Team Experience is discussing each Oscar category before the nominations come out. Here's Eric Blume and Glenn Dunks to talk Best Director...
Eric: Hi Glenn, excited to dive into this year's crop of Best Directors with you. To me, the big question is whether all three of the "big gun pictures" will carry their directors to nominations. That's Martin Scorsese for Killers of the Flower Moon; Christopher Nolan for Oppenheimer; and Greta Gerwig for Barbie. I personally can't get too excited about Nolan or Scorsese, even though they both do expert work but nothing that rattled my cage. I think one of Gerwig's biggest achievements directing that film...and this is no easy feat...was dealing with what must have been Binders of notes from Mattell and Warner Bros and still delivering the film she set out to make...
Eric: Hi Glenn, excited to dive into this year's crop of Best Directors with you. To me, the big question is whether all three of the "big gun pictures" will carry their directors to nominations. That's Martin Scorsese for Killers of the Flower Moon; Christopher Nolan for Oppenheimer; and Greta Gerwig for Barbie. I personally can't get too excited about Nolan or Scorsese, even though they both do expert work but nothing that rattled my cage. I think one of Gerwig's biggest achievements directing that film...and this is no easy feat...was dealing with what must have been Binders of notes from Mattell and Warner Bros and still delivering the film she set out to make...
- 1/19/2024
- by EricB
- FilmExperience
For today's Oscar volley, Lynn Lee and Glenn Dunks discuss the Best Actor race.
Lynn: Glenn, it’s been a while since I’ve felt this strongly about the Best Actor race, so I’ll just lay my cards on the table: I really, really want both Paul Giamatti (The Holdovers) and Jeffrey Wright (American Fiction) to be nominated, would love Andrew Scott (All of Us Strangers) to join them --though I think he’s a long shot-- and really Don’T want Leonardo DiCaprio to get in for Killers of the Flower Moon.
It’s extra personal for me because I saw American Fiction, All of Us Strangers, and The Holdovers back to back at the Middleburg Film Festival earlier this year and loved all of them. More to the point, while all three films have their flaws, each one worked like gangbusters largely because of the fantastic...
Lynn: Glenn, it’s been a while since I’ve felt this strongly about the Best Actor race, so I’ll just lay my cards on the table: I really, really want both Paul Giamatti (The Holdovers) and Jeffrey Wright (American Fiction) to be nominated, would love Andrew Scott (All of Us Strangers) to join them --though I think he’s a long shot-- and really Don’T want Leonardo DiCaprio to get in for Killers of the Flower Moon.
It’s extra personal for me because I saw American Fiction, All of Us Strangers, and The Holdovers back to back at the Middleburg Film Festival earlier this year and loved all of them. More to the point, while all three films have their flaws, each one worked like gangbusters largely because of the fantastic...
- 12/24/2023
- by Lynn Lee
- FilmExperience
In yet another high-profile acquisition from Netflix, the streaming giant and Shondaland have nabbed global rights to “Black Barbie: A Documentary.” The film comes courtesy of director Lagueria Davis with Shonda Rhimes and Betsy Beers as executive producers.
The feature celebrates the momentous impact of three Black women at Mattel had on the evolution of the Barbie brand. The documentary tells the story of how the first Black Barbie came to be in 1980. It further examines the importance of representation and how dolls can be crucial to the formation of identity and imagination.
As critic Glenn Dunks wrote in The Film Experience, the film “isn’t just about black Barbie dolls. It’s about representation, and about the biases at play in an industry that for so long never ever conceived of the idea of black children wanting a doll like Barbie.”
Critic Clint Worthington noted in The Spool that...
The feature celebrates the momentous impact of three Black women at Mattel had on the evolution of the Barbie brand. The documentary tells the story of how the first Black Barbie came to be in 1980. It further examines the importance of representation and how dolls can be crucial to the formation of identity and imagination.
As critic Glenn Dunks wrote in The Film Experience, the film “isn’t just about black Barbie dolls. It’s about representation, and about the biases at play in an industry that for so long never ever conceived of the idea of black children wanting a doll like Barbie.”
Critic Clint Worthington noted in The Spool that...
- 10/10/2023
- by Scott Mendelson
- The Wrap
By Glenn Dunks
I will be honest with you. I initially had no real desire to watch In Viaggio: The Travels of Pope Francis. I believe my words were “because of the whole pope thing”, which I personally think is entirely fair. Especially after another European filmmaker, Wim Wenders, had his own Pope Francis doc not too long ago. It does, however, prove to be a much more interesting than initial perceptions would have suggested. And, to be honest, director Gainfranco Rosi—a director whose work only seems to be getting better and better (which is saying quite a lot)—deserves better than a ‘thanks, but no thanks.’ After all, I don’t think any other filmmaker can claim both a Golden Bear and a Golden Lion for works of non-fiction.
Rosi’s film is not the immersive experience that recent works like Notturno and Fire at Sea were, but...
I will be honest with you. I initially had no real desire to watch In Viaggio: The Travels of Pope Francis. I believe my words were “because of the whole pope thing”, which I personally think is entirely fair. Especially after another European filmmaker, Wim Wenders, had his own Pope Francis doc not too long ago. It does, however, prove to be a much more interesting than initial perceptions would have suggested. And, to be honest, director Gainfranco Rosi—a director whose work only seems to be getting better and better (which is saying quite a lot)—deserves better than a ‘thanks, but no thanks.’ After all, I don’t think any other filmmaker can claim both a Golden Bear and a Golden Lion for works of non-fiction.
Rosi’s film is not the immersive experience that recent works like Notturno and Fire at Sea were, but...
- 3/23/2023
- by Glenn Dunks
- FilmExperience
Team Experience is teaming up to discuss each Oscar category. Here's Glenn Dunks and Baby Clyde...
Glenn: Hi Baby Clyde, are you ready to talk documentaries? I just published my best documentaries of the year feature here at The Film Experience so I am ready to tie this year's world on non-fiction in a bow.
Will Laura Poitras win a second Oscar to go with her Golden Lion?
First things first, what do you think of this year's batch of nominees for Best Documentary Feature? As is pretty common for this category as of late, I don't think there's a bad film in the bunch, with a good coverage of American and international fare. It's a line-up that even has the added bonus of featuring the best documentary of the year in its ranks (that would be Laura Poitras' All the Beauty and the Bloodshed). Last time that happened was...
Glenn: Hi Baby Clyde, are you ready to talk documentaries? I just published my best documentaries of the year feature here at The Film Experience so I am ready to tie this year's world on non-fiction in a bow.
Will Laura Poitras win a second Oscar to go with her Golden Lion?
First things first, what do you think of this year's batch of nominees for Best Documentary Feature? As is pretty common for this category as of late, I don't think there's a bad film in the bunch, with a good coverage of American and international fare. It's a line-up that even has the added bonus of featuring the best documentary of the year in its ranks (that would be Laura Poitras' All the Beauty and the Bloodshed). Last time that happened was...
- 3/9/2023
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
There’s only so much one can watch! A recurring refrain inside my brain as I attempt to cram as many more films into my watch pile in order to offer myself, and you dear readers, the best chance at a definitive list of the best documentaries of 2022. It’s always doomed to failure of course. There are many films that I was unable to watch that I wanted to before hitting publish. Some were simply too long to fit in (Mr. Bachmann and His Class) and others were unavailable in my location (Lowndes County and the Road to Black Power), while others make it difficult to even know if they should be eligible. Again, there’s only so much one can watch. I’m already falling behind on 2023!
But here today are my top 15 documentaries of 2022. And because I watched a lot of stuff, a few little extras up top.
There’s only so much one can watch! A recurring refrain inside my brain as I attempt to cram as many more films into my watch pile in order to offer myself, and you dear readers, the best chance at a definitive list of the best documentaries of 2022. It’s always doomed to failure of course. There are many films that I was unable to watch that I wanted to before hitting publish. Some were simply too long to fit in (Mr. Bachmann and His Class) and others were unavailable in my location (Lowndes County and the Road to Black Power), while others make it difficult to even know if they should be eligible. Again, there’s only so much one can watch. I’m already falling behind on 2023!
But here today are my top 15 documentaries of 2022. And because I watched a lot of stuff, a few little extras up top.
- 3/2/2023
- by Glenn Dunks
- FilmExperience
The team is pairing off to discuss each Oscar race. Here's Glenn Dunks and Eric Blume...
Elvis Cinematography by Mandy Walker Oscar Nominated
Glenn: Hi Eric, let's talk all things camera and light—it's Best Cinematography. Can I just start by asking one big question regarding this particular category. What happened to Top Gun: Maverick here? Claudio Miranda, previous Oscar winner for Life of Pi, was supposed to be our runaway favorite and yet on nomination morning, Lydia Tár claimed one final scalp amid her reign of terror. And a second question, I suppose. Did that Top Gun miss just hand this trophy to All Quiet on the Western Front? As much as I am craving a win for Mandy Walker (for many reasons including how historic it would be), I just can't see anything but the German war movie coming out on top here.
Eric: Glenn, two excellent questions.
Elvis Cinematography by Mandy Walker Oscar Nominated
Glenn: Hi Eric, let's talk all things camera and light—it's Best Cinematography. Can I just start by asking one big question regarding this particular category. What happened to Top Gun: Maverick here? Claudio Miranda, previous Oscar winner for Life of Pi, was supposed to be our runaway favorite and yet on nomination morning, Lydia Tár claimed one final scalp amid her reign of terror. And a second question, I suppose. Did that Top Gun miss just hand this trophy to All Quiet on the Western Front? As much as I am craving a win for Mandy Walker (for many reasons including how historic it would be), I just can't see anything but the German war movie coming out on top here.
Eric: Glenn, two excellent questions.
- 3/1/2023
- by EricB
- FilmExperience
By Glenn Dunks
History can unfold in a lot of different ways. So too, how filmmakers choose to uncover, reveal and tell it in films for audiences. This week’s selection of films through the alphabet of 2022 titles that were eligible for the 95th Academy Awards (parts one to four available in the archives) show this off to great effect (even if the movies themselves don’t always succeed).
One uses comedy to explain how a man hoodwinked his way through one of the more baffling true crimes (if you can call it that) in modern history. Another takes a brief snippet of archival war footage to unravel a hidden queer love story at a time where such things weren't to be spoken about. Another is more traditional, detailing an incredible story from the annals of cinema history that could very easily have been ignored.
And at least in the...
History can unfold in a lot of different ways. So too, how filmmakers choose to uncover, reveal and tell it in films for audiences. This week’s selection of films through the alphabet of 2022 titles that were eligible for the 95th Academy Awards (parts one to four available in the archives) show this off to great effect (even if the movies themselves don’t always succeed).
One uses comedy to explain how a man hoodwinked his way through one of the more baffling true crimes (if you can call it that) in modern history. Another takes a brief snippet of archival war footage to unravel a hidden queer love story at a time where such things weren't to be spoken about. Another is more traditional, detailing an incredible story from the annals of cinema history that could very easily have been ignored.
And at least in the...
- 2/2/2023
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
I wasn’t expecting to have to review this movie so early. Until little more than a week before the 85th Academy Awards, Simon Lereng Wilmont’s film about Ukrainian children didn’t even have an American distribution deal. PBS and Pov swooped in just in time, acquiring the rights to a film that nobody had on their predictions and yet ultimately landed a surprise nomination for Best Documentary Feature alongside more recognised titles All That Breathes, All the Beauty and the Bloodshed, Fire of Love and Navalny (all titles we have looked at over the last year).
The movie had of course been on my radar for a while. Wilmont’s previous film, The Distant Barking of Dogs, was one of the great documentaries of the 2010s. A House Made of Splinters doesn’t quite reach the five-star heights of that one, because it has less of a laser focus.
I wasn’t expecting to have to review this movie so early. Until little more than a week before the 85th Academy Awards, Simon Lereng Wilmont’s film about Ukrainian children didn’t even have an American distribution deal. PBS and Pov swooped in just in time, acquiring the rights to a film that nobody had on their predictions and yet ultimately landed a surprise nomination for Best Documentary Feature alongside more recognised titles All That Breathes, All the Beauty and the Bloodshed, Fire of Love and Navalny (all titles we have looked at over the last year).
The movie had of course been on my radar for a while. Wilmont’s previous film, The Distant Barking of Dogs, was one of the great documentaries of the 2010s. A House Made of Splinters doesn’t quite reach the five-star heights of that one, because it has less of a laser focus.
- 1/28/2023
- by Glenn Dunks
- FilmExperience
Team Experience has been pairing up to debate the merits of each big awards season movie. Here's episode 11 with Chris James and Glenn Dunks duking it out over Elvis. The series resumes will resume for a few final episodes after the nominations.
Chris: Well, well, well, Glenn. We meet again. Excited to talk about Elvis with you. Previously, I was a sourpuss about the cinematic excesses of Babylon. While I have mixed thoughts on Elvis, I think the excesses of this movie are more in service of the film and its titular subject. I went with a few friends to the Chinese Theater in Hollywood to watch it on opening night and had a blast reacting both with and at the movie. As a friend said to me, "maximalism is meant to provoke a response, even laughter." At the very least, Elvis is an enjoyable watch.
It's always good to...
Chris: Well, well, well, Glenn. We meet again. Excited to talk about Elvis with you. Previously, I was a sourpuss about the cinematic excesses of Babylon. While I have mixed thoughts on Elvis, I think the excesses of this movie are more in service of the film and its titular subject. I went with a few friends to the Chinese Theater in Hollywood to watch it on opening night and had a blast reacting both with and at the movie. As a friend said to me, "maximalism is meant to provoke a response, even laughter." At the very least, Elvis is an enjoyable watch.
It's always good to...
- 1/24/2023
- by Christopher James
- FilmExperience
No two people feel the exact same way about any film. Thus, Team Experience is pairing up to debate the merits of each of the awards movies this year. Here’s Glenn Dunks and Cláudio Alves on James Cameron’s latest.
Glenn: Hi Cláudio! Welcome to Pandora... the whales are majestic, the grass gets you stones (mmhmmm) and the eyewear are Ray-Bans. An awful lot of ink has been spilled across the 13 years between Avatar movies. Ink about how nobody remembers Avatar. Ink about how it has no cultural imprint. Ink about how nobody knows the characters' names. Ink about how nobody actually even liked the 2009 original and it was purely a hit because of the 3D. And yet here we are with a James Cameron movie already having become (yet again) the highest grossing movie of the year and also potentially (yet again) the leader of the nomination board...
Glenn: Hi Cláudio! Welcome to Pandora... the whales are majestic, the grass gets you stones (mmhmmm) and the eyewear are Ray-Bans. An awful lot of ink has been spilled across the 13 years between Avatar movies. Ink about how nobody remembers Avatar. Ink about how it has no cultural imprint. Ink about how nobody knows the characters' names. Ink about how nobody actually even liked the 2009 original and it was purely a hit because of the 3D. And yet here we are with a James Cameron movie already having become (yet again) the highest grossing movie of the year and also potentially (yet again) the leader of the nomination board...
- 1/22/2023
- by Cláudio Alves
- FilmExperience
By Glenn Dunks
As we carry forth alphabetically along our merry way through the Academy's 144-title long-list we have coincidentally found two consecutive titles about the city of New Orleans. Bost missed the shortlist, which isn't surprising although they each have their virtues. Following these, however, is one film that did make the Oscar shortlist and that doesn't make quite such convenient bedfellows, but rules are rules and we're dealing with what the alphabet gives us.
The strongest of the pair from Louisiana is Katrina Babies, Edward Buckles’ partly autobiographical account of life in the city post Hurricane Katrina. Buckles uses a mixture of interviews, archival news footage and colourful animation to tell the story of how this natural event destroyed the way of life of so many, but in particular a group of children who knew no other life and were quickly forced to grow up.
As we carry forth alphabetically along our merry way through the Academy's 144-title long-list we have coincidentally found two consecutive titles about the city of New Orleans. Bost missed the shortlist, which isn't surprising although they each have their virtues. Following these, however, is one film that did make the Oscar shortlist and that doesn't make quite such convenient bedfellows, but rules are rules and we're dealing with what the alphabet gives us.
The strongest of the pair from Louisiana is Katrina Babies, Edward Buckles’ partly autobiographical account of life in the city post Hurricane Katrina. Buckles uses a mixture of interviews, archival news footage and colourful animation to tell the story of how this natural event destroyed the way of life of so many, but in particular a group of children who knew no other life and were quickly forced to grow up.
- 1/19/2023
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
Continuing our A to Z march through the documentary longlist in the lead up to our best of the year list.
In previous weeks we have looked at letters A through C and then D through F. This week brings a few big hitters of documentary in 2022 including one high profile absentee from the Academy’s shortlist of 15 (Good Night Oppy), a surprise inclusion on that same list and a quiet indie achievement that won acclaim and awards on the festival circuit (I Didn’t See You There).
Good Night Oppy begins with elaborate visual effects, generous narration from Angela Bassett, and an introduction to a robot character with eyes on being a Wall-e for the science nerds. I was immediately turned off.
Continuing our A to Z march through the documentary longlist in the lead up to our best of the year list.
In previous weeks we have looked at letters A through C and then D through F. This week brings a few big hitters of documentary in 2022 including one high profile absentee from the Academy’s shortlist of 15 (Good Night Oppy), a surprise inclusion on that same list and a quiet indie achievement that won acclaim and awards on the festival circuit (I Didn’t See You There).
Good Night Oppy begins with elaborate visual effects, generous narration from Angela Bassett, and an introduction to a robot character with eyes on being a Wall-e for the science nerds. I was immediately turned off.
- 1/12/2023
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
The Academy may have released their shortlist for the Best Documentary Feature category, but we’re going to continue our A to Z skim through the 144-wide longlist as a means of playing catch-up before I do my annual best of documentary list for the year. Last time we looked at Shaunak Sen’s sorta-frontrunner All That Breathes, Paweł Łoziński’s Efa nominee The Balcony Movie, and Hà Lệ Diễm’s dark horse contender Children of the Mist.
Descendant
This week, themes of racism, authoritarianism and war are a heady and heavy mix. All of them come with some sort of Oscar pedigree, although only one has made it to the next round of the Academy’s race to a nomination...
The Academy may have released their shortlist for the Best Documentary Feature category, but we’re going to continue our A to Z skim through the 144-wide longlist as a means of playing catch-up before I do my annual best of documentary list for the year. Last time we looked at Shaunak Sen’s sorta-frontrunner All That Breathes, Paweł Łoziński’s Efa nominee The Balcony Movie, and Hà Lệ Diễm’s dark horse contender Children of the Mist.
Descendant
This week, themes of racism, authoritarianism and war are a heady and heavy mix. All of them come with some sort of Oscar pedigree, although only one has made it to the next round of the Academy’s race to a nomination...
- 1/5/2023
- by Glenn Dunks
- FilmExperience
No two people feel the same exact way about any film. Thus, Team Experience is pairing up to debate the merits of each of the big awards season movies this year. Here’s Chris James, Ben Miller and Glenn Dunks duking it out over Babylon.
Chris: Hey Glenn and Ben, happy to chat with you on the most talked about/least seen movie of the holiday season. Oscar winner Damien Chazelle's big budget tale, Babylon, opened with 3.6 million over the holiday weekend. I hate to be the person to kick a movie when it's down. It benefits no one for an original auteur project to flop. However, I found Babylon to be an all-out disaster. Its grand scale debauchery grows stale with each passing scene, with nothing ever exuding sexiness or splendor.
Much could be saved if Chazelle had a clear thesis with the movie, or engaging characters to follow.
Chris: Hey Glenn and Ben, happy to chat with you on the most talked about/least seen movie of the holiday season. Oscar winner Damien Chazelle's big budget tale, Babylon, opened with 3.6 million over the holiday weekend. I hate to be the person to kick a movie when it's down. It benefits no one for an original auteur project to flop. However, I found Babylon to be an all-out disaster. Its grand scale debauchery grows stale with each passing scene, with nothing ever exuding sexiness or splendor.
Much could be saved if Chazelle had a clear thesis with the movie, or engaging characters to follow.
- 1/5/2023
- by Christopher James
- FilmExperience
By Glenn Dunks
At one point early on in The Super 8 Years (Les années Super 8), Annie Ernaux notes in her soothing, authorial voice that a trip to the countryside—all tall grass, wildflowers, and mud—was like experiencing nostalgia for something she had never even experienced before. A sort of primal part of the human existence that wishes for the calm, the peace, and the relative relaxation of existing within nature without the extravagancies of modern life. It’s an amusing bon mot from the Nobel Prize winner, since this documentary feeds into that very concept:
I have never experienced the world that Ernaux embeds us in, but she welcomes the viewer through narration and the intuitive editing of Clément Pinteaux in such a manner that it feels like reliving a memory that I have never experienced. I was transported. A brisk dream of 65-minutes built entirely out of her...
At one point early on in The Super 8 Years (Les années Super 8), Annie Ernaux notes in her soothing, authorial voice that a trip to the countryside—all tall grass, wildflowers, and mud—was like experiencing nostalgia for something she had never even experienced before. A sort of primal part of the human existence that wishes for the calm, the peace, and the relative relaxation of existing within nature without the extravagancies of modern life. It’s an amusing bon mot from the Nobel Prize winner, since this documentary feeds into that very concept:
I have never experienced the world that Ernaux embeds us in, but she welcomes the viewer through narration and the intuitive editing of Clément Pinteaux in such a manner that it feels like reliving a memory that I have never experienced. I was transported. A brisk dream of 65-minutes built entirely out of her...
- 12/22/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
I have been inconsistent with Doc Corner this year. Various reasons including (finally) a year outside of lockdowns, day jobs, and — as of recently — a need to prioritize movies so that I could submit my Golden Globes ballot. Now that that is done, back to normal. For now, a bit of catch-up. Using the recently announced list of 144 eligible docs, let's look at a few titles The Film Experience has missed full reviews on. Beginning on the rooftops of New Delhi, to a humble balcony in Poland, and a village high in the Vietnamese mountains—All That Breaths, The Balcony Movie and Children of the Mist...
I have been inconsistent with Doc Corner this year. Various reasons including (finally) a year outside of lockdowns, day jobs, and — as of recently — a need to prioritize movies so that I could submit my Golden Globes ballot. Now that that is done, back to normal. For now, a bit of catch-up. Using the recently announced list of 144 eligible docs, let's look at a few titles The Film Experience has missed full reviews on. Beginning on the rooftops of New Delhi, to a humble balcony in Poland, and a village high in the Vietnamese mountains—All That Breaths, The Balcony Movie and Children of the Mist...
- 12/18/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
Sometimes movie stars use their power for good. How else to describe Netflix—home of Lindsay Lohan in Falling for Christmas and the fittingly titled Ryan Gosling vehicle The Grey Man—releasing a black and white documentary about an underground cinema pioneer known best for absurdist satires and stoner comedies of the ‘60s and ‘70s. In this case, we surely have to give gratitude to Robert Downey Jr. It’s hard to believe Sr. would be there on millions of people’s TV if it weren’t for him.
Thankfully, not so content to just let his name sell the picture and be done with it, Sr. is a probing, funny exploration of art and the people who make it, and the impression that both can leave on those around them.
Sometimes movie stars use their power for good. How else to describe Netflix—home of Lindsay Lohan in Falling for Christmas and the fittingly titled Ryan Gosling vehicle The Grey Man—releasing a black and white documentary about an underground cinema pioneer known best for absurdist satires and stoner comedies of the ‘60s and ‘70s. In this case, we surely have to give gratitude to Robert Downey Jr. It’s hard to believe Sr. would be there on millions of people’s TV if it weren’t for him.
Thankfully, not so content to just let his name sell the picture and be done with it, Sr. is a probing, funny exploration of art and the people who make it, and the impression that both can leave on those around them.
- 12/15/2022
- by Glenn Dunks
- FilmExperience
Team Experience will be discussing each Oscar category as we head into the precursors. Here's Eric Blume and Glenn Dunks...
The Fabelmans
Eric: Glenn, before we get to this year's nominees, I just want to celebrate the Academy's relative great taste in this category compared to most others. It's phenomenal that only once in the last 14 years has this award gone to a straight white American man. In those years, we've had three women, two Asian men, two Brits, and a French guy who have won, plus three great Latin filmmakers (including double wins for Iñárritu and Cuarón). It's the category where they now have diversity and true talent. I might have chosen differently in any given year, but none of the filmmakers are bad or untalented. Tom Hooper beating David Fincher didn't land back then and certainly hasn't aged well, but regardless it's a great category filled with remarkable work.
The Fabelmans
Eric: Glenn, before we get to this year's nominees, I just want to celebrate the Academy's relative great taste in this category compared to most others. It's phenomenal that only once in the last 14 years has this award gone to a straight white American man. In those years, we've had three women, two Asian men, two Brits, and a French guy who have won, plus three great Latin filmmakers (including double wins for Iñárritu and Cuarón). It's the category where they now have diversity and true talent. I might have chosen differently in any given year, but none of the filmmakers are bad or untalented. Tom Hooper beating David Fincher didn't land back then and certainly hasn't aged well, but regardless it's a great category filled with remarkable work.
- 12/14/2022
- by EricB
- FilmExperience
By Glenn Dunks
There is a line early in All the Beauty and the Bloodshed where somebody describes the film’s subject, photographer and activist Nan Goldin, as somebody who “knew how to use her power.” I found it appropriate that the director of this movie is Laura Poitras, somebody to whom you could also say knows how to use their power. Poitras is, after all, the filmmaker who has been at the centre of multiple political stories—I mean, it’s rare for a documentarian to be a character in a dramatization of a major news story (she was portrayed by Melissa Leo in Oliver Stone’s Snowden). And to watch a Poitras film is often to be swept up in a swirl of chaos and pain.
Unlike Risk (about Julian Assange) or her Oscar-winning Citizenfour (about Edward Snowden), Poitras herself is not a part of the story here.
There is a line early in All the Beauty and the Bloodshed where somebody describes the film’s subject, photographer and activist Nan Goldin, as somebody who “knew how to use her power.” I found it appropriate that the director of this movie is Laura Poitras, somebody to whom you could also say knows how to use their power. Poitras is, after all, the filmmaker who has been at the centre of multiple political stories—I mean, it’s rare for a documentarian to be a character in a dramatization of a major news story (she was portrayed by Melissa Leo in Oliver Stone’s Snowden). And to watch a Poitras film is often to be swept up in a swirl of chaos and pain.
Unlike Risk (about Julian Assange) or her Oscar-winning Citizenfour (about Edward Snowden), Poitras herself is not a part of the story here.
- 11/24/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
With a name like Bad Axe, it was only a matter of time before somebody made a movie about this town in Michigan. Bad Axe isn’t necessarily about the entire microcosm of this small town, preferring to focus on a single family (the director’s own) and their experiences within it. This isn’t Our Town; I mean, come on. You can’t pass up that title!
In telling the story of the Siev family in the town of Bad Axe, first-time filmmaker David Siev lands upon potent ideas of the political divide across America (it’s not as blue state/red state, or even blue county/red county state as some may like to conceive it...
With a name like Bad Axe, it was only a matter of time before somebody made a movie about this town in Michigan. Bad Axe isn’t necessarily about the entire microcosm of this small town, preferring to focus on a single family (the director’s own) and their experiences within it. This isn’t Our Town; I mean, come on. You can’t pass up that title!
In telling the story of the Siev family in the town of Bad Axe, first-time filmmaker David Siev lands upon potent ideas of the political divide across America (it’s not as blue state/red state, or even blue county/red county state as some may like to conceive it...
- 11/18/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
Retrograde is the best movie that Matthew Heineman has made. At least from those I have seen. I’ve been critical of this American director in the past for taking the somewhat lazy non-fiction critical expression “it plays like a real-life thriller” too literally, making movies like Cartel Land and City of Ghosts that put themselves above the subject. I never saw his dramatic feature A Private War with Rosamund Pike, but it didn’t surprise me that Heineman had made that leap.
This film, his third in as many years, thankfully takes something of a step back from what appeared to be his natural directorial instincts. For the most part, Retrograde is in service of its subjects and not the filmmaker.
Retrograde is the best movie that Matthew Heineman has made. At least from those I have seen. I’ve been critical of this American director in the past for taking the somewhat lazy non-fiction critical expression “it plays like a real-life thriller” too literally, making movies like Cartel Land and City of Ghosts that put themselves above the subject. I never saw his dramatic feature A Private War with Rosamund Pike, but it didn’t surprise me that Heineman had made that leap.
This film, his third in as many years, thankfully takes something of a step back from what appeared to be his natural directorial instincts. For the most part, Retrograde is in service of its subjects and not the filmmaker.
- 11/11/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
Good intentions can take a movie a long way. Who doesn’t like good intentions?! The problem with good intentions is that they can too often mask deficiencies. And in the case of Mama’s Boy, those good intentions suffocate director Laurent Bouzereau’s ability to tell a story that might venture outside of the lines of the one its subject has a firm and unwavering interest in telling. It’s a lovely story of empathy, compassion, a mother’s love for her son (and vice versa) that nonetheless suffers from rudimentary structure, unadventurous editing, and is built around one talking head interview in particular that lacks spontaneity, as if reciting from a script. Considering it's adapted from a memoir, that probably makes sense.
The central figure here is Academy Award-winning screenwriter and social activist Dustin Lance Black and the film is about him more than the more interesting figure of his mother.
Good intentions can take a movie a long way. Who doesn’t like good intentions?! The problem with good intentions is that they can too often mask deficiencies. And in the case of Mama’s Boy, those good intentions suffocate director Laurent Bouzereau’s ability to tell a story that might venture outside of the lines of the one its subject has a firm and unwavering interest in telling. It’s a lovely story of empathy, compassion, a mother’s love for her son (and vice versa) that nonetheless suffers from rudimentary structure, unadventurous editing, and is built around one talking head interview in particular that lacks spontaneity, as if reciting from a script. Considering it's adapted from a memoir, that probably makes sense.
The central figure here is Academy Award-winning screenwriter and social activist Dustin Lance Black and the film is about him more than the more interesting figure of his mother.
- 11/3/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
Hmm. This is a curious one, isn’t it?
Brainwashed: Sex-Camera-Power is a cinematic adaptation of an on-stage presentation by filmmaker Nina Menkes on the male gaze. Originally titled “Sex and Power: The Visual Language of Oppression”, Menkes has reworked the live show into a curious hybrid that deconstructs the way many movies are shot and framed in a way that subjugates the female characters. The first image we see is of Ana De Armas as the nude advertisement in Blade Runner 2049 before dissecting over 170 films in one form (very briefly) or another (more up close and personal).
Hmm. This is a curious one, isn’t it?
Brainwashed: Sex-Camera-Power is a cinematic adaptation of an on-stage presentation by filmmaker Nina Menkes on the male gaze. Originally titled “Sex and Power: The Visual Language of Oppression”, Menkes has reworked the live show into a curious hybrid that deconstructs the way many movies are shot and framed in a way that subjugates the female characters. The first image we see is of Ana De Armas as the nude advertisement in Blade Runner 2049 before dissecting over 170 films in one form (very briefly) or another (more up close and personal).
- 10/20/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
Showtime's Sinéad O'Connor documentary, Nothing Compares, much like the artist herself, is at its best when it is prickly and confronting the hard truths of the world. It is less interesting when conforming to now well-worn standards of this sub-genre, distilling information like a Wikipedia profile. The Irish singer, known for a shaved head and distinctively accented vocals, has had a hard life of struggle and sorrow amid mega-selling hit singles and critically acclaimed albums. In short, she's perfect fodder for a documentary. Director Kathryn Ferguson and editor Mick Mahon find their strongest rhythms when observing the singer’s career through the prism of her homeland and the pull-and-tug of Catholicism, which lingers over her music like a haunting spectre...
Showtime's Sinéad O'Connor documentary, Nothing Compares, much like the artist herself, is at its best when it is prickly and confronting the hard truths of the world. It is less interesting when conforming to now well-worn standards of this sub-genre, distilling information like a Wikipedia profile. The Irish singer, known for a shaved head and distinctively accented vocals, has had a hard life of struggle and sorrow amid mega-selling hit singles and critically acclaimed albums. In short, she's perfect fodder for a documentary. Director Kathryn Ferguson and editor Mick Mahon find their strongest rhythms when observing the singer’s career through the prism of her homeland and the pull-and-tug of Catholicism, which lingers over her music like a haunting spectre...
- 10/5/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
To quote Lady Gaga: That’s gossip!
To ignore the gossip cycle that has become the press tour of Don’t Worry Darling can be difficult in the macro, but when the movie started it slipped away quite easily. For whatever may have been said about Olivia Wilde’s second directorial feature in the lead up to its release, that friction hasn’t quite come through on screen.
It’s not a good movie in the sense that it is coherent and fully grapples with the ideas it appears to be putting forward. It isn't and it doesn't. But it also is not a bad movie in that it is badly made or devoid of imagination or one where you can tell everybody on set hated everyone else. Which, after everything that’s happened, feels like more of a win in the moment than it oughta be.
To quote Lady Gaga: That’s gossip!
To ignore the gossip cycle that has become the press tour of Don’t Worry Darling can be difficult in the macro, but when the movie started it slipped away quite easily. For whatever may have been said about Olivia Wilde’s second directorial feature in the lead up to its release, that friction hasn’t quite come through on screen.
It’s not a good movie in the sense that it is coherent and fully grapples with the ideas it appears to be putting forward. It isn't and it doesn't. But it also is not a bad movie in that it is badly made or devoid of imagination or one where you can tell everybody on set hated everyone else. Which, after everything that’s happened, feels like more of a win in the moment than it oughta be.
- 9/29/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
The spectre of director Patricio Guzmán’s career lingers over his latest, My Imaginary Country. It would be hard not to considering he is the most prominent and prolific documenter of modern Chile. But in this case it feels different. It isn’t just a case of the viewer bringing their knowledge of the director’s work into a latest. Rather, the new work is reflecting those films going back fifty years.
For you see, Guzmán has made a name for himself detailing the horrors of the Pinochet dictatorship. Most prominently across two of the most impressive film trilogies you will ever see. He didn’t expect this beloved homeland to fall once again to civil war, which is what it appeared was happening in 2019...
The spectre of director Patricio Guzmán’s career lingers over his latest, My Imaginary Country. It would be hard not to considering he is the most prominent and prolific documenter of modern Chile. But in this case it feels different. It isn’t just a case of the viewer bringing their knowledge of the director’s work into a latest. Rather, the new work is reflecting those films going back fifty years.
For you see, Guzmán has made a name for himself detailing the horrors of the Pinochet dictatorship. Most prominently across two of the most impressive film trilogies you will ever see. He didn’t expect this beloved homeland to fall once again to civil war, which is what it appeared was happening in 2019...
- 9/22/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
Sierra Pettengill’s Riotsville, U.S.A. begins so strongly. It makes a striking first impression with the usage of an old government film taken of a fake town built on a military base that is being used to train soldiers on how to handle a riot. The entire film, we are informed in an opening title card, will be told using such archival government footage as well as television news coverage. This particular footage is from the 1960s as protest and activism began to take hold of the public, particularly those in predominantly African American communities. In one of the more depressing sights, black soldiers are regularly shown in such footage throughout portraying such (so called) rioters; asked to loot and threaten. The humiliation they must have felt is palpable...
Sierra Pettengill’s Riotsville, U.S.A. begins so strongly. It makes a striking first impression with the usage of an old government film taken of a fake town built on a military base that is being used to train soldiers on how to handle a riot. The entire film, we are informed in an opening title card, will be told using such archival government footage as well as television news coverage. This particular footage is from the 1960s as protest and activism began to take hold of the public, particularly those in predominantly African American communities. In one of the more depressing sights, black soldiers are regularly shown in such footage throughout portraying such (so called) rioters; asked to loot and threaten. The humiliation they must have felt is palpable...
- 9/15/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
Whether he liked it or not (most certainly the former), Chol Soo Lee was a pivotal figure in the history of the Korean people within the United States—as well as for the broader Asian community. His name came to symbolise many things, most significantly the inherent racism of anybody who wasn't white that was found within the justice system. His story was a tragic one, struggling as he did to overcome the lasting effects of what happened to him. But his plight as a man wrongly jailed for a crime he didn’t commit brought Asian and Asian-American people together and to the political forefront in ways that meant things wouldn’t be the same ever again.
In Free Chol Soo Lee, Julia Ha and Eugene Yi’s quietly damning documentary about his life inside prison, we get to reflect on a case that many may...
Whether he liked it or not (most certainly the former), Chol Soo Lee was a pivotal figure in the history of the Korean people within the United States—as well as for the broader Asian community. His name came to symbolise many things, most significantly the inherent racism of anybody who wasn't white that was found within the justice system. His story was a tragic one, struggling as he did to overcome the lasting effects of what happened to him. But his plight as a man wrongly jailed for a crime he didn’t commit brought Asian and Asian-American people together and to the political forefront in ways that meant things wouldn’t be the same ever again.
In Free Chol Soo Lee, Julia Ha and Eugene Yi’s quietly damning documentary about his life inside prison, we get to reflect on a case that many may...
- 9/1/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
Moonage Daydream is unlike any other Brett Morgen film. If you expected the same stately warmth that imbued Jane or even a tragic rock and roll epitaph like Cobain: Montage of Heck, then you would be wrong. This is evident immediately into its 140-minute runtime, beginning as it does with not just any David Bowie song, but the Pet Shop Boys remix of “Hallo Spaceboy” from 1996. I love a bit of trolling the rock crowd, so I was instantly on board. The mere inclusion of this song—to say nothing of the kaleidoscopic, tie-dyed montage that accompanies it—keyed me in that Morgen wasn’t just going to do what a Bowie fan may expect from a biography documentary.
These high-octane opening minutes don’t exactly let up, either. Moonage Daydream is a work of documentary that is almost as exhausting as it is exhilarating.
Moonage Daydream is unlike any other Brett Morgen film. If you expected the same stately warmth that imbued Jane or even a tragic rock and roll epitaph like Cobain: Montage of Heck, then you would be wrong. This is evident immediately into its 140-minute runtime, beginning as it does with not just any David Bowie song, but the Pet Shop Boys remix of “Hallo Spaceboy” from 1996. I love a bit of trolling the rock crowd, so I was instantly on board. The mere inclusion of this song—to say nothing of the kaleidoscopic, tie-dyed montage that accompanies it—keyed me in that Morgen wasn’t just going to do what a Bowie fan may expect from a biography documentary.
These high-octane opening minutes don’t exactly let up, either. Moonage Daydream is a work of documentary that is almost as exhausting as it is exhilarating.
- 8/18/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
Two years ago (!) I mourned the absence of my local film festival. After another year off in 2021 due to Melbourne’s pandemic lockdowns, the Melbourne International Film Festival has finally returned to theatres this month. It has been such a wonderful feeling to sit down and watch films with other movielovers that we will quite likely never have another opportunity to see projected so big.
The festival runs for another week and a half yet, but let's talk about a few of the documentary titles screened so far. They are all extremely different and formally bold takes on the medium that deserve celebrating. From an experimental tour of America to an equally experimental tour of the human body, these have all been films I can't imagine having missed in the cinema. They won't get a sniff of Oscar buzz, but who cares?...
Two years ago (!) I mourned the absence of my local film festival. After another year off in 2021 due to Melbourne’s pandemic lockdowns, the Melbourne International Film Festival has finally returned to theatres this month. It has been such a wonderful feeling to sit down and watch films with other movielovers that we will quite likely never have another opportunity to see projected so big.
The festival runs for another week and a half yet, but let's talk about a few of the documentary titles screened so far. They are all extremely different and formally bold takes on the medium that deserve celebrating. From an experimental tour of America to an equally experimental tour of the human body, these have all been films I can't imagine having missed in the cinema. They won't get a sniff of Oscar buzz, but who cares?...
- 8/11/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
Chan Tze Woon’s second feature is also his second about Hong Kong’s fight for independence. It follows Yellowing in 2016. Like many filmmakers working in non-fiction today, Chan incorporates actors and the process of moviemaking into Blue Island. This is a documentary that makes heavy use of recreations and performance, yet these are elements that are frequently weaved throughout rather seamlessly. It doesn’t always work, with some of Chan’s conceits coming and going at whim, but it becomes a smart choice.
For the story he’s trying to tell is one explicitly built around Hong Kong as an epicenter of street activism where one generation’s fighters have much to learn from those who came before. Where history becomes the present with far too much familiarity.
Chan Tze Woon’s second feature is also his second about Hong Kong’s fight for independence. It follows Yellowing in 2016. Like many filmmakers working in non-fiction today, Chan incorporates actors and the process of moviemaking into Blue Island. This is a documentary that makes heavy use of recreations and performance, yet these are elements that are frequently weaved throughout rather seamlessly. It doesn’t always work, with some of Chan’s conceits coming and going at whim, but it becomes a smart choice.
For the story he’s trying to tell is one explicitly built around Hong Kong as an epicenter of street activism where one generation’s fighters have much to learn from those who came before. Where history becomes the present with far too much familiarity.
- 8/4/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
I recently rewatched Steven Spielberg’s largely unsuccessful Ready Player One, a movie with many faults that are not relevant right now. But key to its failings is how completely uninterested in virtual reality it actually is. For all of its effort in setting up its admittedly rather awe-inspiring virtual world, it completely misunderstands why people would turn to such a space in the first place.
I thought of Ready Player One a lot as I watched Joe Huntings’ We Met in Virtual Reality, which is shot entirely in a VR landscape with all the boxy, hyper-coloured, anime-infused glory. This isn’t an action movie though. Rather, it’s a sweetly affecting documentary about online connections and the way some people feel more at home with a dragon tail and hooves than they do in the real world.
I recently rewatched Steven Spielberg’s largely unsuccessful Ready Player One, a movie with many faults that are not relevant right now. But key to its failings is how completely uninterested in virtual reality it actually is. For all of its effort in setting up its admittedly rather awe-inspiring virtual world, it completely misunderstands why people would turn to such a space in the first place.
I thought of Ready Player One a lot as I watched Joe Huntings’ We Met in Virtual Reality, which is shot entirely in a VR landscape with all the boxy, hyper-coloured, anime-infused glory. This isn’t an action movie though. Rather, it’s a sweetly affecting documentary about online connections and the way some people feel more at home with a dragon tail and hooves than they do in the real world.
- 7/28/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
We’ve been here before with the filmmakers Betsy West and Julie Cohen. The prolific documenters (four film in five years) have carved a niche as directors of biographical explorations of people who staked a claim for themselves in annals of history through sheer dogged determination: Supreme Court Justice Ruth Bader Ginsburg (Oscar-nominated Rbg), activist and non-binary pioneer Pauli Murray (I Am Pauli Murray), and celebrity chef Julia Child (Julia).
Their latest is a much more contemporary figure, yet one who represents the directing pair’s most cherished traits. Gabby Giffords Won’t Back Down isn’t the most exciting film, but it is an emotionally affecting one...
We’ve been here before with the filmmakers Betsy West and Julie Cohen. The prolific documenters (four film in five years) have carved a niche as directors of biographical explorations of people who staked a claim for themselves in annals of history through sheer dogged determination: Supreme Court Justice Ruth Bader Ginsburg (Oscar-nominated Rbg), activist and non-binary pioneer Pauli Murray (I Am Pauli Murray), and celebrity chef Julia Child (Julia).
Their latest is a much more contemporary figure, yet one who represents the directing pair’s most cherished traits. Gabby Giffords Won’t Back Down isn’t the most exciting film, but it is an emotionally affecting one...
- 7/20/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
There are three big reasons to see Fire of Love, preferably on the big screen if possible. The third I will get to later, but the first is the story. That of a couple who found themselves through the admittedly rather niche field of volcanology. There’s is one of mutual respect and adoration that I admired also for how much faith they granted the public to understand their world. You certainly don’t see that every day.
The second is the archive footage that makes up the entirety of its runtime. It’s a beauty and a truly wonderous, jaw-dropping visual spectacle.
There are three big reasons to see Fire of Love, preferably on the big screen if possible. The third I will get to later, but the first is the story. That of a couple who found themselves through the admittedly rather niche field of volcanology. There’s is one of mutual respect and adoration that I admired also for how much faith they granted the public to understand their world. You certainly don’t see that every day.
The second is the archive footage that makes up the entirety of its runtime. It’s a beauty and a truly wonderous, jaw-dropping visual spectacle.
- 7/6/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
That Beba is the work of a first-time filmmaker is both immediately impressive and also quickly apparent. There’s a maturity here that belies Rebecca Huntt’s autobiographical documentary portrait. It’s something that leaps out from its opening moments as flickering 16mm photography plays over poignant narration. “Violence is in my D.N.A.”, she says. “I carry an ancient pain that I struggle to understand.” It’s powerful stuff, but as it progresses, Huntt’s film finds itself swaying in the wind despite the really great stuff at its core.
That maturity is often balanced by selfishness that renders itself with a film that is unfocused almost as if by design. Huntt is a messy, complicated person; something that this movie impresses upon the viewer frequently. Whether it’s as a result of her family or society—most likely a strong dash of both—is...
That Beba is the work of a first-time filmmaker is both immediately impressive and also quickly apparent. There’s a maturity here that belies Rebecca Huntt’s autobiographical documentary portrait. It’s something that leaps out from its opening moments as flickering 16mm photography plays over poignant narration. “Violence is in my D.N.A.”, she says. “I carry an ancient pain that I struggle to understand.” It’s powerful stuff, but as it progresses, Huntt’s film finds itself swaying in the wind despite the really great stuff at its core.
That maturity is often balanced by selfishness that renders itself with a film that is unfocused almost as if by design. Huntt is a messy, complicated person; something that this movie impresses upon the viewer frequently. Whether it’s as a result of her family or society—most likely a strong dash of both—is...
- 6/29/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
Emelie Mahdavian’s first documentary feature was set in Tajikstan. The remote mountains of Idaho in the American west may seem like something of a remarkable jump, but it’s really not one at all. Topographically speaking, the two are quite similar. Certainly more so than Idaho and at least half of the rest of the US. That Mahdavian was so easily able to embed herself into the world of Bitterbrush shouldn’t surprise, then.
This is a quiet film, a film about loneliness and struggle and about the physical toll of a genuine hard day’s work. Unlike something like Buck or the more thematically similar Sweetgrass, that its two subjects are women lends Bitterbrush a unique entry-way into its world that brings with it a lot of connotations even before its opening shot...
Emelie Mahdavian’s first documentary feature was set in Tajikstan. The remote mountains of Idaho in the American west may seem like something of a remarkable jump, but it’s really not one at all. Topographically speaking, the two are quite similar. Certainly more so than Idaho and at least half of the rest of the US. That Mahdavian was so easily able to embed herself into the world of Bitterbrush shouldn’t surprise, then.
This is a quiet film, a film about loneliness and struggle and about the physical toll of a genuine hard day’s work. Unlike something like Buck or the more thematically similar Sweetgrass, that its two subjects are women lends Bitterbrush a unique entry-way into its world that brings with it a lot of connotations even before its opening shot...
- 6/16/2022
- by Glenn Dunks
- FilmExperience
By Glenn Dunks
If you were paying close enough attention to the ways the American political winds were blowing, you likely could have foreseen how relevant The Janes would ecome. Well, even more so than it already was. Still, even as recently as its Sundance premiere in January, it’s unlikely that filmmakers Tia Lessin (her first since 2013’s Citizen Koch) and Emma Pildes could have envisioned its release a mere few months late would coincide so frighteningly with the systematic dissolving of the rights their subjects were fighting for. Right in front of everybody’s eyes.
That The Janes is a film for this very moment isn’t what makes it so good. Although it helps...
If you were paying close enough attention to the ways the American political winds were blowing, you likely could have foreseen how relevant The Janes would ecome. Well, even more so than it already was. Still, even as recently as its Sundance premiere in January, it’s unlikely that filmmakers Tia Lessin (her first since 2013’s Citizen Koch) and Emma Pildes could have envisioned its release a mere few months late would coincide so frighteningly with the systematic dissolving of the rights their subjects were fighting for. Right in front of everybody’s eyes.
That The Janes is a film for this very moment isn’t what makes it so good. Although it helps...
- 6/9/2022
- by Glenn Dunks
- FilmExperience
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