The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)
Over the past 25 years, M. Night Shyamalan has built his reputation on twisty tales that sting with some nasty surprise before the end credits roll. Depending on the picture and the public's willingness to accept the director's oddities, his strategy has resulted in a handful of triumphs, a slew of mediocrities, and a couple of outright disasters. Going into Trap, one expects much of the same, but, in the biggest twist of all, Shyamalan has presented his audience with a fairly straightforward affair. The premise is simple, if ludicrous, the tone is sincere, and, for once, you feel the filmmaker's focus on entertaining rather than pulling the rug from under the viewer. M. Night Shyamalan's Trap is a B-movie that makes no apology about its ambitions or lack thereof…
I suppose I could beat around the bush. I could skirt around the issue and try to temper my praise, worrying that people could accuse me of mere hyperbole. But what’s the point? Instead, I will just say it: Raoul Peck’s new four-part HBO documentary miniseries, Exterminate All the Brutes, is one of the finest works of art I have ever had the privilege to watch. A soaring epic that takes viewers on a journey over thousands of years—at one point to even the dawn of man—through humanity’s worst impulses for racial supremacy and colonial barbarism.
Peck pilfers from cinema (classic and otherwise), paintings, photography, music, archival footage, and adds dioramas, animation, graphic aids, anachronistic diversions, and dramatic interpretations. He rips a fierce and violent tear through history, yet with the precision and delicacy of a surgeon with a scalpel...
David looks back at Brian de Palma's wildest film, ten years on from its release.
The Black Dahlia is a curious artefact. It is likely to be remembered simply by virtue of being in the catalogue of Brian de Palma, even if the film’s quality is negligible compared to his biggest hitters Carrie and The Untouchables. When compared to the other famous James Ellroy adaptation, the Oscar-winning L.A. Confidential (which celebrates its own birthday, its 19th, in just a few days), de Palma’s effort certainly pales. In the career of cinematographer Vilmos Zsigmond (the film’s sole Oscar nominee), it’s likely to be a footnote in the late man’s incredible career, coming after his work with Spielberg, Cimino and Altman. The film’s stars probably took a year at most to write it off as a failure on all their parts.
Yet the film continues to fascinate - to lure you back into its craven web...
Welcome to Sofia Coppola month! Over the course of this series, I’ve noticed a pattern. So far, the first films our directors made have been smallish, personal movies; unpolished films that carry the seeds of themes and images that will grow as the directors do. The Virgin Suicides is not that movie. Sofia Coppola’s 1999 first feature film is neither small nor unpolished. While the film carries themes of isolation and adolescence that Coppola will continue to explore throughout her career, this is not the unpolished or underfunded first film of someone still learning the business. Starring two stars on the cusp of breakthrough (Kirsten Dunst and Josh Hartnett), as well as several well-loved actors (Kathleen Turner, James Woods, Danny DeVito), and shot by a cinematographer with 20 years of experience (Edward Lachman), this may be the most well-varnished first film we’ve seen.
Adapted by Coppola from Jeffrey Eugenides’s novel, The Virgin Suicides is a nostalgic suburban gothic. Set in 1970s Detroit, an unnamed narrator reminisces on his high school crush on the girls next door, five sisters who committed suicide for reasons he still can’t understand:
Everyone dates the decline of our neighborhood from the deaths of the Lisbon girls.
Rain Perry interesting and fun article comparing Crazy, Stupid, Love. with... Biutiful. (via AD) Tom Shone on the elitism of magic and power in modern entertainment. It's a curious question really. THR Nobody can quite let go of Sex and the City Movie 3. It still might happen. Corduroy (via JJ) talks to Josh Hartnett about his career (post acting hiatus). I thought I'd share this since we were just talking in that Taylor Lautner post -- I realize they're not exactly interchangeable ;) -- about the limited shelf life of young male actors who get hired for a lot of big roles and big projects before they've truly proven themselves. Isn't that essentially what happened to Hartnett?
Hartnett photographed by Peter Ash Lee for Corduroy
When you first start really young and you have some success, they want to take away your edges and make you into this proto-typical movie star... people don’t like to be boxed in and actors are no different.”
He also says:
I started when I was 17 and when you’re that age, you’re a bag full of nerves. I was a little bit freaked out by the whole industry. But now I’m actively looking for things that scare me; things that push me outside my comfort zone. As an actor, that’s the only way you grow and the only way you create something truly interesting for yourself and the audience as well.”
...which is code for rebuilding his once bright career through the indie film circuit, isn't it?
"Would you like one of my flowers" (Illustration by Scott C)The Great Showdowns simple concept movie illustration tumblr that yields very cute results. I love that the references are from several decades, not just the overplayed 80s ...though there's quite a lot of that as there always is online. Check it out. ioncinema talks about the next project from I Am Love's brilliant director Luca Guadagnino which looks like it may star the ubiquitous duo of Mia Wasikowska and Jeremy Renner who plan to be in every movie of the next 5 years (along with Fassbender & Mulligan)
The Awl asks "what makes a great critic?" IndieWire Michael Fassbender offered the lead role in Prisoners. But his docket is so full now, who knows.
"Avengers Assemble" at D23
God, I hope people didn't wait in line hours and hours for this. So short. It's cute how Jeremy Renner bounces out at 1:05ish though.
I guess they only really showed a teensy tiny clip between Samuel L Jackson's Nick Fury and Tom Hiddleston's Loki which i09 loved. I'd hoped to post a counter opinion from someone who was not at all impressed (it's important to maintain some balance in our fanboy ruled world) but have misplaced the link. Drat.
P.S. Totally eager to see how Tom Hiddleston's career develops. He was great to look at as F Scott Fitzgerald in Midnight in Paris and I suspect he did about as fine a job as anyone could have done making sense of his confusingly written character in Thor. Eager to see what's next for him?
Thursday, August 1, 2024 at 11:00PM 
