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Entries in Screenplays (189)

Friday
Oct202017

Middleburg Day 1: Delightful Fest / Darkest Hour

by Nathaniel R

Thursday. Though a cab accident* and a missed flight threatened to derail day one, somehow The Film Experience's second annual trip to Middleburg, VA commenced just in time for the opening night festivities. The Middleburg Film Festival is now in its 5th year and growing each time.  It's still small enough, however, that it feels like a discovery.

This year's fest kicked off with Joe Wright's Darkest Hour which holds up incredibly well to a second viewing. It's both muscular and fabulous, so it feels like a blend of impulses that, say, Scorsese and Baz alike might thrill to. And in place of their shared muse Leo DiCaprio a fat-suited bejowled Gary Oldman...

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Thursday
Oct192017

Blueprints: "Mean Girls"

Hi everyone, Jorge here. Welcome to the first installment of Blueprints, a new weekly series where we'll discuss the relationship between the pages of a script and the finalized cinematic products. To start things off, an audience-favorite and one of the most quotable films of all time.

 

Tina Fey’s cult-classic satire on teenage girlhood, cliques, and cheese fries has quickly become an indispensable presence inside the ranks of Most Quotable Films lists. Behind-the-scenes recognition has fallen more on the writer than on director Mark Waters (brother of Heathers’ helmer Daniel Waters; for those keeping tabs on your clique movies). Almost every single line has become a chant for people to drop on each other, so much that Quote-Along screenings of the film have become widely popular.

But what is it about Mean Girls that made it not only memorable, but practically irresistible to mouth along to?

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Friday
Jul282017

Poster for "Call Me by Your Name"

by Murtada

Call Me By Your Name, Luca Guadagnino's already wildly acclaimed gay romantic drama, was just announced for TIFF. It will probably play NYFF, too, on its way to a limited release on November 24, the sweet Thanksgiving spot for Oscar hopeful movies. And now the gorgeous poster for one of our most anticipated films of the year, has been revealed. See it in all its glory (plus more news about the film) after the jump...

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Tuesday
Apr182017

Feud 1.07 - Abandoned!

In the penultimate episode of the series, Bette gains creative control and Joan loses everything, while B.D. and Mamacita get out while they still can. Here's Jorge...

Feud doesn’t play favorites.  The show has done a good job (for the most part) at digging down into why these two screen legends acted the way they did towards each other. And they’ve made a point (over and over and over) that they were not as different as the world saw them; they were actually very similar, acting from the same place of desperation and clinginess to relevance.

In this week’s episode. Joan repeatedly boycotts the production of Hush, Hush… Sweet Charlotte, unable to cope with the creative control that Bette has over her as a producer. This eventually ends with her being fired from the picture, and Olivia de Havilland stepping in; the only actress willing to take her spot and also Bette's dear friend...

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Sunday
Apr162017

Picture, Director, Screenplays ~ April Foolish Oscar Predix

by Nathaniel R

I've been rubbing my crystal ball vigorously backstage to bring you the new Oscar charts. Everything is up but the acting now Let's discuss our way too early April guesswork in these categories: PICTURE and DIRECTOR and SCREENPLAYS. Thoughts? Objections? Applause?

Which 2017 releases will Oscar voters fall hard for?

Perfect on paper
Looks right on paper for major Oscar love doesn't always translate to the real thing but I've fallen for the chances of this year's World War II dramas from Chris Nolan (Dunkirk) and Joe Wright (Darkest Hour). Curiously, though both men have helmed Best Picture nominees in the past, neither have been nominated for Best Director yet. So strange but I'm predicting both of them to get in. I'm also predicting Get Out to score a Best Picture, Best Screenplay and Best Film Editing nods. That might sound crazy but I don't think it is. As I've often said genre pictures need time with awards bodies to cement their worth. Jump in your time machine and I'll bet you people are still talking in glowing terms about Get Out in December and everyone starts rooting for its Oscar nomination because they've accepted that it's special...

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Monday
Mar202017

Feud: Bette and Joan. "Mommie Dearest"

Previously
Ch. 1 "Pilot"
Ch. 2 "The Other Woman" 

Feud's writing team is nothing if not devoted to playing to a single theme per episode. All but a couple of scenes in chapter 3 of Feud are devoted to the notion of mothering (though Victor Buono's more generous notion of "legacy" might have been a smarter move for retroactive potency). Or at least the show spends this hour playing with our pre-conceptions of the mothering skills of Bette Davis and Joan Crawford. That's evident in the way it pulls the episode title from the infamous Christina Crawford memoir that damned Joan forever in the public eye as a psychopath and child abuser. In one of the earliest scenes we even get a potent reminder of this memoir as Joan pretends she's not going to send Christina a card congratulating her on the opening of a play until she reads reviews, but then signs the card "Mommie Dearest," as soon as two of her other children are out of sight.

I know what you think of my mothering...

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