Nick Taylor and Cláudio Alves are watching and recapping RuPaul’s Drag Race season sixteen. This week, it’s time for episode thirteen…
Like last week, thank heaven for the hunks.
CLÁUDIO: Like many a makeover challenge over the series’ herstory, the latest season 16 episode is rather lovely up until the judges deliver their critiques. After that, it’s the usual shit-show of inconsistent rulings and baffling decisions, a nonsense cocktail that sours everything that came before and leaves a bad taste in the mouth going forward. As if inverting its predecessor’s trajectory, this season seems intent on decreasing in quality as it reaches its final stretch, each episode a bit more disappointing than the one it follows. At least we have hot men to ogle, eye candy from start to finish, with a spoonful of potential fetish content to make things sweeter. That is the one saving grace of these past few chapters.
Like last week, thank heaven for the hunks.
CLÁUDIO: Like many a makeover challenge over the series’ herstory, the latest season 16 episode is rather lovely up until the judges deliver their critiques. After that, it’s the usual shit-show of inconsistent rulings and baffling decisions, a nonsense cocktail that sours everything that came before and leaves a bad taste in the mouth going forward. As if inverting its predecessor’s trajectory, this season seems intent on decreasing in quality as it reaches its final stretch, each episode a bit more disappointing than the one it follows. At least we have hot men to ogle, eye candy from start to finish, with a spoonful of potential fetish content to make things sweeter. That is the one saving grace of these past few chapters.
- 4/3/2024
- by Cláudio Alves
- FilmExperience
Nick Taylor and Cláudio Alves are following and recapping RuPaul’s Drag Race season sixteen. This week, it’s time for episode ten…
Sapphira is our Lisan al Gaib. All others are false prophets.
CLÁUDIO: It’s been quite the week to grumble about robbed queens, but enough about the Oscars. In RuPaul’s Prison Experiment, there were no such robberies. Indeed, there isn’t even an elimination to discuss since Mother Reverend Charles blessed us with a non-elimination episode. I’m not sure how I feel about that last bit, but I can’t help but cheer as Sapphira cements her claim on the crown. As we’ve discussed off-record, this chapter feels like the moment when a winner comes into their own, the place where, in retrospect, the narrative solidified and their Golden Path came to be. God Empress Cristál has risen, while both the Banana Queen and...
Sapphira is our Lisan al Gaib. All others are false prophets.
CLÁUDIO: It’s been quite the week to grumble about robbed queens, but enough about the Oscars. In RuPaul’s Prison Experiment, there were no such robberies. Indeed, there isn’t even an elimination to discuss since Mother Reverend Charles blessed us with a non-elimination episode. I’m not sure how I feel about that last bit, but I can’t help but cheer as Sapphira cements her claim on the crown. As we’ve discussed off-record, this chapter feels like the moment when a winner comes into their own, the place where, in retrospect, the narrative solidified and their Golden Path came to be. God Empress Cristál has risen, while both the Banana Queen and...
- 3/14/2024
- by Cláudio Alves
- FilmExperience
No two people feel the exact same way about any film. Thus, Team Experience is pairing up to debate the merits of this year’s Oscar movies. Here's the last discussion, between Mark Brinkerhoff and Nick Taylor on Barbie…
Nick: Hi Mark! We’re coming to you live and in color - but mainly in pink - from Barbieland for today’s split decision. This is the only one of these where I get to be on the side of positivity, so if the runoff of good vibes is Too Much, forgive me. Either way, I’m very excited to talk to you about Barbie. I’m not sure this makes it into my top 10 for the year, but it’s almost certainly the 2023 film I’ve watched the most, and I think it’s a total delight with as much on its mind as any of Greta Gerwig’s previous films,...
Nick: Hi Mark! We’re coming to you live and in color - but mainly in pink - from Barbieland for today’s split decision. This is the only one of these where I get to be on the side of positivity, so if the runoff of good vibes is Too Much, forgive me. Either way, I’m very excited to talk to you about Barbie. I’m not sure this makes it into my top 10 for the year, but it’s almost certainly the 2023 film I’ve watched the most, and I think it’s a total delight with as much on its mind as any of Greta Gerwig’s previous films,...
- 3/10/2024
- by Nick Taylor
- FilmExperience
No two people feel the exact same way about any film. Thus, Team Experience is pairing up to debate the merits of this year’s Oscar movies. Here's Abe Friedtanzer and Nick Taylor on Poor Things…
Nick: Hello Abe! Congratulations on Poor Things winning the Team Experience Award for Best Picture. I’m glad a film that moves, sounds, and dresses in such an offbeat manner has become such a critical and popular hit. It’s always nice to see weird art winning. That being said, I don’t count myself as a fan of Poor Things, and have a lot of complaints I could throw at its many, many, unapologetic excesses. Still, I like starting these Split Decision panels on notes of praise, and I’d really love to hear what you think of Poor Things.
Abe: Hey Nick! Always happy to chat about movies. I had the pleasure...
Nick: Hello Abe! Congratulations on Poor Things winning the Team Experience Award for Best Picture. I’m glad a film that moves, sounds, and dresses in such an offbeat manner has become such a critical and popular hit. It’s always nice to see weird art winning. That being said, I don’t count myself as a fan of Poor Things, and have a lot of complaints I could throw at its many, many, unapologetic excesses. Still, I like starting these Split Decision panels on notes of praise, and I’d really love to hear what you think of Poor Things.
Abe: Hey Nick! Always happy to chat about movies. I had the pleasure...
- 3/6/2024
- by Nick Taylor
- FilmExperience
Like last year, Nick Taylor and Cláudio Alves are following and recapping RuPaul’s Drag Race season sixteen…
In design challenges, these two are unbeatable. They're dressmaking monsters!
CLÁUDIO: Another design challenge! What’s this, season 3?
Regardless of repetition, it’s time for this year’s batch of queens to refamiliarize themselves with the sewing machines, for Drag Race has devised a challenge to celebrate Neo-Goth style. But of course, it’s closer to a Tim Burton lovefest, complete with Wednesday references and whatnot. Indeed, as much as I appreciated Kaia Gerber’s presence on the panel, MTV should have found a way to nab Colleen Atwood as the episode’s Extra Special Guest Judge - now there’s someone who knows how to make magic happen with black fabrics and a spooky outline. But maybe I’m getting ahead of myself...
In design challenges, these two are unbeatable. They're dressmaking monsters!
CLÁUDIO: Another design challenge! What’s this, season 3?
Regardless of repetition, it’s time for this year’s batch of queens to refamiliarize themselves with the sewing machines, for Drag Race has devised a challenge to celebrate Neo-Goth style. But of course, it’s closer to a Tim Burton lovefest, complete with Wednesday references and whatnot. Indeed, as much as I appreciated Kaia Gerber’s presence on the panel, MTV should have found a way to nab Colleen Atwood as the episode’s Extra Special Guest Judge - now there’s someone who knows how to make magic happen with black fabrics and a spooky outline. But maybe I’m getting ahead of myself...
- 3/5/2024
- by Cláudio Alves
- FilmExperience
For the next few months, Nick Taylor and Cláudio Alves will be following and recapping RuPaul’s Drag Race season sixteen…
CLÁUDIO: Dear readers, it feels only polite to apologize for the delay in posting this much belated RuCap. Although the next Drag Race episode is almost upon us, there are still 42 runway looks and a whole episode full of shenanigans to discuss. Then again, the Oscar nominations were just announced, so there was a lot to do this past week, when awards fever reached its boiling point. So excuse us and let’s move on to “The Mother of All Balls,” a rather smashing hour of drag competition that overcomes the hurdle of coming too soon in the season.
Nick: Yeah. Sorry we’re late, the Oscar noms happened. I just woke up from a medically induced coma, and when I saw Margot Robbie missed I immediately went back under in sheer distress.
CLÁUDIO: Dear readers, it feels only polite to apologize for the delay in posting this much belated RuCap. Although the next Drag Race episode is almost upon us, there are still 42 runway looks and a whole episode full of shenanigans to discuss. Then again, the Oscar nominations were just announced, so there was a lot to do this past week, when awards fever reached its boiling point. So excuse us and let’s move on to “The Mother of All Balls,” a rather smashing hour of drag competition that overcomes the hurdle of coming too soon in the season.
Nick: Yeah. Sorry we’re late, the Oscar noms happened. I just woke up from a medically induced coma, and when I saw Margot Robbie missed I immediately went back under in sheer distress.
- 1/25/2024
- by Cláudio Alves
- FilmExperience
Paraphrasing Alyssa Edwards, the RuCaps are back back back back back again. For the next few months, Nick Taylor and Cláudio Alves will be following RuPaul’s Drag Race season sixteen…
Since Queen Bey won't do it, Sapphira Cristál provides her own Renaissance visuals.
Nick: Okay, let me just say this to the readers right off the bat: These will not be as lengthy as they were last year, god willing. This is a challenge, a plea, a threat made to us, by us, for us. We are back, and we promise that no matter how long it takes us to finish, we’re gonna go over these episodes with so much depth, such thoroughness, that your heads will spin off your fucking necks. At least the split premiere means we don’t have to jump out of the gate evaluating fifteen queens. I for one enjoyed meeting half of this season’s contestants,...
Since Queen Bey won't do it, Sapphira Cristál provides her own Renaissance visuals.
Nick: Okay, let me just say this to the readers right off the bat: These will not be as lengthy as they were last year, god willing. This is a challenge, a plea, a threat made to us, by us, for us. We are back, and we promise that no matter how long it takes us to finish, we’re gonna go over these episodes with so much depth, such thoroughness, that your heads will spin off your fucking necks. At least the split premiere means we don’t have to jump out of the gate evaluating fifteen queens. I for one enjoyed meeting half of this season’s contestants,...
- 1/10/2024
- by Cláudio Alves
- FilmExperience
by Nick Taylor
Boo! You all thought this half-alive miniseries was dead for good, but you were wrong! I have returned from the grave for one final shriek to celebrate some of my favorite new watches from this October, along with a shout-out to a surprisingly durable favorite. As I wipe off my makeup from a long night of trick or treating, enjoy your candy and feast your eyes on this!
Boo! You all thought this half-alive miniseries was dead for good, but you were wrong! I have returned from the grave for one final shriek to celebrate some of my favorite new watches from this October, along with a shout-out to a surprisingly durable favorite. As I wipe off my makeup from a long night of trick or treating, enjoy your candy and feast your eyes on this!
- 11/2/2023
- by Nick Taylor
- FilmExperience
by Nick Taylor
Cats! We love ‘em. I know I do. Are we all cat people? No, but variety is the spice of life. Spirits of wronged women avenging their own deaths? Well loved across all kinds of cultural traditions and generic conventions. Putting cats and wronged women together, then, should be an instant recipe for success, yes? Especially if the title in question is as lauded as Kaneto Shindo’s 1968 film Kuroneko?
Set roughly one millenia before it was filmed, Kuroneko follows two women, mother Yone (Nobuko Otawa) and her daughter-in-law Shige (Kiwako Taichi), who live together in a bamboo cottage on the outskirts of a peasant village...
Cats! We love ‘em. I know I do. Are we all cat people? No, but variety is the spice of life. Spirits of wronged women avenging their own deaths? Well loved across all kinds of cultural traditions and generic conventions. Putting cats and wronged women together, then, should be an instant recipe for success, yes? Especially if the title in question is as lauded as Kaneto Shindo’s 1968 film Kuroneko?
Set roughly one millenia before it was filmed, Kuroneko follows two women, mother Yone (Nobuko Otawa) and her daughter-in-law Shige (Kiwako Taichi), who live together in a bamboo cottage on the outskirts of a peasant village...
- 10/16/2023
- by Nick Taylor
- FilmExperience
by Nick Taylor
Disclaimer: This review was originally penned via Oujia board by a nigh-unspeakable entity which used me as the vessel to transcribe its words.
Hello, uglies of The Film Experience! I’m very excited to debut our Halloween series, A Haunting in October. We’ll be devoting extra-special attention to films about ghosts, hauntings, and phenomena from beyond the grave. To kick off the proceedings, I’ll be starting with Paranormal Activity, which premiered in 2009 after two years of festival debuts and studio juggling to become a smash box-office hit, the pandora’s box for the past fifteen years of found footage horror, the origin point of a seven-film franchise (they released one in 2021???), and potentially the most profitable movie ever made. It’s a genuinely astonishing feat for a film shot in seven days with barely a script to its name. The best part? It’s actually scary,...
Disclaimer: This review was originally penned via Oujia board by a nigh-unspeakable entity which used me as the vessel to transcribe its words.
Hello, uglies of The Film Experience! I’m very excited to debut our Halloween series, A Haunting in October. We’ll be devoting extra-special attention to films about ghosts, hauntings, and phenomena from beyond the grave. To kick off the proceedings, I’ll be starting with Paranormal Activity, which premiered in 2009 after two years of festival debuts and studio juggling to become a smash box-office hit, the pandora’s box for the past fifteen years of found footage horror, the origin point of a seven-film franchise (they released one in 2021???), and potentially the most profitable movie ever made. It’s a genuinely astonishing feat for a film shot in seven days with barely a script to its name. The best part? It’s actually scary,...
- 10/4/2023
- by Nick Taylor
- FilmExperience
Team Experience has been looking at LGBTQ+ related Oscar nominations.
by Nick Taylor
Over the course of June, one of my big cinematic missions was to watch as many queer documentaries as I could. A broader understanding and recognition of lived queer experiences, either through art or lived interaction, is something I’m finding increasingly valuable and incredibly grateful for. Past or present lives, always reflecting so many potential futures - cherish that shit! Cinema allows for a unique view on long-gone lives I would never have met. A lot of my dive has been focused on the Criterion Channel’s various LGBTQ+ playlists. If you haven’t already seen Dressed in Blue, Tongues Untied, and Shakedown, watch them all now and learn from their authors, the multitude of voices in front of and behind the camera bravely willing to show us who they are and what they know.
Common Threads: Stories from the Quilt,...
by Nick Taylor
Over the course of June, one of my big cinematic missions was to watch as many queer documentaries as I could. A broader understanding and recognition of lived queer experiences, either through art or lived interaction, is something I’m finding increasingly valuable and incredibly grateful for. Past or present lives, always reflecting so many potential futures - cherish that shit! Cinema allows for a unique view on long-gone lives I would never have met. A lot of my dive has been focused on the Criterion Channel’s various LGBTQ+ playlists. If you haven’t already seen Dressed in Blue, Tongues Untied, and Shakedown, watch them all now and learn from their authors, the multitude of voices in front of and behind the camera bravely willing to show us who they are and what they know.
Common Threads: Stories from the Quilt,...
- 7/3/2023
- by Nick Taylor
- FilmExperience
Hey, "Dateline NBC" fans. Unfortunately, we don't have good news for you in this article. Yep, it turns out that the folks over at NBC are not airing a new episode of Dateline NBC tonight, June 16, 2023. That's right, guys. NBC has some other priorities that they will be fulfilling in their 8 pm central standard primetime slot tonight. So, you're going to have to wait until next Friday night to get another new episode of Dateline NBC. So, here's the deal. The 2023 U.S. Open Golf Championships are currently taking place. So, NBC will be devoting Live coverage to this event tonight. According to the TV guide listings, it's the second round of the tournament, and NBC's official description for their Live coverage of the 2023 U.S. Open Golf Championships reads like this, "2023 U.S. Open Golf Championship. Second Round Live. The second round of the U.S. Open gets underway.
- 6/16/2023
- by Andre Braddox
- OnTheFlix
Nick Taylor: Well girl, it finally happened: Drag Race did a Golden Girls themed challenge! The Girl Group challenge - an infrequently repeated challenge that’s more of a fixture on All-Stars and the international spin-offs than the main stage - is the Golden Girls Group this year. It’s also the first challenge of season 15 where I find myself out of step with the judge’s decision-making on several fronts, even if I see why they made their choices. What do you think of the girl group challenge historically, and how does that stack up with today’s episode?
CLÁUDIO Alves: I really love the girl group episodes, especially on international seasons. If you asked me to replace a mainstay maxi challenge, I’d probably erase the obligatory makeover/family resemblance nonsense with this musical trial. However, I can’t quite say “Old Friends Gold” ranks high amid its girl group sisters.
CLÁUDIO Alves: I really love the girl group episodes, especially on international seasons. If you asked me to replace a mainstay maxi challenge, I’d probably erase the obligatory makeover/family resemblance nonsense with this musical trial. However, I can’t quite say “Old Friends Gold” ranks high amid its girl group sisters.
- 2/10/2023
- by Cláudio Alves
- FilmExperience
So many queens! Too many?
CLÁUDIO Alves: The most popular drag contest on television (sorry Dragula) may not be called RuPaul's Best Friends Race, but writing for The Film Experience sometimes feels like it. I've met fantastic people over the few years I've been writing for the site, and some have become close pals. Indeed, it's rare that a day goes by without me chatting the house down with the fabulously-haired Nick Taylor. But, of course, when Drag Race's on the air, those conversations devolve into jokey recaps (rucaps!), so it seemed fitting to fuel that enthusiasm back into the site that made us friends in the first place. Though our usual Tfe write-ups may lean serious-minded and long-winded, we can be fun and tight. That said, please don't hold us to that promise – we'll try, and that's good enough…right, Nathaniel?
Without further ado, let's dive into the supersized Season 15 premiere.
CLÁUDIO Alves: The most popular drag contest on television (sorry Dragula) may not be called RuPaul's Best Friends Race, but writing for The Film Experience sometimes feels like it. I've met fantastic people over the few years I've been writing for the site, and some have become close pals. Indeed, it's rare that a day goes by without me chatting the house down with the fabulously-haired Nick Taylor. But, of course, when Drag Race's on the air, those conversations devolve into jokey recaps (rucaps!), so it seemed fitting to fuel that enthusiasm back into the site that made us friends in the first place. Though our usual Tfe write-ups may lean serious-minded and long-winded, we can be fun and tight. That said, please don't hold us to that promise – we'll try, and that's good enough…right, Nathaniel?
Without further ado, let's dive into the supersized Season 15 premiere.
- 1/9/2023
- by Cláudio Alves
- FilmExperience
We're revisiting the 1997 film year in the lead up to the next Supporting Actress Smackdown. As always Nick Taylor will suggest a few alternatives to Oscar's ballot.
You’d be forgiven for not immediately lingering on Mozelle Batiste Delacroix. When we first meet her she’s one of several dozen luminous, handsomely dressed and manicured faces floating around a party at the home of the Batiste family in 1960’s Louisiana. Mozelle’s very first scene, giggling with her sister about some poor woman’s teeth before they’re interrupted, is largely dominated by other actors, and she doesn't mind sitting back and enjoying her niece and nephew’s shenanigans.
There’s also a lot of stuff happening around her. Not just the laying-out of key figures and relationships but the very nature of Eve’s Bayou as a memory play...
You’d be forgiven for not immediately lingering on Mozelle Batiste Delacroix. When we first meet her she’s one of several dozen luminous, handsomely dressed and manicured faces floating around a party at the home of the Batiste family in 1960’s Louisiana. Mozelle’s very first scene, giggling with her sister about some poor woman’s teeth before they’re interrupted, is largely dominated by other actors, and she doesn't mind sitting back and enjoying her niece and nephew’s shenanigans.
There’s also a lot of stuff happening around her. Not just the laying-out of key figures and relationships but the very nature of Eve’s Bayou as a memory play...
- 7/28/2022
- by Nick Taylor
- FilmExperience
Our Oscar Volley series continues with Cláudio Alves and Nick Taylor doing a deep dive on a category near and dear to their hearts...
Nick: First, quick introductions! What drew us to this category, you ask? The Supporting Actress category was one of my favorite fields to rummage through when I was initially exploring the Oscars. Tilda Swinton, Lupita Nyong’o, Sandy Dennis, Thelma Ritter, Mo’Nique, Dianne Wiest, Agnes Moorehead - all led me to new ideas about film and performance I hadn’t dreamed of before then. Watching talented actresses carve out whole worlds from the corners of their films became one of my favorite things to search for in movies.
I have a very specific memory of discovering the Supporting Actress Smackdown after watching Kramer vs Kramer for the first time only a few weeks after the podcast on 1979 dropped and listening to the discussion with rapt attention. And...
Nick: First, quick introductions! What drew us to this category, you ask? The Supporting Actress category was one of my favorite fields to rummage through when I was initially exploring the Oscars. Tilda Swinton, Lupita Nyong’o, Sandy Dennis, Thelma Ritter, Mo’Nique, Dianne Wiest, Agnes Moorehead - all led me to new ideas about film and performance I hadn’t dreamed of before then. Watching talented actresses carve out whole worlds from the corners of their films became one of my favorite things to search for in movies.
I have a very specific memory of discovering the Supporting Actress Smackdown after watching Kramer vs Kramer for the first time only a few weeks after the podcast on 1979 dropped and listening to the discussion with rapt attention. And...
- 1/31/2022
- by Cláudio Alves
- FilmExperience
by Nick Taylor
Happy Holidays! We are celebrating a very dear, tumultuous season - awards season - and the current wave of critics prizes has left us with some very exciting developments. It’s perhaps not the biggest shock that Jane Campion’s austere, sensual Western The Power of the Dog has become such a critical darling. It’s the first time in nearly two decades that one of Campion’s phone is in serious consideration but the film’s remarkable showing with awards bodies and the sheer number of Best Director wins she’s accrued are both tremendously deserved and, given the overall trajectory of her career, something of a surprise.
Releasing her first film since 2009’s Bright Star (and after showrunning the acclaimed series Top of the Lake for two seasons), Campion’s favor with the Academy and critics at large has shifted wildly over the years. As...
Happy Holidays! We are celebrating a very dear, tumultuous season - awards season - and the current wave of critics prizes has left us with some very exciting developments. It’s perhaps not the biggest shock that Jane Campion’s austere, sensual Western The Power of the Dog has become such a critical darling. It’s the first time in nearly two decades that one of Campion’s phone is in serious consideration but the film’s remarkable showing with awards bodies and the sheer number of Best Director wins she’s accrued are both tremendously deserved and, given the overall trajectory of her career, something of a surprise.
Releasing her first film since 2009’s Bright Star (and after showrunning the acclaimed series Top of the Lake for two seasons), Campion’s favor with the Academy and critics at large has shifted wildly over the years. As...
- 12/25/2021
- by Nick Taylor
- FilmExperience
by Nick Taylor
Happy belated Thanksgiving, Tfe readers! In the spirit of American History, here’s a nice slice of cinema on one of the US’s many exemplary passages of telling on itself: the Salem Witch Trials. Arthur Miller’s retelling of these events in The Crucible is so universally well known, but how much the 1996 film adaptation is part of that legacy? I first saw the film in my junior high English class (I’d already chewed through Miller’s play and Death of a Salesman before I was ever assigned them), and aside from a few indelible images of Joan Allen’s silent devastation at court or Daniel Day-Lewis’s artfully grimy self in prison, Nicholas Hytner’s rendition of The Crucible didn’t leave much of an impression. Where Shine presented an opportunity to check off a box I knew I wouldn’t check off without outside incentive,...
Happy belated Thanksgiving, Tfe readers! In the spirit of American History, here’s a nice slice of cinema on one of the US’s many exemplary passages of telling on itself: the Salem Witch Trials. Arthur Miller’s retelling of these events in The Crucible is so universally well known, but how much the 1996 film adaptation is part of that legacy? I first saw the film in my junior high English class (I’d already chewed through Miller’s play and Death of a Salesman before I was ever assigned them), and aside from a few indelible images of Joan Allen’s silent devastation at court or Daniel Day-Lewis’s artfully grimy self in prison, Nicholas Hytner’s rendition of The Crucible didn’t leave much of an impression. Where Shine presented an opportunity to check off a box I knew I wouldn’t check off without outside incentive,...
- 11/28/2021
- by Nick Taylor
- FilmExperience
This year for our "thankful for" column we're mixing it up a bit. Instead of asking our contributors to share a brief list of favourite things, I wanted to share with you, dear readers, why I love the team so and then ask them a few key questions so you can get to know them better. Nick Taylor.
Nick has been with us for about two years, and we first got to know him because he regularly voted and wrote up beautiful emails for the Smackdown. Since joining us he's looked at supporting actresses that weren't nominated. Some of our favourites include the Evil Witch in Snow White, Taraji P Henson in Hustle & Flow, and Sister Ruth in Black Narcissus. But he also pops in for contemporary festivals.
Our mini interview follows...
When did you first fall in love with the movies?
I've been into movies my whole life.
Nick has been with us for about two years, and we first got to know him because he regularly voted and wrote up beautiful emails for the Smackdown. Since joining us he's looked at supporting actresses that weren't nominated. Some of our favourites include the Evil Witch in Snow White, Taraji P Henson in Hustle & Flow, and Sister Ruth in Black Narcissus. But he also pops in for contemporary festivals.
Our mini interview follows...
When did you first fall in love with the movies?
I've been into movies my whole life.
- 11/25/2021
- by NATHANIEL R
- FilmExperience
by Nick Taylor
First thing’s first: Faya Dayi easily ranks as one of the most beautiful 2021 films I have seen. I don’t mean to equate its beauty with an automatic FYC for best cinematography, nor a backhanded comment on style over substance. In cahoots with the editing and sound design, the heavy, monochromatic images cloak Ethiopia in a hazy, dreamlike aura that’s foundational to the film’s tone and point of view, and unspeakably gorgeous to boot. I could've pulled a gallery's worth of screengrabs from the first five minutes alone. Producer/director Jessica Beshir also acts as her own cinematographer, and her ability to endow her images with such clarity and attention to movement, texture, and composition is a stunning achievement.
But is it fashion? Does the gorgeousness of the imagery actually serve the film, or is it too loaded down to carry its own weight?...
First thing’s first: Faya Dayi easily ranks as one of the most beautiful 2021 films I have seen. I don’t mean to equate its beauty with an automatic FYC for best cinematography, nor a backhanded comment on style over substance. In cahoots with the editing and sound design, the heavy, monochromatic images cloak Ethiopia in a hazy, dreamlike aura that’s foundational to the film’s tone and point of view, and unspeakably gorgeous to boot. I could've pulled a gallery's worth of screengrabs from the first five minutes alone. Producer/director Jessica Beshir also acts as her own cinematographer, and her ability to endow her images with such clarity and attention to movement, texture, and composition is a stunning achievement.
But is it fashion? Does the gorgeousness of the imagery actually serve the film, or is it too loaded down to carry its own weight?...
- 11/24/2021
- by Nick Taylor
- FilmExperience
The 1937 smackdown arrives on Sunday October 3rd. Before each Smackdown Nick Taylor suggests alternates to Oscar's Supporting Actress ballot.
by Nick Taylor
The Evil Queen of Snow White and the Seven Dwarfs is the first character in any animated feature to speak on screen. Her voice is provided by Lucille La Verne, a storied theatre actress who’d gone on to have a wildly successful career in silent cinema, and who would ultimately give her final performance for this film. It’s about as iconic a farewell as one could hope for. Her rendering of the Queen is one of the many achievements that would make Snow White an instant classic, and Walt Disney Animation into a medium-defining juggernaut. With so much of The Queen’s impact derived from Snow White’s groundbreaking visual elements, there’s a degree to which the character would shine even without such a commanding voice.
by Nick Taylor
The Evil Queen of Snow White and the Seven Dwarfs is the first character in any animated feature to speak on screen. Her voice is provided by Lucille La Verne, a storied theatre actress who’d gone on to have a wildly successful career in silent cinema, and who would ultimately give her final performance for this film. It’s about as iconic a farewell as one could hope for. Her rendering of the Queen is one of the many achievements that would make Snow White an instant classic, and Walt Disney Animation into a medium-defining juggernaut. With so much of The Queen’s impact derived from Snow White’s groundbreaking visual elements, there’s a degree to which the character would shine even without such a commanding voice.
- 9/23/2021
- by Nick Taylor
- FilmExperience
We're revisiting 1937 this month leading up to the next Supporting Actress Smackdown. As always Nick Taylor will suggest a few alternates to Oscar's ballot.
We begin 1937 with Fay Bainter, the third-ever winner of the Supporting Actress Oscar for Jezebel in 1938 (you may have heard about it last year!) in Leo McCarey’s Make Way for Tomorrow. McCarey viewed the film as his greatest achievement, to the point that when he received his Best Director Oscar for The Awful Truth the same year Make Way for Tomorrow earned no nominations, he opened his acceptance speech by saying he won for the wrong movie. We can discuss the considerable merits of both films about couples splitting up and staying together, along with how brilliantly they showcase McCarey’s skills with tone, blocking, performance shaping, scene construction, as well as its enduring legacy in films like Tokyo Story and Love is Strange. Bainter...
We begin 1937 with Fay Bainter, the third-ever winner of the Supporting Actress Oscar for Jezebel in 1938 (you may have heard about it last year!) in Leo McCarey’s Make Way for Tomorrow. McCarey viewed the film as his greatest achievement, to the point that when he received his Best Director Oscar for The Awful Truth the same year Make Way for Tomorrow earned no nominations, he opened his acceptance speech by saying he won for the wrong movie. We can discuss the considerable merits of both films about couples splitting up and staying together, along with how brilliantly they showcase McCarey’s skills with tone, blocking, performance shaping, scene construction, as well as its enduring legacy in films like Tokyo Story and Love is Strange. Bainter...
- 9/16/2021
- by Nick Taylor
- FilmExperience
by Nick Taylor
Where to even begin with Last Year at Marienbad? In one sense, Alan Resnais’s film announces itself as a slippery, enigmatic object from its very first image. The resplendent music, equally ominous and inviting, mixes with the opening narration like they’re from the same source. Sacha Vernig’s silvery, elegant photography, gliding through the grounds of a baroque, ornate hotel and over dozens of handsome, impossibly rich guests, immediately communicates that Resnais has built a film both ephemeral and obsidian. The editing typically feeds into this gilded fluidity, save for when it disrupts those established rhythms as some other memory and breaks through an ongoing sequence like an intrusive thought to assert its own impression. The hotel itself looks glamorously assembled, yet every tree and painting have the same energy as the obelisk from 2001. The whole place feels inevitable without being easy to read.
And yet,...
Where to even begin with Last Year at Marienbad? In one sense, Alan Resnais’s film announces itself as a slippery, enigmatic object from its very first image. The resplendent music, equally ominous and inviting, mixes with the opening narration like they’re from the same source. Sacha Vernig’s silvery, elegant photography, gliding through the grounds of a baroque, ornate hotel and over dozens of handsome, impossibly rich guests, immediately communicates that Resnais has built a film both ephemeral and obsidian. The editing typically feeds into this gilded fluidity, save for when it disrupts those established rhythms as some other memory and breaks through an ongoing sequence like an intrusive thought to assert its own impression. The hotel itself looks glamorously assembled, yet every tree and painting have the same energy as the obelisk from 2001. The whole place feels inevitable without being easy to read.
And yet,...
- 9/10/2021
- by Nick Taylor
- FilmExperience
by Nick Taylor
Happy Venice Film Festival, y’all!! While Nathaniel and Elisa are off in Italy enjoying some of the season’s hottest potential offerings, I figured it’d be fun to play along at home and finally watch some noteworthy Venice prizewinners I somehow hadn’t seen yet, or have been prioritizing for years but never gotten around to viewing.
And among the most urgent films for this tour was 2007’s Golden Lion winner Lust, Caution, Ang Lee’s story of espionage in Japanese-occupied Hong Kong across several years of World War II, dramatizing on-the-ground political stakes with an eye towards contemporaneous cinematic flourishes and the defining grit and elegance of ‘40s noir. The 1979 novella by Ellen Chang was infamous for supposedly extrapolating story elements from the life of Chinese spy Zheng Pingru. Lee’s film reignited those controversies while drawing some of its own, facing confusion about...
Happy Venice Film Festival, y’all!! While Nathaniel and Elisa are off in Italy enjoying some of the season’s hottest potential offerings, I figured it’d be fun to play along at home and finally watch some noteworthy Venice prizewinners I somehow hadn’t seen yet, or have been prioritizing for years but never gotten around to viewing.
And among the most urgent films for this tour was 2007’s Golden Lion winner Lust, Caution, Ang Lee’s story of espionage in Japanese-occupied Hong Kong across several years of World War II, dramatizing on-the-ground political stakes with an eye towards contemporaneous cinematic flourishes and the defining grit and elegance of ‘40s noir. The 1979 novella by Ellen Chang was infamous for supposedly extrapolating story elements from the life of Chinese spy Zheng Pingru. Lee’s film reignited those controversies while drawing some of its own, facing confusion about...
- 9/2/2021
- by Nick Taylor
- FilmExperience
by Nick Taylor
I am both tremendously enthusiastic and a bit disappointed that I Carry You With Me is finally getting a theatrical release. Enthused because it’s a goddamn gem that ranks among the best films of last year, and sits right alongside Lingua Franca and Welcome to Chechnya as one of the very best queer films. The disappointment comes from the fact that, as far as anyone's concerned, this is a 2020 film. Distributor Sony Pictures Classics went out of its way to give this an awards-qualifying run despite pushing its wide release date further and further back. As with the aesthetically entrancing documentary Gunda or the tonally triumphant, richly acted French Exit (both also distributed by SPC), it’s a bit mystifying that this was seen as the superior strategy rather than letting I Carry You With Me’s reputation build over the course of this year. Art doesn’t need awards,...
I am both tremendously enthusiastic and a bit disappointed that I Carry You With Me is finally getting a theatrical release. Enthused because it’s a goddamn gem that ranks among the best films of last year, and sits right alongside Lingua Franca and Welcome to Chechnya as one of the very best queer films. The disappointment comes from the fact that, as far as anyone's concerned, this is a 2020 film. Distributor Sony Pictures Classics went out of its way to give this an awards-qualifying run despite pushing its wide release date further and further back. As with the aesthetically entrancing documentary Gunda or the tonally triumphant, richly acted French Exit (both also distributed by SPC), it’s a bit mystifying that this was seen as the superior strategy rather than letting I Carry You With Me’s reputation build over the course of this year. Art doesn’t need awards,...
- 6/25/2021
- by Nick Taylor
- FilmExperience
Team Experience is revisiting the movies of 2000 as we approach Thursday's Smackdown
by Nick Taylor
Is it even worth arguing that The Emperor’s New Groove is the last great animated comedy Disney has made? They’ve certainly made funny movies since then, but have they done anything as purely interested in being funny, let alone made a film that finds so many different ways to be that? Especially given the hellish status of its production history and patently lower budget as a result of all that mess, the success of The Emperor's New Groove is legitimately miraculous. Yes, sometimes it can feel a bit cheap if you look too close or stare too long, but the buoyant colors and unabashedly cartoony style give its absurd silliness exactly the right spring in its step. It’s the film the comedic parts of Hercules wishes it could be, or if the Robin Williams...
by Nick Taylor
Is it even worth arguing that The Emperor’s New Groove is the last great animated comedy Disney has made? They’ve certainly made funny movies since then, but have they done anything as purely interested in being funny, let alone made a film that finds so many different ways to be that? Especially given the hellish status of its production history and patently lower budget as a result of all that mess, the success of The Emperor's New Groove is legitimately miraculous. Yes, sometimes it can feel a bit cheap if you look too close or stare too long, but the buoyant colors and unabashedly cartoony style give its absurd silliness exactly the right spring in its step. It’s the film the comedic parts of Hercules wishes it could be, or if the Robin Williams...
- 5/14/2021
- by Nick Taylor
- FilmExperience
Before each Smackdown, Nick Taylor looks at alternates to the Oscar ballot...
Happy Halloween!! God, I missed writing these pieces. And I’m so excited to finally discuss a horror film performance, even if The Witches of Eastwick isn’t anyone’s first example of "horror". Probably the purest element of horror in the film - and its best element period - is Veronica Cartwright’s unforgettable turn as the devout, unraveling selectwoman Felicia Alden. An actress possessessing an uncanny ability to give plausible, full-bodied expressions of terror to films as frightening and atmospherically rich as Invasion of the Body Snatchers and Alien, her gifts are put to the test in an equally ambitious but more tonally inconsistent film. Felicia surely ranks among the most showcased roles she’s ever had, which is all the more exciting given how different she is from Lambert, though I can’t fathom why...
Happy Halloween!! God, I missed writing these pieces. And I’m so excited to finally discuss a horror film performance, even if The Witches of Eastwick isn’t anyone’s first example of "horror". Probably the purest element of horror in the film - and its best element period - is Veronica Cartwright’s unforgettable turn as the devout, unraveling selectwoman Felicia Alden. An actress possessessing an uncanny ability to give plausible, full-bodied expressions of terror to films as frightening and atmospherically rich as Invasion of the Body Snatchers and Alien, her gifts are put to the test in an equally ambitious but more tonally inconsistent film. Felicia surely ranks among the most showcased roles she’s ever had, which is all the more exciting given how different she is from Lambert, though I can’t fathom why...
- 10/29/2020
- by Nick Taylor
- FilmExperience
by Nick Taylor
I felt much warmer towards Gaza Mon Amour at its conclusion than when it began. The gradual expansion of its story and stabilization of its aesthetic strategies are what got me on its side. At its core, Gaza Mon Amour is buoyed by the mutual, barely spoken ardor between fisherman Issa (Salim Daw) and dressmaker Siham (Hiam Abbass), but the script gives near-equal attention to their work lives and the friends and family members that populate their lives. It’s an admirable scope, though one might wonder when Tarzan and Arab Nasser, the twin sibling writer/director duo behind Palestine’s International Film submission, are going to move their story forward. It’s not clear for the first half hour whether the film will find itself or collapse entirely...
I felt much warmer towards Gaza Mon Amour at its conclusion than when it began. The gradual expansion of its story and stabilization of its aesthetic strategies are what got me on its side. At its core, Gaza Mon Amour is buoyed by the mutual, barely spoken ardor between fisherman Issa (Salim Daw) and dressmaker Siham (Hiam Abbass), but the script gives near-equal attention to their work lives and the friends and family members that populate their lives. It’s an admirable scope, though one might wonder when Tarzan and Arab Nasser, the twin sibling writer/director duo behind Palestine’s International Film submission, are going to move their story forward. It’s not clear for the first half hour whether the film will find itself or collapse entirely...
- 10/25/2020
- by Nick Taylor
- FilmExperience
Coverage from the 56th annual Chicago Film Festival
by Nick Taylor
One fun thing about not really watching trailers anymore is that a movie can surprise me pretty easily. For example, I knew from teasers that François Ozon’s Summer of 85 was pitching itself as the French answer to Call Me By Your Name. The story sees two incredibly handsome teenagers named Alex (Felix Lefebvre) and David (Benjamin Voison) have a life-altering romance during a life-changing special summer. But I completely missed the trailer that revealed a whole second narrative where a zombie-like Alex is being tried for an unspecified crime that sounds a lot like murdering David.
So, there’s the part of Summer of 85 that’s very much Ozon doing a Call Me By Your Name-style romance and the part that's the melancholic aftermath...
by Nick Taylor
One fun thing about not really watching trailers anymore is that a movie can surprise me pretty easily. For example, I knew from teasers that François Ozon’s Summer of 85 was pitching itself as the French answer to Call Me By Your Name. The story sees two incredibly handsome teenagers named Alex (Felix Lefebvre) and David (Benjamin Voison) have a life-altering romance during a life-changing special summer. But I completely missed the trailer that revealed a whole second narrative where a zombie-like Alex is being tried for an unspecified crime that sounds a lot like murdering David.
So, there’s the part of Summer of 85 that’s very much Ozon doing a Call Me By Your Name-style romance and the part that's the melancholic aftermath...
- 10/23/2020
- by Nick Taylor
- FilmExperience
Coverage from the 56th annual Chicago Film Festival
by Nick Taylor
Undine opens immediately after the titular character (Paula Beer) has been told by her boyfriend Johannes (Jacob Matschenz) that he’s leaving her for another woman. Seated at an outdoor café, Beer’s expression remains piquant and internalized as Johannes explains himself, half listening to him talk and half deciding how to respond. When she makes up her mind, she informs Johannes they’re still in love, and if he’s not at the café when she gets back from work in half an hour she’ll kill him. He’s not there, obviously. But after hearing an unexpected figure call out her name, she meets a man named Christoph (Franz Rogowski). The two are instantly captivated by each other, and their meet-cute is so strange, heartfelt, and semi-chaotic I’d hate to spoil it. It might be the best scene in the film.
by Nick Taylor
Undine opens immediately after the titular character (Paula Beer) has been told by her boyfriend Johannes (Jacob Matschenz) that he’s leaving her for another woman. Seated at an outdoor café, Beer’s expression remains piquant and internalized as Johannes explains himself, half listening to him talk and half deciding how to respond. When she makes up her mind, she informs Johannes they’re still in love, and if he’s not at the café when she gets back from work in half an hour she’ll kill him. He’s not there, obviously. But after hearing an unexpected figure call out her name, she meets a man named Christoph (Franz Rogowski). The two are instantly captivated by each other, and their meet-cute is so strange, heartfelt, and semi-chaotic I’d hate to spoil it. It might be the best scene in the film.
- 10/21/2020
- by Nick Taylor
- FilmExperience
Coverage from the 56th annual Chicago Film Festival running October 14 - 25.
by Nick Taylor
It takes a while for Charlatan, the newest film by Agnieszka Holland and the Czech Republic’s Oscar submission for Best International Feature this year, to get its feet under itself. The semi-fictionalized story of renowned Czech herbalist and healer Jan Mikolášek, Charlatan opens with the death of president Antonín Zápotocký in 1957. With his biggest political ally and former patient gone, Mikolášek is warned to flee the Czech Republic before he's arrested by the Communist party. He refuses, either because he’s too bullishly stubborn or too self-flagellating, and is soon arraigned with his assistant František Palko (Juraj Loj) on death penalty-level charges that his lawyer proves are a sham with little investigation. The party doesn’t if the case is strong, or even real, as long as he’s executed.
The film jumps between this...
by Nick Taylor
It takes a while for Charlatan, the newest film by Agnieszka Holland and the Czech Republic’s Oscar submission for Best International Feature this year, to get its feet under itself. The semi-fictionalized story of renowned Czech herbalist and healer Jan Mikolášek, Charlatan opens with the death of president Antonín Zápotocký in 1957. With his biggest political ally and former patient gone, Mikolášek is warned to flee the Czech Republic before he's arrested by the Communist party. He refuses, either because he’s too bullishly stubborn or too self-flagellating, and is soon arraigned with his assistant František Palko (Juraj Loj) on death penalty-level charges that his lawyer proves are a sham with little investigation. The party doesn’t if the case is strong, or even real, as long as he’s executed.
The film jumps between this...
- 10/19/2020
- by Nick Taylor
- FilmExperience
Each month before the Supporting Actress Smackdown Nick Taylor selects performances for an alternate ballot...
Of the Golden Globes’ Supporting Actress nominees in 1965, three of their five were transplanted to Oscar’s lineup. Globe winner Ruth Gordon in Inside Daisy Clover, Joyce Redman in Othello, and Peggy Wood in The Sound of Music (who we all basically agree was not the best option from her movie) all made the cut, while Redman’s co-star Maggie Smith was imported from the Globes' Lead Actress-Drama category. Only Shelley Winters, who wound up winning the damn Oscar for A Patch of Blue, failed to show up anywhere at the Globes. The two Globe nominees left out to pasture come Oscar nomination morning were Nbr winner Joan Blondell in The Cincinnati Kid and never-winning Academy regular Thelma Ritter in Boeing Boeing. Both of the unlucky actresses co-starred in films that were blanked by the Academy completely.
Of the Golden Globes’ Supporting Actress nominees in 1965, three of their five were transplanted to Oscar’s lineup. Globe winner Ruth Gordon in Inside Daisy Clover, Joyce Redman in Othello, and Peggy Wood in The Sound of Music (who we all basically agree was not the best option from her movie) all made the cut, while Redman’s co-star Maggie Smith was imported from the Globes' Lead Actress-Drama category. Only Shelley Winters, who wound up winning the damn Oscar for A Patch of Blue, failed to show up anywhere at the Globes. The two Globe nominees left out to pasture come Oscar nomination morning were Nbr winner Joan Blondell in The Cincinnati Kid and never-winning Academy regular Thelma Ritter in Boeing Boeing. Both of the unlucky actresses co-starred in films that were blanked by the Academy completely.
- 10/1/2020
- by Nick Taylor
- FilmExperience
Each month before the Smackdown, Nick Taylor chooses three performances to highlight that weren't Oscar-nominated...
“And Eleanor Parker as The Baroness” reads the final casting credit of the opening credits of The Sound of Music. Hers is also the only name that appears by itself, positioning the character and the actress as events the film wants you to eagerly anticipate. Hard enough when you're the other woman in a love triangle, especially as a non-singing role in a three-hour musical. Yet Parker, boasting one of the most exciting, chameleonic personas in American cinema, lives up to the hype over fifty years later, emerging with the film's most multifaceted performance.
Baroness Elsa von Schraeder won’t appear until roughly an hour into The Sound of Music, by which time we’ve already watched the indomitably energetic Maria (Julie Andrews) enter the Von Trapp family at the direction of her Abbess, instructing...
“And Eleanor Parker as The Baroness” reads the final casting credit of the opening credits of The Sound of Music. Hers is also the only name that appears by itself, positioning the character and the actress as events the film wants you to eagerly anticipate. Hard enough when you're the other woman in a love triangle, especially as a non-singing role in a three-hour musical. Yet Parker, boasting one of the most exciting, chameleonic personas in American cinema, lives up to the hype over fifty years later, emerging with the film's most multifaceted performance.
Baroness Elsa von Schraeder won’t appear until roughly an hour into The Sound of Music, by which time we’ve already watched the indomitably energetic Maria (Julie Andrews) enter the Von Trapp family at the direction of her Abbess, instructing...
- 9/24/2020
- by Nick Taylor
- FilmExperience
Before each Smackdown, Nick Taylor considers alternates to Oscar's Best Supporting Actress roster...
Thank you to everyone who recommended performances from 1938 to look into! And a big thanks, especially, to joel6, whose suggestion inspired today's write-up.
Mary Astor made five movies in 1938. Three of them - Listen, Darling, Paradise for Three, and There’s Always a Woman - are still relatively easy to track down online. One of these missing titles, Woman Against Woman, barely seems to exist anymore. I also couldn’t find No Time to Marry anywhere, which is a shame since it sounds like an actual leading role. But the three titles one can easily find all provide a snapshot of this endlessly talented actress doing her thing across a wide range of genres and archetypes...
Thank you to everyone who recommended performances from 1938 to look into! And a big thanks, especially, to joel6, whose suggestion inspired today's write-up.
Mary Astor made five movies in 1938. Three of them - Listen, Darling, Paradise for Three, and There’s Always a Woman - are still relatively easy to track down online. One of these missing titles, Woman Against Woman, barely seems to exist anymore. I also couldn’t find No Time to Marry anywhere, which is a shame since it sounds like an actual leading role. But the three titles one can easily find all provide a snapshot of this endlessly talented actress doing her thing across a wide range of genres and archetypes...
- 9/4/2020
- by Nick Taylor
- FilmExperience
by Nick Taylor
Few working directors are as exciting as Argentianian genius Lucrecia Martel. To talk about her work means to talk about her bold experiments with lensing and editing, her immaculately controlled sound design, her unusual risks with structure and dense layering of themes in her screenplays, all capped off with a very particular sense of humor. Martel’s films don’t immediately spring to mind as performance venues, but one of the many (many) things I love among her small but indomitable filmography is her ability to coax tonally compelling characterizations from her actors, rather than overwhelming them under the weight of her own directorial idiosyncrasies. Daniel Giménez Cacho is able to find a million minute gradations of wounded pride, misplaced vanity, and diminished hope in Zama, keying to Martel’s riskiest wavelength by resourcefully flexing a very deadpan poker face. The many women running around La Ciénaga...
Few working directors are as exciting as Argentianian genius Lucrecia Martel. To talk about her work means to talk about her bold experiments with lensing and editing, her immaculately controlled sound design, her unusual risks with structure and dense layering of themes in her screenplays, all capped off with a very particular sense of humor. Martel’s films don’t immediately spring to mind as performance venues, but one of the many (many) things I love among her small but indomitable filmography is her ability to coax tonally compelling characterizations from her actors, rather than overwhelming them under the weight of her own directorial idiosyncrasies. Daniel Giménez Cacho is able to find a million minute gradations of wounded pride, misplaced vanity, and diminished hope in Zama, keying to Martel’s riskiest wavelength by resourcefully flexing a very deadpan poker face. The many women running around La Ciénaga...
- 8/14/2020
- by Nick Taylor
- FilmExperience
by Nick Taylor
I first saw Scott Pilgrim vs The World with my mom at an advanced screening, the benefit of a summer-long stint in 2010 where my parent’s work received passes for secret audience test runs of upcoming blockbusters. The theater was decently sized and completely packed, mainly crowded with teenage boys escorted by parents, grandparents, and other miscellaneous chaperones, plus a good number of twenty- and thirtysomethings who likely read Bryan Lee O’Malley’s recently concluded graphic novel series. You can imagine any number of reasons why this movie would’ve played well to the teen boys in the audience, though it still amazes me how much everyone in the theater seemed to be having a good time with it. Ten years later and it’s still a reliable hit with my immediate family, and someone referring to it as Edgar Wright’s best film can get me on their side real quick.
I first saw Scott Pilgrim vs The World with my mom at an advanced screening, the benefit of a summer-long stint in 2010 where my parent’s work received passes for secret audience test runs of upcoming blockbusters. The theater was decently sized and completely packed, mainly crowded with teenage boys escorted by parents, grandparents, and other miscellaneous chaperones, plus a good number of twenty- and thirtysomethings who likely read Bryan Lee O’Malley’s recently concluded graphic novel series. You can imagine any number of reasons why this movie would’ve played well to the teen boys in the audience, though it still amazes me how much everyone in the theater seemed to be having a good time with it. Ten years later and it’s still a reliable hit with my immediate family, and someone referring to it as Edgar Wright’s best film can get me on their side real quick.
- 8/13/2020
- by Nick Taylor
- FilmExperience
by Nick Taylor
Let's recap our tried-and-true methods of investigating what early cinema has to offer for these alternate looks at supporting actreses outside of the Oscar shortlists and we do these retrospectives.
1. Combing through the canon for actressy projects
2. Checking out what the great actresses of the era were up to.
But what about option 3... the ever-reliable, deeply specific journey of stumbling onto something interesting and keeping it in your back pocket until you finally get a reason (quote-unquote) to check it out? Take, for example, my relationship with Boy! What a Girl!, which I first heard about in my senior year of college...
Let's recap our tried-and-true methods of investigating what early cinema has to offer for these alternate looks at supporting actreses outside of the Oscar shortlists and we do these retrospectives.
1. Combing through the canon for actressy projects
2. Checking out what the great actresses of the era were up to.
But what about option 3... the ever-reliable, deeply specific journey of stumbling onto something interesting and keeping it in your back pocket until you finally get a reason (quote-unquote) to check it out? Take, for example, my relationship with Boy! What a Girl!, which I first heard about in my senior year of college...
- 5/27/2020
- by Nick Taylor
- FilmExperience
by Nick Taylor
One way to search for great performances outside of Oscar's history books is merely to check in on what the great character actresses of their day were busy doing besides not getting their due. In 1947 just to cite a few examples, You couldn’t go wrong with Mary Astor, warm and sympathetic as the mother of sickly Liz Taylor in Cynthia, and even better at nimbly flipping through the morally compromised history of a saloon-owner afraid her daughter will run away with a dangerous man in Desert Fury. There’s also Elsa Lanchester as the housemaid in The Bishop’s Wife, so piquantly observant in a role that often invites stooging. But if we’re talking supporting actresses, surely the first stop for anyone seeking out the heavies of Classic Hollywood is Agnes Moorehead. Moorehead’s performances n Dark Passage and The Lost Moment were my first stops...
One way to search for great performances outside of Oscar's history books is merely to check in on what the great character actresses of their day were busy doing besides not getting their due. In 1947 just to cite a few examples, You couldn’t go wrong with Mary Astor, warm and sympathetic as the mother of sickly Liz Taylor in Cynthia, and even better at nimbly flipping through the morally compromised history of a saloon-owner afraid her daughter will run away with a dangerous man in Desert Fury. There’s also Elsa Lanchester as the housemaid in The Bishop’s Wife, so piquantly observant in a role that often invites stooging. But if we’re talking supporting actresses, surely the first stop for anyone seeking out the heavies of Classic Hollywood is Agnes Moorehead. Moorehead’s performances n Dark Passage and The Lost Moment were my first stops...
- 5/21/2020
- by Nick Taylor
- FilmExperience
Please welcome new contributor Nick Taylor. He's been sharing insightful comments on his reader ballots for years so he now joins the team to talk about Supporting Actresses who weren't nominated to coincide with our upcoming Smackdown events.
The 54th Academy Awards celebrated an insular group for 1981. Only nine films were represented between all four acting categories. If you expand that circle to include the nominations for Picture, Director, and Screenplay it's only a whopping twelve films hogging forty above-the-line slots. Every Supporting Actress nominee (to be discussed soon) had a co-star recognized in a different category. But when you look to performances outside of the nominated shortlist, like Kate Reid in Atlantic City or Karen Allen in Raiders of the Lost Ark, it’s hard not to wonder why things shook out the way they did.
Or consider Jessica Harper’s perfectly controlled performance in Pennies From Heaven. Adapted from a 1978 British miniseries,...
The 54th Academy Awards celebrated an insular group for 1981. Only nine films were represented between all four acting categories. If you expand that circle to include the nominations for Picture, Director, and Screenplay it's only a whopping twelve films hogging forty above-the-line slots. Every Supporting Actress nominee (to be discussed soon) had a co-star recognized in a different category. But when you look to performances outside of the nominated shortlist, like Kate Reid in Atlantic City or Karen Allen in Raiders of the Lost Ark, it’s hard not to wonder why things shook out the way they did.
Or consider Jessica Harper’s perfectly controlled performance in Pennies From Heaven. Adapted from a 1978 British miniseries,...
- 4/24/2020
- by Nick Taylor
- FilmExperience
We got to find out more about Patton this episode.
Patton took a rare turn in the spotlight on NCIS: New Orleans Season 5 Episode 18.
Good thing, too, because it involved differently abled people and computer stuff, so Patton was right in his element.
The first interesting development is that Pride was back to being Special Agent in Charge after being detached on NCIS: New Orleans Season 5 Episode 17 so that he could join the top-secret Apollyon task force.
Apparently, it wasn't all that top-secret since some people above Pride in the food chain had to know in order to find a substitute Sac so that he could try out Isler's task force for himself.
Related: NCIS: New Orleans Season 5 Episode 17 Review: Reckoning
Anyhoo, long story short, we're continuing with the farce that Pride has been promoted and no longer commands the New Orleans squad, even though that's what he's continued...
Patton took a rare turn in the spotlight on NCIS: New Orleans Season 5 Episode 18.
Good thing, too, because it involved differently abled people and computer stuff, so Patton was right in his element.
The first interesting development is that Pride was back to being Special Agent in Charge after being detached on NCIS: New Orleans Season 5 Episode 17 so that he could join the top-secret Apollyon task force.
Apparently, it wasn't all that top-secret since some people above Pride in the food chain had to know in order to find a substitute Sac so that he could try out Isler's task force for himself.
Related: NCIS: New Orleans Season 5 Episode 17 Review: Reckoning
Anyhoo, long story short, we're continuing with the farce that Pride has been promoted and no longer commands the New Orleans squad, even though that's what he's continued...
- 4/3/2019
- by Dale McGarrigle
- TVfanatic
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