Team Experience is discussing the various Oscar categories. Here's Cláudio Alves, Michael Cusumano, and Elisa Giudici to discuss Best Actor.
Elisa Giudici: Last year, we thought this Oscar was locked by Chadwick Boseman's intense performance. Yet we were surprised by the outcome, with Anthony Hopkins winning the golden statuette. The Academy was so confident about Boseman’s victory they moved the Best Actor category after Best Picture, the traditional one that closes the ceremony… only to stare at an empty stage, because the winner Anthony Hopkins was at home, sleeping. In 2022, Will Smith is the frontrunner in the Best Actor category. The odds are clearly in his favor…...
Elisa Giudici: Last year, we thought this Oscar was locked by Chadwick Boseman's intense performance. Yet we were surprised by the outcome, with Anthony Hopkins winning the golden statuette. The Academy was so confident about Boseman’s victory they moved the Best Actor category after Best Picture, the traditional one that closes the ceremony… only to stare at an empty stage, because the winner Anthony Hopkins was at home, sleeping. In 2022, Will Smith is the frontrunner in the Best Actor category. The odds are clearly in his favor…...
- 3/21/2022
- by Cláudio Alves
- FilmExperience
By Michael Cusumano
“You haven’t seen Bram Stoker’s Dracula?” my girlfriend gasped, stopping her laundry folding dead.
This caught my attention as it upset the established dynamic of our relationship. I am the one who interrupts every conversation with some version of “What? You’re telling me you’ve never seen [insert name of film no one has ever watched outside a film studies program]?!"
She then reflected on how gorgeous Coppola’s vampire opus is and chastised herself for not owning it. This again was a reversal of the natural order. I wake up with night sweats at the thought that there is a great movie somewhere I don’t own. She owns approximately seven DVD’s she acquired by accident in the early 00’s which she stores in a dusty case next to "Jagged Little Pill" and her old Microsoft startup discs.
I immediately turned off what I was watching and popped on the Coppola film...
“You haven’t seen Bram Stoker’s Dracula?” my girlfriend gasped, stopping her laundry folding dead.
This caught my attention as it upset the established dynamic of our relationship. I am the one who interrupts every conversation with some version of “What? You’re telling me you’ve never seen [insert name of film no one has ever watched outside a film studies program]?!"
She then reflected on how gorgeous Coppola’s vampire opus is and chastised herself for not owning it. This again was a reversal of the natural order. I wake up with night sweats at the thought that there is a great movie somewhere I don’t own. She owns approximately seven DVD’s she acquired by accident in the early 00’s which she stores in a dusty case next to "Jagged Little Pill" and her old Microsoft startup discs.
I immediately turned off what I was watching and popped on the Coppola film...
- 10/29/2020
- by Michael C.
- FilmExperience
Hello, everyone. Michael Cusumano here to close out the second season of The New Classics. Since I'm wrapping it up so close to Halloween I feel like it's my duty to honor one of the 21st Century's new horror icons.
At first glance Mr. Babadook appears to be a character engineered to anchor a horror franchise. His distinctive silhouette, with his spidery claws and wardrobe right out of Dr. Caligari’s cabinet, seems ready-made for branding. It’s only once you’ve been through the psychological wringer of Jennifer Kent’s The Babadook that you realize how ill-suited the character is to such a role. The Babadook is a single serving tormentor, tailored specifically to the psychological scars of Essie Davis’s Amelia. He could no more pick up and move to a different victim than Mrs. Bates could torture someone other than poor Norman.
Scene: The Book Returns...
At first glance Mr. Babadook appears to be a character engineered to anchor a horror franchise. His distinctive silhouette, with his spidery claws and wardrobe right out of Dr. Caligari’s cabinet, seems ready-made for branding. It’s only once you’ve been through the psychological wringer of Jennifer Kent’s The Babadook that you realize how ill-suited the character is to such a role. The Babadook is a single serving tormentor, tailored specifically to the psychological scars of Essie Davis’s Amelia. He could no more pick up and move to a different victim than Mrs. Bates could torture someone other than poor Norman.
Scene: The Book Returns...
- 10/27/2020
- by Michael C.
- FilmExperience
By Michael Cusumano
Scene: Quaaludes
It’s difficult not to lapse into hagiography when talking about Scorsese so I will simply say this and attempt to reign in the fawning as best I can: As much as anyone in the medium’s history he understands that the power of film isn’t in the text. It’s not in constructing an argument like an essay or a speech. It's in the images.
Like all of Scorsese’s period pieces, The Wolf of Wall Street covers mountains of information in its headlong dash through the years, but what makes these films great are the moments when they distill all that material into a memorable frame. The technical gambling know-how makes you buy into the world of Casino, but it’s an overhead shot of a reckless Sharon Stone making it rain chips at the craps table that leaves a mark on the audience.
Scene: Quaaludes
It’s difficult not to lapse into hagiography when talking about Scorsese so I will simply say this and attempt to reign in the fawning as best I can: As much as anyone in the medium’s history he understands that the power of film isn’t in the text. It’s not in constructing an argument like an essay or a speech. It's in the images.
Like all of Scorsese’s period pieces, The Wolf of Wall Street covers mountains of information in its headlong dash through the years, but what makes these films great are the moments when they distill all that material into a memorable frame. The technical gambling know-how makes you buy into the world of Casino, but it’s an overhead shot of a reckless Sharon Stone making it rain chips at the craps table that leaves a mark on the audience.
- 9/15/2020
- by Michael C.
- FilmExperience
By Michael Cusumano
I worked at The Ritz art house theaters in Philadelphia when Jean-Pierre Jeunet’s Amélie was released in 2001. My location was the smallest in the chain so we’d never get the hotly anticipated indie titles. However, when it came time to program Amélie somebody goofed and decided it would be a good fit for my location. We couldn’t pack the mobs in tight enough. Jeunet’s giddy Parisian carousel sold out screenings for nine months straight. I watched a lot of theaters empty out in my years at the movies, but there was something about the beaming smiles on Amélie’s crowds as they stumbled out of the darkness that stands out in the memory.
Since then the knock against Amélie is not that its highs aren’t real, but that they are sugar highs. Empty calories. Like a five-course meal sculpted entirely from marzipan.
I worked at The Ritz art house theaters in Philadelphia when Jean-Pierre Jeunet’s Amélie was released in 2001. My location was the smallest in the chain so we’d never get the hotly anticipated indie titles. However, when it came time to program Amélie somebody goofed and decided it would be a good fit for my location. We couldn’t pack the mobs in tight enough. Jeunet’s giddy Parisian carousel sold out screenings for nine months straight. I watched a lot of theaters empty out in my years at the movies, but there was something about the beaming smiles on Amélie’s crowds as they stumbled out of the darkness that stands out in the memory.
Since then the knock against Amélie is not that its highs aren’t real, but that they are sugar highs. Empty calories. Like a five-course meal sculpted entirely from marzipan.
- 9/8/2020
- by Michael C.
- FilmExperience
By Michael Cusumano
Scene: Elevator
When people talk about missing the communal experience of movie theaters, it’s moments like the elevator sequence in Drive, Nicolas Winding Refn’s neon-bathed synth-noir, that come to mind. I can vividly recall the total silence as time slowed down to let Ryan Gosling’s never-named Driver live in his stolen kiss with Carey Mulligan's Irene a few moments longer, just as I can recall the sound of the oxygen rapidly exiting the screening after the gut punch transition back into real time, when Driver dispatched his would be assassin and then just. kept. stomping...
Scene: Elevator
When people talk about missing the communal experience of movie theaters, it’s moments like the elevator sequence in Drive, Nicolas Winding Refn’s neon-bathed synth-noir, that come to mind. I can vividly recall the total silence as time slowed down to let Ryan Gosling’s never-named Driver live in his stolen kiss with Carey Mulligan's Irene a few moments longer, just as I can recall the sound of the oxygen rapidly exiting the screening after the gut punch transition back into real time, when Driver dispatched his would be assassin and then just. kept. stomping...
- 9/1/2020
- by Michael C.
- FilmExperience
By Michael Cusumano
Scene: Kevin and Black at the Diner
We consider Trevante Rhodes’s Black carefully throughout the last act of Barry Jenkins’ Moonlight, searching for traces of the younger versions of his character. That we don’t find many is not surprising considering how we’ve seen this child get battered and abused by life. Chiron doesn’t grow from segment to segment so much as he transforms as survival demands. Moonlight’s second movement ends on such a violent act of self-annihilation, we should be surprised to spot any remnant of the adolescent in Black when he walks into Kevin’s diner a decade later.
And yet despite the intimidating presence Black developed as a barrier against the world, the aspect that unmistakably connects him with his teenage self, and to Little before that, is his fragility. All his outward defenses - the bulked up physique, the...
Scene: Kevin and Black at the Diner
We consider Trevante Rhodes’s Black carefully throughout the last act of Barry Jenkins’ Moonlight, searching for traces of the younger versions of his character. That we don’t find many is not surprising considering how we’ve seen this child get battered and abused by life. Chiron doesn’t grow from segment to segment so much as he transforms as survival demands. Moonlight’s second movement ends on such a violent act of self-annihilation, we should be surprised to spot any remnant of the adolescent in Black when he walks into Kevin’s diner a decade later.
And yet despite the intimidating presence Black developed as a barrier against the world, the aspect that unmistakably connects him with his teenage self, and to Little before that, is his fragility. All his outward defenses - the bulked up physique, the...
- 8/25/2020
- by Michael C.
- FilmExperience
By Michael Cusumano
Abraham Lincoln abilities as a writer probably would have earned him a place in history even without his accomplishments as a statesman. He is surely the best writer that has ever occupied the Oval Office. Capable of expressing complex ideas with remarkable economy, he had a deft hand with allusions and was responsible for many evocative turns of phrase that resonate far outside the political context of their time, “The better angels of our nature” or “The dogmas of the quiet past”. Hell, simply opting for “Four score and seven” over “eighty-seven” reveals a writer’s ear for the musical potential of language.
It's a fitting tribute then, that the most prominent film about the sixteenth president, Steven Spielberg’s Lincoln, with a screenplay by Pulitzer prize winning playwright Tony Kushner, exudes that same love of language. There’s scarcely a scene without some memorable linguistic spin.
Abraham Lincoln abilities as a writer probably would have earned him a place in history even without his accomplishments as a statesman. He is surely the best writer that has ever occupied the Oval Office. Capable of expressing complex ideas with remarkable economy, he had a deft hand with allusions and was responsible for many evocative turns of phrase that resonate far outside the political context of their time, “The better angels of our nature” or “The dogmas of the quiet past”. Hell, simply opting for “Four score and seven” over “eighty-seven” reveals a writer’s ear for the musical potential of language.
It's a fitting tribute then, that the most prominent film about the sixteenth president, Steven Spielberg’s Lincoln, with a screenplay by Pulitzer prize winning playwright Tony Kushner, exudes that same love of language. There’s scarcely a scene without some memorable linguistic spin.
- 8/18/2020
- by Michael C.
- FilmExperience
By Michael Cusumano
Scene: The Suicide List
Curtis Hanson’s Wonder Boys understand that writers are often their own most carefully crafted creations. You can often catch the writers in the film pausing to appreciate when they hit upon just the right turn of phrase. Life doesn’t allow for second drafts. So very satisfying to nail it on the first.
By understanding the way writers reveal themselves through narrative shapes into which they attempt to force their lives, Wonder Boys solves the age-old problem of making writing cinematic. We never hear a word of Grady Tripp’s prose that gets blown away at the film’s end, but after we spend two hours stumbling through the shambolic mess of his life, it feels superfluous. His life is already one long, run-on sentence crying out for an editor’s red pen...
Scene: The Suicide List
Curtis Hanson’s Wonder Boys understand that writers are often their own most carefully crafted creations. You can often catch the writers in the film pausing to appreciate when they hit upon just the right turn of phrase. Life doesn’t allow for second drafts. So very satisfying to nail it on the first.
By understanding the way writers reveal themselves through narrative shapes into which they attempt to force their lives, Wonder Boys solves the age-old problem of making writing cinematic. We never hear a word of Grady Tripp’s prose that gets blown away at the film’s end, but after we spend two hours stumbling through the shambolic mess of his life, it feels superfluous. His life is already one long, run-on sentence crying out for an editor’s red pen...
- 8/11/2020
- by Michael C.
- FilmExperience
Michael Cusumano here, kicking off our intermittent 2005 coverage for the next few weeks. This episode of The New Classics can be subtitled "Confessions of a Former Malick Agnostic."
Scene: Reunion in England
For most of my life, Terrence Malick films have been like going to church in that I respect the showmanship while being privately unmoved as, all around me, believers are moved to heights of ecstasy. Like any good lapsed Catholic, I felt tremendously guilty about this. If only I wasn’t so spiritually deficient, so hung up on traditional plot structure, then I wouldn’t be a Philistine who preferred Private Ryan to Thin Red Line (twenty lashes for being basic). True, I adored Badlands but that only increased my shame. Of course I would go for his most accessible one. What, is "Creep" my favorite Radiohead song, too?
My first viewing of The New World followed the usual script.
Scene: Reunion in England
For most of my life, Terrence Malick films have been like going to church in that I respect the showmanship while being privately unmoved as, all around me, believers are moved to heights of ecstasy. Like any good lapsed Catholic, I felt tremendously guilty about this. If only I wasn’t so spiritually deficient, so hung up on traditional plot structure, then I wouldn’t be a Philistine who preferred Private Ryan to Thin Red Line (twenty lashes for being basic). True, I adored Badlands but that only increased my shame. Of course I would go for his most accessible one. What, is "Creep" my favorite Radiohead song, too?
My first viewing of The New World followed the usual script.
- 7/28/2020
- by Michael C.
- FilmExperience
By Michael Cusumano
Scene: Food Poisoning
Okay, let’s talk poop jokes.
If I’m hesitant it’s not because I’m squeamish, but because I’ve found dissecting jokes to see how they work to be one of life’s less rewarding endeavors. On the other hand, I’ve noticed Bridesmaids’ uproarious food poisoning sequence seldom gets the respect it deserves. Often it’s acknowledged with some glib and subtly condescending remark along the lines of, “Ladies can be just as gross as the boys!” and I think that significantly undersells the scene. I mean, If we absolutely must make sweeping generalizations along gender lines, we would have to conclude Bridesmaids proves ladies do gross-out with infinitely more wit and sophistication than the boys...
Scene: Food Poisoning
Okay, let’s talk poop jokes.
If I’m hesitant it’s not because I’m squeamish, but because I’ve found dissecting jokes to see how they work to be one of life’s less rewarding endeavors. On the other hand, I’ve noticed Bridesmaids’ uproarious food poisoning sequence seldom gets the respect it deserves. Often it’s acknowledged with some glib and subtly condescending remark along the lines of, “Ladies can be just as gross as the boys!” and I think that significantly undersells the scene. I mean, If we absolutely must make sweeping generalizations along gender lines, we would have to conclude Bridesmaids proves ladies do gross-out with infinitely more wit and sophistication than the boys...
- 7/21/2020
- by Michael C.
- FilmExperience
Michael Cusumano here with the most recent film I've yet to induct into this series. Despite its newness, it's one of the titles I'm most confident will earn the label of classic in the course of time.
Can you pinpoint the moment someone crosses the line between faith and fanaticism? Is it even possible to fully define the boundaries between the two? Most reasonable people would agree it’s around the moment someone commits an act of violence in the name of God, but an individual crosses that boundary internally long before he straps on a suicide vest.
That elusive moment of radicalization exists somewhere in the vast gray silences of Paul Schrader’s First Reformed. It passes by so quietly that it is possible to be late into the film and have no inkling of the wild-eyed zealot Ethan Hawke’s Reverend Toller will become in the film’s shocking final movement.
Can you pinpoint the moment someone crosses the line between faith and fanaticism? Is it even possible to fully define the boundaries between the two? Most reasonable people would agree it’s around the moment someone commits an act of violence in the name of God, but an individual crosses that boundary internally long before he straps on a suicide vest.
That elusive moment of radicalization exists somewhere in the vast gray silences of Paul Schrader’s First Reformed. It passes by so quietly that it is possible to be late into the film and have no inkling of the wild-eyed zealot Ethan Hawke’s Reverend Toller will become in the film’s shocking final movement.
- 7/14/2020
- by Michael C.
- FilmExperience
By Michael Cusumano
The best genre parodies are so full of affection for their targets that they can’t help but make a superior example of the very thing they aim to satirize. It can be fun to throw tomatoes at a genre’s contrivances and cliches from the outside, but titles such as Young Frankenstein or Down With Love circumvent your ironic detachment to provide the far more satisfying experience of playing with these tropes from inside a story you care about.
This kind of rare pleasure is one of the reasons Shane Black’s crime caper comedy Kiss Kiss Bang Bang has amassed the following it has since it underperformed in theaters back in 2005. Black’s film actually does double satirical duty, lampooning both the world of Raymond Chandler-esque noir and the world of the hyper-masculine, wise-ass body cop action movies of the 80’s and 90’s, a...
The best genre parodies are so full of affection for their targets that they can’t help but make a superior example of the very thing they aim to satirize. It can be fun to throw tomatoes at a genre’s contrivances and cliches from the outside, but titles such as Young Frankenstein or Down With Love circumvent your ironic detachment to provide the far more satisfying experience of playing with these tropes from inside a story you care about.
This kind of rare pleasure is one of the reasons Shane Black’s crime caper comedy Kiss Kiss Bang Bang has amassed the following it has since it underperformed in theaters back in 2005. Black’s film actually does double satirical duty, lampooning both the world of Raymond Chandler-esque noir and the world of the hyper-masculine, wise-ass body cop action movies of the 80’s and 90’s, a...
- 7/7/2020
- by Michael C.
- FilmExperience
By Michael Cusumano
Scene: Explaining The Rules
Every movie with a supernatural horror needs the 'rules' scene. The one where we lay out for the hero exactly what it is they’re up against and why they are in deep, deep trouble. These scenes require the film to strike a tricky balance. You want enough info so we can get a firm grasp on the dynamic, without getting bogged down in minutiae. Share the tape in seven days or die. Got it! Too much and you end up like the heroes of Inception, shouting explanations at each other well into the film’s second hour. Not enough and the threat ends up too vague to be scary. Pennywise the Clown can do anything at any time, and kill kids sometimes but not others based on nothing. Whatever.
The best modern example of this scene, the one that hits the balance exactly right,...
Scene: Explaining The Rules
Every movie with a supernatural horror needs the 'rules' scene. The one where we lay out for the hero exactly what it is they’re up against and why they are in deep, deep trouble. These scenes require the film to strike a tricky balance. You want enough info so we can get a firm grasp on the dynamic, without getting bogged down in minutiae. Share the tape in seven days or die. Got it! Too much and you end up like the heroes of Inception, shouting explanations at each other well into the film’s second hour. Not enough and the threat ends up too vague to be scary. Pennywise the Clown can do anything at any time, and kill kids sometimes but not others based on nothing. Whatever.
The best modern example of this scene, the one that hits the balance exactly right,...
- 7/1/2020
- by Michael C.
- FilmExperience
By Michael Cusumano
The Master refuses to elevate the audience above Freddie Quell. In the simplistic version of the film Joaquin Phoenix’s wastrel Freddie Quell would be The Sucker and Philip Seymour Hoffman’s Lancaster Dodd would be The Fraud and there would be little ambiguity about it. No doubt this version was what many expected when they bought a ticket for Paul Thomas Anderson’s kaleidoscopic spiritual and psychological odyssey. A dynamic that would allow for them to lean back and smugly cluck that they wouldn’t be so easily taken in by such madness.
What Anderson's fictionalized take on the founding of Scientology delivered was something altogether more twisted and obscure. At no point can we be entirely sure what any of the main characters truly believe...
The Master refuses to elevate the audience above Freddie Quell. In the simplistic version of the film Joaquin Phoenix’s wastrel Freddie Quell would be The Sucker and Philip Seymour Hoffman’s Lancaster Dodd would be The Fraud and there would be little ambiguity about it. No doubt this version was what many expected when they bought a ticket for Paul Thomas Anderson’s kaleidoscopic spiritual and psychological odyssey. A dynamic that would allow for them to lean back and smugly cluck that they wouldn’t be so easily taken in by such madness.
What Anderson's fictionalized take on the founding of Scientology delivered was something altogether more twisted and obscure. At no point can we be entirely sure what any of the main characters truly believe...
- 6/23/2020
- by Michael C.
- FilmExperience
Michael Cusumano here for the 30th episode of The New Classics.
It was hard. Absolutely.
Scene: The Bucket List
Halfway through Joachim Trier’s Oslo, August 31 we get an extended scene of the protagonist, Anders (Anders Danielsen Lie), sitting in a cafe and simply listening to the other patrons talk. He appears perfectly ordinary sitting there. Just a guy in a cafe. What we in the audience know, which everyone who meets him on this fateful day does not, is that Anders started the day by filling his pockets with rocks and wading into a lake, attempting suicide a la Virginia Woolf. He couldn't go through with it and spends the rest of the film teetering quietly on the brink...
It was hard. Absolutely.
Scene: The Bucket List
Halfway through Joachim Trier’s Oslo, August 31 we get an extended scene of the protagonist, Anders (Anders Danielsen Lie), sitting in a cafe and simply listening to the other patrons talk. He appears perfectly ordinary sitting there. Just a guy in a cafe. What we in the audience know, which everyone who meets him on this fateful day does not, is that Anders started the day by filling his pockets with rocks and wading into a lake, attempting suicide a la Virginia Woolf. He couldn't go through with it and spends the rest of the film teetering quietly on the brink...
- 6/16/2020
- by Michael C.
- FilmExperience
by Michael Cusumano
Hello, everyone. I'm celebrating my 80th day of quarantine by letting my mind wander to one of the most uproariously debauched scenes in recent years.
Scene: The Reading
We hear about Lady Hideko’s readings a few times before we actually see one in action. Earlier, when she says she is worn out after a performance, we take it as a sign of her weakness. She is so sheltered and delicate a simple reading wipes her out her. When we actually witness one of these performances halfway through Chan-wook Park’s The Handmaiden, we change our tune in a big hurry. The readings are nothing if not impressive displays of stamina...
Hello, everyone. I'm celebrating my 80th day of quarantine by letting my mind wander to one of the most uproariously debauched scenes in recent years.
Scene: The Reading
We hear about Lady Hideko’s readings a few times before we actually see one in action. Earlier, when she says she is worn out after a performance, we take it as a sign of her weakness. She is so sheltered and delicate a simple reading wipes her out her. When we actually witness one of these performances halfway through Chan-wook Park’s The Handmaiden, we change our tune in a big hurry. The readings are nothing if not impressive displays of stamina...
- 6/9/2020
- by Michael C.
- FilmExperience
Michael Cusumano here to discuss the movie scene that scared me more than any other in my adult life.
There are some tried and true rules of horror filmmaking that get trotted out whenever the topic is discussed. There is The Hitchcock Rule about the difference between suspense and surprise, and The Jaws Rule about withholding the monster from view until absolutely necessary. I propose adding a new rule to the list of horror maxims: The Descent Rule, named after Neil Marshall’s 2005 terrifying excursion into the caves of Appalachia: Structure your story so that it’s scary even if the main threat never arrived.
Scene: The Tunnel
The Descent didn’t invent this principle, of course...
There are some tried and true rules of horror filmmaking that get trotted out whenever the topic is discussed. There is The Hitchcock Rule about the difference between suspense and surprise, and The Jaws Rule about withholding the monster from view until absolutely necessary. I propose adding a new rule to the list of horror maxims: The Descent Rule, named after Neil Marshall’s 2005 terrifying excursion into the caves of Appalachia: Structure your story so that it’s scary even if the main threat never arrived.
Scene: The Tunnel
The Descent didn’t invent this principle, of course...
- 6/2/2020
- by Michael C.
- FilmExperience
Hey everyone. Michael Cusumano here, excited to be back for a second season of The New Classics (and not just because publishing one of these every Tuesday will help me tell the weeks apart!) Each which we annoint one the best of the 21st century by discussing a single scene.
Scene: Living Deliciously
The ending of Robert Eggers’ The Witch certainly feels like a happy ending. How could it not, with that final thrilling image of a cackling Thomasin rising nude into the moonlight, embracing her place in Black Phillip’s coven? She has shed her fanatically repressed biological family like she shed her blood-splattered “shift” at Black Phillip’s whispered command, and now she’s off to see the world and taste butter by the churnful. Liberation!
But at what cost?...
Scene: Living Deliciously
The ending of Robert Eggers’ The Witch certainly feels like a happy ending. How could it not, with that final thrilling image of a cackling Thomasin rising nude into the moonlight, embracing her place in Black Phillip’s coven? She has shed her fanatically repressed biological family like she shed her blood-splattered “shift” at Black Phillip’s whispered command, and now she’s off to see the world and taste butter by the churnful. Liberation!
But at what cost?...
- 4/28/2020
- by Michael C.
- FilmExperience
Michael Cusumano here to take a fresh look at a film that never fails to reward it.
Scene: The Sad, Strange Death of Carson Wells
Moss: What's this guy supposed to be, the ultimate badass?
Wells: No, I wouldn't describe him as that.
Moss: How would you describe him?
Wells: I guess I would say he doesn't have a sense of humor.
But that’s not really accurate, is it?
Anton Chigurh displays frequent amusement throughout the Coen’s adaptation of Cormac McCarthy’s No Country For Old Men. It simply that the humor exists on a wavelength only he can hear. Shortly after making that assessment quoted above, Woody Harrelson’s Carson Wells will learn just how mistaken he is...
Scene: The Sad, Strange Death of Carson Wells
Moss: What's this guy supposed to be, the ultimate badass?
Wells: No, I wouldn't describe him as that.
Moss: How would you describe him?
Wells: I guess I would say he doesn't have a sense of humor.
But that’s not really accurate, is it?
Anton Chigurh displays frequent amusement throughout the Coen’s adaptation of Cormac McCarthy’s No Country For Old Men. It simply that the humor exists on a wavelength only he can hear. Shortly after making that assessment quoted above, Woody Harrelson’s Carson Wells will learn just how mistaken he is...
- 9/25/2019
- by Michael C.
- FilmExperience
Michael Cusumano here to discuss a film that never fails to floor me.
Scene: Prawns
The story of Luca Guadagnino’s I Am Love pivots on a life-changing plate of prawns. It sounds ridiculous until you pause and remember that life is actually like that. One moment you’re having a routine day and the next a flood of emotions is precipitated by an unexpected trigger. These instances are difficult to explain in words, but what are movies for if not the moments when language fails?
Tilda Swinton’s character Emma Recchi doesn’t realize it, but she is primed for such a moment. A Russian who married into an Italian family of great power, she lives a life of comfort and wealth. She is not unhappy, exactly, nor is she mistreated, but her is existence is a cloistered one and she is expected to play the role assigned to her.
Scene: Prawns
The story of Luca Guadagnino’s I Am Love pivots on a life-changing plate of prawns. It sounds ridiculous until you pause and remember that life is actually like that. One moment you’re having a routine day and the next a flood of emotions is precipitated by an unexpected trigger. These instances are difficult to explain in words, but what are movies for if not the moments when language fails?
Tilda Swinton’s character Emma Recchi doesn’t realize it, but she is primed for such a moment. A Russian who married into an Italian family of great power, she lives a life of comfort and wealth. She is not unhappy, exactly, nor is she mistreated, but her is existence is a cloistered one and she is expected to play the role assigned to her.
- 9/10/2019
- by Michael C.
- FilmExperience
by Michael Cusumano
Scene: Fact-Finding Trip
The great real life journalism movies tend to focus on stories of monumental impact. Films like Spotlight or The Insider or All the Presidents Men are about reporters tangling with the most powerful institutions in America and uncovering scandals that affect the lives of millions.
And yet, for all their importance, I find myself thinking about those films less frequently than I think about Billy Ray’s Shattered Glass, which details a comparatively minor subject. Why is this story the one that haunts my thoughts? I was not one of Stephen Glass’s readers. Had it not been for the film I might never had heard of the wunderkind journalist who turned out to be a rampant fabulist, publishing at least twenty-seven whole or partly fabricated stories as fact during his time at The New Republic magazine...
Scene: Fact-Finding Trip
The great real life journalism movies tend to focus on stories of monumental impact. Films like Spotlight or The Insider or All the Presidents Men are about reporters tangling with the most powerful institutions in America and uncovering scandals that affect the lives of millions.
And yet, for all their importance, I find myself thinking about those films less frequently than I think about Billy Ray’s Shattered Glass, which details a comparatively minor subject. Why is this story the one that haunts my thoughts? I was not one of Stephen Glass’s readers. Had it not been for the film I might never had heard of the wunderkind journalist who turned out to be a rampant fabulist, publishing at least twenty-seven whole or partly fabricated stories as fact during his time at The New Republic magazine...
- 9/4/2019
- by Michael C.
- FilmExperience
by Michael Cusumano
Scene: Immortality
Bill, the protagonist of Don Hertzfeldt’s animated masterpiece It’s Such a Beautiful Day (2012), is the picture of ordinariness. With only his simple rectangle and line hat to distinguish him, he is every man.
The sweeping classical music on the soundtrack as we are plunged into Bill’s existence briefly tricks into thinking that Bill's life might be an extraordinary one. The film shares some selections with The Tree of Life, released the year before. But where Terrence Malick matched that music to images of equal grandeur, like the creation of the universe and butterflies landing on Jessica Chastain, Hertzfeldt goes in the opposite direction, using symphonies to elevate depictions of the most insignificant events conceivable. Bill’s life is as humdrum as his appearance...
Scene: Immortality
Bill, the protagonist of Don Hertzfeldt’s animated masterpiece It’s Such a Beautiful Day (2012), is the picture of ordinariness. With only his simple rectangle and line hat to distinguish him, he is every man.
The sweeping classical music on the soundtrack as we are plunged into Bill’s existence briefly tricks into thinking that Bill's life might be an extraordinary one. The film shares some selections with The Tree of Life, released the year before. But where Terrence Malick matched that music to images of equal grandeur, like the creation of the universe and butterflies landing on Jessica Chastain, Hertzfeldt goes in the opposite direction, using symphonies to elevate depictions of the most insignificant events conceivable. Bill’s life is as humdrum as his appearance...
- 8/27/2019
- by Michael C.
- FilmExperience
Michael Cusumano here to take a break from batting around Once Upon a Time In... Hollywood to look back a decade.
Scene - Chapter 2: Inglourious Basterds
The Inglourious Basterds marketing team knew what aspects of the film to emphasize ten years ago.
“A basterd's work is never done” boasted the tag line next to the image of a triumphant Brad Pitt brandishing a machine gun atop a pile of dead Nazis. “An inglourious, uproarious thrill-ride of vengeance!” promised another line. The centerpiece of the trailer was Pitt’s Aldo the Apache jutting his chin into a tight close to declare “I want my scalps!”. The promise was clear. The director of Kill Bill is trading samurai swords for hand grenades.
Rewatching it now, ten years later, I can still feel the chasm between the film that was sold and the film that was delivered. Basterds is a sprawling, oddly-shaped,...
Scene - Chapter 2: Inglourious Basterds
The Inglourious Basterds marketing team knew what aspects of the film to emphasize ten years ago.
“A basterd's work is never done” boasted the tag line next to the image of a triumphant Brad Pitt brandishing a machine gun atop a pile of dead Nazis. “An inglourious, uproarious thrill-ride of vengeance!” promised another line. The centerpiece of the trailer was Pitt’s Aldo the Apache jutting his chin into a tight close to declare “I want my scalps!”. The promise was clear. The director of Kill Bill is trading samurai swords for hand grenades.
Rewatching it now, ten years later, I can still feel the chasm between the film that was sold and the film that was delivered. Basterds is a sprawling, oddly-shaped,...
- 8/20/2019
- by Michael C.
- FilmExperience
Michael Cusumano here to explore what keeps fans returning for repeat voyages on Peter Weir's 2003 nautical adventure.
Scene: Exploring the Galapagos
Right before the climactic naval battle in Peter Weir’s Master and Commander: The Far Side of the World, the story pauses to watch a scientist leisurely wander the Galapagos Islands, collecting lizards and measuring giant tortoises. How many modern adventure films would halt the action dead in its tracks like that? Hell, how many films from any era would resist relegating such a detour to the cutting room floor? I can imagine David Lean including the sequence, but then his version of Master and Commander would probably push the four hour mark.
This adaptation of Patrick O’Brien’s series of novels is less about narrative urgency and more about creating a world to get lost in. Sure, when the time comes to pay-off the naval duel...
Scene: Exploring the Galapagos
Right before the climactic naval battle in Peter Weir’s Master and Commander: The Far Side of the World, the story pauses to watch a scientist leisurely wander the Galapagos Islands, collecting lizards and measuring giant tortoises. How many modern adventure films would halt the action dead in its tracks like that? Hell, how many films from any era would resist relegating such a detour to the cutting room floor? I can imagine David Lean including the sequence, but then his version of Master and Commander would probably push the four hour mark.
This adaptation of Patrick O’Brien’s series of novels is less about narrative urgency and more about creating a world to get lost in. Sure, when the time comes to pay-off the naval duel...
- 7/30/2019
- by Michael C.
- FilmExperience
Michael Cusumano here to mark the 10th anniversary of one of the great political satires.
Scene: The Meditation Room
The political operators of Armando Iannucci’s In the Loop live in a world where issues don’t matter and the halls of power are filled with bureaucrats who would gleefully sell out their principles were they not held back by their own incompetence. In this universe, those sad few officials who do manage to take a moral stand are not merely defeated but negated entirely, their feeble protests turned into absurd jokes and swept away in a sea of media noise.
I should add that In the Loop is one of the funniest movies of the 21st Century, but then it would have to be to get away with painting a picture so grim...
Scene: The Meditation Room
The political operators of Armando Iannucci’s In the Loop live in a world where issues don’t matter and the halls of power are filled with bureaucrats who would gleefully sell out their principles were they not held back by their own incompetence. In this universe, those sad few officials who do manage to take a moral stand are not merely defeated but negated entirely, their feeble protests turned into absurd jokes and swept away in a sea of media noise.
I should add that In the Loop is one of the funniest movies of the 21st Century, but then it would have to be to get away with painting a picture so grim...
- 7/23/2019
- by Michael C.
- FilmExperience
Michael Cusumano's series on the great films of the 21st century through the lens of a single scene.
Scene: Wig in a Box
I distinctly remember the arrival of the poster for Hedwig and the Angry Inch at the art-house movie theater I worked at during the Summer of 2001. The poster is dominated by the image of John Cameron Mitchell’s gender-defying punk rocker aggressively belting out a song, a swirl of glittering make-up and tendrils of blonde wig. More than attention-grabbing, it was attention demanding. I eagerly anticipated the film as I watched the trailer several dozen times during my shifts. As a straight, cisgender man from the suburbs with a lackluster wardrobe, I assumed that it was most definitely a movie Not. For. Me. but as an insatiable movie-devouring college student, I was nevertheless excited for what looked like a wildly inventive, low-budget extravaganza.
And while I...
Scene: Wig in a Box
I distinctly remember the arrival of the poster for Hedwig and the Angry Inch at the art-house movie theater I worked at during the Summer of 2001. The poster is dominated by the image of John Cameron Mitchell’s gender-defying punk rocker aggressively belting out a song, a swirl of glittering make-up and tendrils of blonde wig. More than attention-grabbing, it was attention demanding. I eagerly anticipated the film as I watched the trailer several dozen times during my shifts. As a straight, cisgender man from the suburbs with a lackluster wardrobe, I assumed that it was most definitely a movie Not. For. Me. but as an insatiable movie-devouring college student, I was nevertheless excited for what looked like a wildly inventive, low-budget extravaganza.
And while I...
- 7/9/2019
- by Michael C.
- FilmExperience
Michael Cusumano here to nominate a New Classic that doesn't get discussed much around these parts.
Scene: Self-surgery
Nolan’s Batman trilogy is supposed to be the grounded version of the Bruce Wayne mythology, but really, that movie arrived eight years later in the form of Jeremy Saulnier’s Blue Ruin.
Like Bruce Wayne, Blue Ruin’s Dwight Evans (played memorably by Macon Blair) finds himself unable to process the murder of his parents. Unlike the Caped Crusader however, the trauma doesn’t set him on the path to becoming a crime-fighting ninja, so much as it leaves him a haunted vagrant who survives by trash-picking down by the boardwalk. When he embarks on a spree of vigilante retribution, Dwight has no lofty ideas about the betterment of society. It’s more of an indirect suicide attempt...
Scene: Self-surgery
Nolan’s Batman trilogy is supposed to be the grounded version of the Bruce Wayne mythology, but really, that movie arrived eight years later in the form of Jeremy Saulnier’s Blue Ruin.
Like Bruce Wayne, Blue Ruin’s Dwight Evans (played memorably by Macon Blair) finds himself unable to process the murder of his parents. Unlike the Caped Crusader however, the trauma doesn’t set him on the path to becoming a crime-fighting ninja, so much as it leaves him a haunted vagrant who survives by trash-picking down by the boardwalk. When he embarks on a spree of vigilante retribution, Dwight has no lofty ideas about the betterment of society. It’s more of an indirect suicide attempt...
- 6/11/2019
- by Michael C.
- FilmExperience
Michael Cusumano here to add a title that is near and dear to my heart to the New Classics pantheon
Scene: Epilogue
The Narrator in coming-of-age stories most often represents a grown-up version of the protagonist. Think The Sandlot or A Christmas Story, or the quintessential example, The Wonder Years, voices looking back, awash in nostalgia. In Alfonso Cuarón’s Y Tu Mamá También not only is the narrator not a character, but the voice is indifferent, even coldly clinical in its omniscience, as likely to note the fate of a passing group of wild pigs as to reveal the deepest secrets of the protagonists.
We get used to the voice as a welcome companion throughout the film. Its flat, objective viewpoint is a welcome respite from the main trio’s frequent emotional upheavals. Little do we realize we are being set up for the emotional gut punch of the film’s epilogue.
Scene: Epilogue
The Narrator in coming-of-age stories most often represents a grown-up version of the protagonist. Think The Sandlot or A Christmas Story, or the quintessential example, The Wonder Years, voices looking back, awash in nostalgia. In Alfonso Cuarón’s Y Tu Mamá También not only is the narrator not a character, but the voice is indifferent, even coldly clinical in its omniscience, as likely to note the fate of a passing group of wild pigs as to reveal the deepest secrets of the protagonists.
We get used to the voice as a welcome companion throughout the film. Its flat, objective viewpoint is a welcome respite from the main trio’s frequent emotional upheavals. Little do we realize we are being set up for the emotional gut punch of the film’s epilogue.
- 5/28/2019
- by Michael C.
- FilmExperience
Michael Cusumano here to take us back to the Summer of 2004 for the latest film to join the ranks of The New Classics.
Scene: Jazz Club
While Collateral has both feet down in the realistic, that trademark Michael Mann style is just intoxicating enough to make my mind wander to the mystical. I can't help but view Mann’s thriller as a modern retelling of Bergman's The Seventh Seal. Tom Cruise’s Vincent is the Grim Reaper and Jamie Foxx’s Max is von Sydow’s knight, granted a temporary reprieve because he has piqued Death’s interest...
Scene: Jazz Club
While Collateral has both feet down in the realistic, that trademark Michael Mann style is just intoxicating enough to make my mind wander to the mystical. I can't help but view Mann’s thriller as a modern retelling of Bergman's The Seventh Seal. Tom Cruise’s Vincent is the Grim Reaper and Jamie Foxx’s Max is von Sydow’s knight, granted a temporary reprieve because he has piqued Death’s interest...
- 5/21/2019
- by Michael C.
- FilmExperience
Michael Cusumano back again with my new series on great scenes/films of the 21st Century. This week a title we will surely hear often when the best of the decade lists start rolling in...
Scene: Razieh is Fired (aka The Incident)
It’s rare for a movie, even a great movie, to sneak up on the audience the way Asghar Farhadi’s A Separation does.
The screenplay is centered around an inflection point. Everything pulling the characters inexorably toward, or ricocheting off of, the moment when a man shoves a woman out his front door. Yet this action is not granted any special emphasis. First-time viewers have no clue they’ve witnessed the action around which the entire story pivots. It is only a few short scenes later, when the man is on trial for causing the miscarriage of the women he pushed (a murder charge in Iran) that...
Scene: Razieh is Fired (aka The Incident)
It’s rare for a movie, even a great movie, to sneak up on the audience the way Asghar Farhadi’s A Separation does.
The screenplay is centered around an inflection point. Everything pulling the characters inexorably toward, or ricocheting off of, the moment when a man shoves a woman out his front door. Yet this action is not granted any special emphasis. First-time viewers have no clue they’ve witnessed the action around which the entire story pivots. It is only a few short scenes later, when the man is on trial for causing the miscarriage of the women he pushed (a murder charge in Iran) that...
- 5/14/2019
- by Michael C.
- FilmExperience
Michael Cusumano here to revisit one of the most indelible performances of 2001 for our new series "The New Classics"...
Scene: Don Logan converses with his reflection
How many viewings of Jonathan Glazer’s Sexy Beast does it take before you realize Don Logan is the most sympathetic character in the movie?
Don shows up in Spain with two missions: to reconnect with his old friend Gal, and to see if he has a shot with his lost love, Jackie. And what does he find? Not only does his friend attempt to blow him off, but the object of his affection is married to some spineless twit and can’t stand so much as to look at him. My heart goes out to the guy...
Scene: Don Logan converses with his reflection
How many viewings of Jonathan Glazer’s Sexy Beast does it take before you realize Don Logan is the most sympathetic character in the movie?
Don shows up in Spain with two missions: to reconnect with his old friend Gal, and to see if he has a shot with his lost love, Jackie. And what does he find? Not only does his friend attempt to blow him off, but the object of his affection is married to some spineless twit and can’t stand so much as to look at him. My heart goes out to the guy...
- 5/7/2019
- by Michael C.
- FilmExperience
Michael Cusumano here to argue a case for the the best fight scene of the last two decades.
The Scene: The Sauna Fight
It’s no surprise that just about every discussion of the sauna fight from Eastern Promises dwells on the bare skin. If the King of Middle Earth strips down to his tattoos and takes on two goons in a bathhouse brawl it’s gonna dominate the conversation.
And it’s not only gawking. It’s thematically on point. This scene uses nakedness to make you feel a character’s vulnerability as effectively as any film since Psycho, plus all the skin on display reflects the film’s obsession with bodies -- bodies as currency and bodies defaced and disfigured...
The Scene: The Sauna Fight
It’s no surprise that just about every discussion of the sauna fight from Eastern Promises dwells on the bare skin. If the King of Middle Earth strips down to his tattoos and takes on two goons in a bathhouse brawl it’s gonna dominate the conversation.
And it’s not only gawking. It’s thematically on point. This scene uses nakedness to make you feel a character’s vulnerability as effectively as any film since Psycho, plus all the skin on display reflects the film’s obsession with bodies -- bodies as currency and bodies defaced and disfigured...
- 4/30/2019
- by Michael C.
- FilmExperience
Michael Cusumano here to christen my new series on future classics of the 21st Century with Tony Gilroy's 2007 legal thriller. In each episode we'll be discussing one great scene.
The Scene: Karen Crowder’s Downfall
How does the final scene of Tony Gilroy’s Michael Clayton work so well despite the wheezy cliché at its center? Secretly recording the villain’s confession is right up there with the Monologuing Killer on the list of tired plot devices. Yet when Clooney coerces Swinton into exposing her sins it doesn’t feel the least bit lazy. On the contrary: it’s electrifying...
The Scene: Karen Crowder’s Downfall
How does the final scene of Tony Gilroy’s Michael Clayton work so well despite the wheezy cliché at its center? Secretly recording the villain’s confession is right up there with the Monologuing Killer on the list of tired plot devices. Yet when Clooney coerces Swinton into exposing her sins it doesn’t feel the least bit lazy. On the contrary: it’s electrifying...
- 4/23/2019
- by Michael C.
- FilmExperience
The Film Experience is very pleased to announce that one of our long-lost contributors, Michael Cusumano, is returning to the fold. After a few years off, he has a new weekly column launching Tuesday and new readers are in for a treat because Michael is a fine and insightful writer. We asked him about where he's been and what we can expect. Please welcome him back with open arms! - Nathaniel R.
Michael, where the hell have you been? We haven't seen you around these parts in 4 (gulp) years! We hope you've been having film experiences without us at least.
I’ve been living in New York doing my own creative writing. I needed to take a step back from online film culture and clear some mental space. I had tried to write a first draft of a screenplay and I ended up with a ranked list of all the meaningful glances in Carol.
Michael, where the hell have you been? We haven't seen you around these parts in 4 (gulp) years! We hope you've been having film experiences without us at least.
I’ve been living in New York doing my own creative writing. I needed to take a step back from online film culture and clear some mental space. I had tried to write a first draft of a screenplay and I ended up with a ranked list of all the meaningful glances in Carol.
- 4/20/2019
- by NATHANIEL R
- FilmExperience
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