Year in Review: Best Movie Posters

by Nathaniel R

Movie posters may be an endangered artform since movies are seldom chosen from lobby posters or slapped on DVD covers anymore. Most people see only those interchangeable rectangles of movie star faces deployed by Netflix or Hulu in scroll bars. Nevertheless we still love the way posters at their best can brand or encapsulate a movie, become iconic pieces of art in their own right (rare), or cleverly tease or suggest the kind of experience you'll be having when you watch the movie.

Movie posters are often lazy so we want to cheer the good ones. Some titles that missed the following list but remain noteworthy are:  Benedetta which arranged the text in an invisible crucifix frame, Annette, which memorably placed its romantics underneath a tidal wave, the teasers for The Matrix Resurrection and Black Widow  which went minimalist and flat but impactful, Swan Song and The Eyes of Tammy Faye for the way they presented the main character's face while also obscuring it emotionally, and the graphic whatsthis? boldness of both Titane and Tragedy of Macbeth.

The best movie posters of the year after after the jump...

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Best Picture, Directors, Screenplays. Where are we at?

by Nathaniel R

With virtually every late year release, save arguably House of Gucci, meeting an enthusiastic response even if they weren't quite expected to (hello showbiz drama Being the Ricardos and all star satire Don't Look Up) and two more potential behemoths about to start screening (West Side Story and Nightmare Alley) the Best Picture race is yet more crowded and confusing. Let's break it all down...

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Spencer: Dressing an Icon

by Cláudio Alves

Spencer is proving itself a divisive picture. Even among The Film Experience team, some hate it, and some love it. Still, reading through plenty of negative reviews, one can find some elements capable of surviving the criticism, joining the two factions of the discourse around Spencer. So far, the costumes seem to be earning quasi-unanimous praise. Two-time Academy Award winner Jacqueline Durran is a beloved artist, capable of facing the challenge of dressing an icon with obstinate virtuosity. Evoking the ghost of Princess Diana, or rather a stylistic impression of her, the designer has created one of the most ravishing wardrobes of the cinematic year, a masterpiece of sartorial indulgence that befits the movie's melodramatic verve…

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Box Office: "Eternals" opens big, "Spencer" doesn't pack them in.

What did you see this past week/weekend? The public came out in droves for Marvel's disappointing Eternals because the public always comes out for Marvel's Anything. In more surprising news Wes Anderson's The French Dispatch held strong as it added theaters and continues to overperform while Spencer, despite a lot of Oscar buzz for Kristen Stewart, slightly underperformed. Of course you could also argue that it overperformed given the dire market these days for non-franchise* adult-oriented pictures.

Weekend Box Office November 5th-7th 🔺 = new or expanding
1-5	6-10
ETERNALS	FRENCH DISPATCH
1 ETERNALS 🔺  $71 Nathaniel's Review	6 THE FRENCH DISPATCH 🔺$2.6 (cum. $8.4) Elisa's Review
2  DUNE  $7.6 (cum. $83.9)  Elisa's Review	7 HALLOWEEN KILLS $2.3 (cum. $89.7) Elisa's Review
3 NO TIME TO DIE  $6.1 (cum. $143.1) Deborah's Review	8 SPENCER 🔺$2.1 Nathaniel's Review
4 VENOM LET THERE BE CARNAGE  $4.4 (cum. $197)	9 ANTLERS $2 (cum. $7.6)
5 RON'S GONE WRONG $3.6 (cum. $17.5)	10 LAST NIGHT IN SOHO $1.8 (cum. $7.6) Nathaniel's Review

* Director Pablo Larraín's lonely globally famous woman trilogy -- Jackie, Spencer, ?  -- doesn't count as a franchise ;)

Next weekend: a director's cut of Rocky IV and the family film Clifford the Big Red Dog are new in theaters, meanwhile the excellent Passing is in select theaters and hitting Netflix.

Review: For all its artful presentation, "Spencer" is a misfire

by Nathaniel R

A woman driving alone stops at a diner along the road to ask directions. She’s lost which is as common a problem as it gets. In any usual circumstance this would go unnoticed by other patrons but this is not a usual circumstance and this woman is far from common, and no Commoner at that. The whole room stops to gawk at her. This clever gambit early in Spencer sets Princess Diana (Kristen Stewart) immediately apart from humanity. A elegant but sterile aerial shot from the gifted cinematographer Claire Mathon (Portrait of a Lady on Fire) futher isolates her when she reaches that destination. She’s just a tiny figure about to be swallowed up in an imposing estate (Sandringham House, to be exact).

While the opening scenes of Spencer are promising and mobile, and the craft of the filmmaking as rich as you’d expect from the Chilean master Pablo Larraín, Spencer stops abruptly in its tracks at the estate...

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