture in black-and-white business, top tens and personal awards. Speaking of which, while Nathaniel is busy with the Film Bitch Awards, I thought about presenting my own ideal Oscar ballot. Those things led to great discussions in the past – remember my 1980s acting lineups? – so, let's bring that idea back. Following strict Oscar eligibility rules, my 97th Academy Awards are rather different from the real deal. Better, in my opinion, but maybe not in yours.

Across 20 feature film categories, I nominate 70 distinct projects. All We Imagine as Light is my big winner, but no single film won more than two prizes. I'm a big believer in spreading the wealth…

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