The Freddie Mercury biopic has been cooking up since 2010. Originally meant to be a Sacha Baron Cohen and David Fincher collaboration, the biopic’s direction had shifted into the hands of the remaining members of Queen. This led to Baron Cohen leaving the project due to artistic disagreements, envisioning a much more adult version of Bohemian Rhapsody. Eventually, Anthony McCarten’s screenplay was green-lit with Bryan Singer (ugh) attached to direct. Soon they found Mercury in Rami Malek, as well as some reforms after Singer was fired from the project, some backlash for the lack of inclusion of the AIDs crisis, and accusations of “de-queering” Mercury’s depiction the film (more ugh)! It’s almost impressive that a project with such an infamously-controversial development stage could amount to a film this dull.
But here we are. Bohemian Rhapsody, despite a mixed critical reception, hit the #1 spot of the box office, making an estimated $50 million dollar earning. Somehow, this has only sparked more controversy as a quite irritating critics-versus-audiences conversation has formed once again. I think we have bigger things to worry about, considering the director credit has gone to an accused pedophile (he is currently being campaigned for by Fox for best director as part of the upcoming awards season). Simply put, this film already gave me a headache before I even got the chance to see it. Dubbed the “unseasoned chicken” of cinema by our editor-in-chief, Dilara, and writer, Iana, Bohemian Rhapsody is not only the blandest on-screen version of Mercury’s extravagant life possible, but it also does a major disservice to the gay and bi men who have looked up to the idol since the 80s. While the “de-queering” criticism may be slightly hyperbolic as Mercury’s sexuality is a large thread within the film, it is not handled with the amount of care to be worthy of high praise.
We’re so proud to share the first episode of our podcast with you. It’s been a year (and a month) since we opened Much Ado and we could never imagine how far we’d come in such a short time.
On our Patreon page we set a goal of $75 to start working on our podcast and this month we hit that goal, thanks to your help! Every time we gain a new Patron, we come one step closer to saving enough money to pay to our writers. You can help us with as little as $1.
Our first episode is about, as it should be on October 31st, Halloween! Podcast host Charlie Dykstal talks with our writers Mia Vicino, Mary Beth McAndrews and Tyler Llewyn Taing about horror films that scared them in childhood, jump scares and how cathartic horror films can be.
Listen to the first episode on iTunes,Spotify, Stitcher and Google Play. Don’t forget to subscribe for upcoming episodes and share your feedback with us on twitter or via e-mail at email@example.com.
If the sight of Ryan Gosling’s moon mission and the sound of Lady Gaga’s commanding vocalsare any indications, we are officially in the bold beginnings of awards season. Curiously, this year’s new wave involves well-established talent making the jump behind the camera and into the director’s chair. From Paul Dano and Bo Burnham to Amy Poehler and Olivia Wilde, these classic career transitions are offering interesting voices a place in the film industry. Enter Jonah Hill, known for comedies such as Superbad and 21 Jump Street, who has recently been making the slow transition into more serious character roles in The Wolf of Wallstreet and Fukunaga’s Netflix joint, Maniac. His card to throw into this directorial debut poker table is Mid90s, produced by big-name-indie-house A24.
Set in Los Angeles, Mid90s is a slice-of-life film centered on a young boy named Stevie (Sunny Suljic) who encounters and becomes part of a local skateboarding clique. This group becomes Stevie’s escape as he gets into violent fights with his older brother, Ian (Lucas Hedges) and starts to feel detached with his mother (Katherine Waterston) in his home life. Hill sought to authentically portray L.A. skate culture by hiring real skateboard talent as actors for his ensemble cast. Fixed to a boxy 4:3 aspect ratio, Hill commands every technical aspect within and around the frame to evoke nostalgic aesthetics and feel as grungy as the 90s itself.
Venom is one hell of a fascinating, cultural enigma— in all the ways it wasn’t planning to be. From the opening shot of space to the Eminem-blasting credits sequence,the symbiote solo film is in a constant state of identity crisis. It is a clunky, tonal disaster with a script that seemed to have been written by an algorithm that churns out comic book origin screenplays by the hour. Tied together by the meme-able marketing, outdated aesthetics, and poor critical reception, Venom was set up and sure to be a flop. Or so I thought, as the film just made 80 million dollars at the box office this weekend.
As someone who just stepped out of my 11:00 AM IMAX 3D time machine to the early 2000s, I am, of course, dumbfounded by these box office numbers. My shock leads me to log onto Twitter for an investigation of what the overall response of Venom‘s audience was, only to see the DCEU fandom have co-opted the financial success of Venom into their anti-MCU campaigns against film criticism. This surprised me even more – is this latest piece of Sony Pictures schlock what they really want to defend from the evil, nasty film critics? Even past this vocal minority of the Twittersphere, what did 80 million dollars worth of people see in “eyes, lungs, pancreas”that made them leave with satisfaction? As Laurie Metcalf famously once said, “Let’s just sit with what we’ve heard.”
I love Paddington 2. I love Mission: Impossible – Fallout. So of course, what better way to express my love for two of my favorite 2018 releases/major hyper fixations than to combine them both in a trailer recut? This took a few weeks of editing, but I can proudly say it’s one of my favorite videos I’ve ever edited. How long until a bear like that, has had enough?
On Monday night, I was invited to the IMAX Headquarters to attend a screening of Mission: Impossible – Fallout followed by a Q&A with director Christopher McQuarrie, hosted and moderated by Collider’s Steven “Frosty” Weintraub. Fallout has been a major hyper fixation with me this year, so of course, I was dying to make that quick hop to L.A. for my last time viewing the film in a theater. After a quick check-in, the attendees were seated and left alone to witness the halo-jump scene in glorious laser-projection.
There’s no official review of Fallout on the site, but I can personally vouch for it. If you managed to avoid seeing it this whole summer, just know that it’s a rollercoaster ride of a blockbuster that never slows down. For popcorn action flick standards, the direction of this spectacle film is so artful and distinct that it made for one of the most memorable and thrilling cinema experiences all year.
After the screening, Christopher McQuarrie showed up in the flesh to respond to Weintraub’s questions and then opened the floor to our own. A lot was discussed in those two hours. The full transcript can be found on Collider, but I’ve compiled a few of my favorite moments from the Q&A here: