In the midst of the scandals and snubs that have dominated the conversations surrounding Best Picture nominees of recent years, Phantom Thread and The Favourite are two contenders that have drawn the most specific comparisons. Given that they’re both British period pieces at their cores, and are helmed by prominent directors — Paul Thomas Anderson and Yorgos Lanthimos, respectively — these films seem just as primed for predictable Academy recognition as star-studded melodramas or Sam Rockwell playing racist characters a little too well.
But even as The Favourite and Phantom Thread have received well-deserved buzz and tick many of the boxes that often lead awards cycle domination, the general consensus remains: there’s something offbeat and singular about how these stories unfold. In spite of their lavish settings, the films seize upon social codes of the time to exacerbate conflicts between their characters, until the resulting atmospheres become increasingly confined and oppressive. This intentional, rather ironic claustrophobia helps the films to plumb deeper themes that arise from certain historical circumstances, moving the needle on what a “period piece” can explore.
By the time that Reynolds Woodcock (Daniel Day-Lewis) first encounters his lover and muse, Alma (Vicky Krieps) near the beginning of Phantom Thread, viewers have already been thoroughly exposed to the painstakingly choreographed rituals that dictate the designer’s opulent life. The film marks Paul Thomas Anderson’s first departure from the restless Americana of his seven earlier features, as he and the notoriously method-oriented Day-Lewis delved into the refined world of 1950s London couture houses.
Much more reliant on tradition than Paris — the other European dressmaking capital of the time — London fashion was predicated on the occasions of the city’s upper class. Scenes of royals and women of high society ascending the spiral staircase of the “House of Woodcock” to meet with Reynolds as Jonny Greenwood’s score swells carry an air of choreographed theatrics because they are meant to — these carefully manicured businesses are beautiful, but so steeped in privilege and British customs that they can easily turn suffocating if one steps out of line.
Continue reading “How the Unlikely Claustrophobia of ‘Phantom Thread’ and ‘The Favourite’ Moves the Needle on Prestige Period Dramas”
Here it is, the season we all hate to love and love to hate, the Awards Season! Predictions, staying up to watch awards, fighting our favourites until the Oscars when our exhaustion reaches its peak and we all go “I never want to live through another season again!” until the festivals hit and Here We Go Again! Critics circles already started naming their winners but the fun officially starts tonight with Golden Globes. Here at Much Ado we love our predictions so please enjoy reading the winners our hearts desire, and those we think will snatch the award!
Continue reading “Golden Globes Predictions”
2018 has been a wild year for film, from wildly entertaining sequels (see Mamma Mia: Here We Go Again and Paddington 2) to Yorgos Lanthimos’ latest in dry, yet tragic, humor to a horror film featuring tongue clicking, a nut allergy, and dead pigeons. It has been year for powerful women, both in front of and behind the camera, from the women of Annihilation to Crystal Moselle and her look into the world of women skateboarders. It has been a year to interrogate representations of masculinity, from Joe in You Were Never Really Here to Reverend Toller in First Reformed. It has been a year of terror, love, laughter, and exhaustion, both literally and cinematically. The films of 2018 truly captured the strange and turbulent atmosphere that has thrown us all into a state of near-constant anxiety.
The Much Ado team has relished in this anxiety, seeing many of 2018’s best, and worst films with the help of film festivals such as Cannes, NYFF, and BFI, MoviePass (RIP), and AMC Stubs A-List. After much deliberation, Letterboxd rankings, and last-minute trips to the cinema, we present Much Ado’s top 25 films of the year.
Continue reading “Best Films of 2018”
It starts with a whisper, then a murmur, then a joyous shout. Spreading across the screening like waves disturbing still water, the chanting begins. Sapphics hold hands as they begin to activate their power, absorbing gay energy from the very presence of Rachel Weisz in a hunting outfit. They will now live forever, to spread a message of plaid and emotional detachment across the world.
“Let’s go lesbians,” yells the theatre, and all heterosexuality evaporates into dust.
I’m joking, of course, but that’s kinda what watching The Favourite felt like.
Continue reading “BFI London Film Festival ’18: ‘The Favourite’ Makes Scathing Commentary on the Frivolity of Royalty (Also, There’s Lesbian Activity)”
As the dreadful month of August ends, fall begins and with fall comes the most wonderful time of the year: Festival Season! Venice already started, Toronto and Telluride will follow, then comes London and New York. The happiness and the discourse will spread from the sunny seaside of Italy, bringing film lovers together (or apart) until the Awards Season, in which we all will sell our souls to competition. But until then, enjoy a list of some of the films we cannot wait to see from festival season.
Continue reading “Most Anticipated Films from Fall Festivals”
From Yorgos Lanthimos’ highly-anticipated The Favourite to Greta Gerwig’s star-studded interpretation of Little Women, 2018 will be the year of period pieces. In anticipation of these films, the Much Ado crew has put our heads together and shared some of our favorite period pieces. They span genres, directors, and countries, but one thing is for sure: We are a group who loves a good period piece.
Atonement (2007) dir. Joe Wright
I’m not here to introduce you to a hidden gem of historical fiction about a marginalized population or oft-ignored perspective – I’m here to talk about Atonement. Yes, the Ian McEwan adaptation starring Keira Knightley and directed by Joe Wright. The combination of those three names yields a period piece so period piece-y, it’s quintessential genre viewing.
This movie’s got everything: war-torn lovers, smoking parlors, sexual tension, an evil chocolatier played by Benedict Cumberbatch, family secrets, precocious Saoirse Ronan, dramatic deaths, and betrayal. Set against the backdrop of the First World War, Atonement follows the sweeping love story of beautiful, snobbish Cecilia and working class Robbie, played by Keira Knightley with a jaw so sharp it could kill a man and boy-next-door James McAvoy, respectively. Saoirse received her first Oscar nomination for her role as Cecilia’s incredibly annoying theater kid sister Briony (or at least that’s how I viewed her when I first saw the film as a preteen). But most of the gooey, decadent drama of the film draws itself from everything but the acting.
Continue reading “Let’s Go Back In Time: Much Ado’s Favorite Period Pieces”
Happy Pride to all our LGBTQ readers!
To celebrate Pride Month, here is a list of all the upcoming LGBTQ films you can expect to see on a cinema screen near you. All descriptions are from press materials.
- June 8 – HEART BEATS LOUD dir. Brett Haley
The film follows Sam during her last summer at home before she leaves for UCLA. She lives with her father, Frank, who runs a record store in Brooklyn. Together, they bond while playing and writing music together in their living room. And Sam doesn’t let the impending cross-country move stop her from having a summer fling.
Starring: Nick Offerman, Kiersey Clemons, Sasha Lane, Toni Collette
Continue reading “Much Ado Pride 2018: Upcoming LGBTQ Films”