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The Furniture: Death by Excess in What a Way to Go!

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

Any excuse to talk about What a Way to Go! is a good excuse. But the centennial of Ted Haworth is an especially excellent excuse. He was nominated for six Oscars, starting with Marty in 1955. He won for 1957’s Sayonara. Highlights from the rest of his career include Some Like It Hot, The Beguiled, and Pat Garrett & Billy the Kid.

But none of those movies could hold a candle to the astonishing level of creativity on display in What a Way to Go! The epic 1964 comedy of love and loss stars Shirley MacLaine as Louisa May Foster, a many-time widow and heiress. Each husband, with one particularly tragic exception, begins the marriage as a near-pauper who wants nothing but love. But their passion inevitably leads them
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Cinemaholics #22: Spider-Man: Homecoming Review

It seems like the whole word has an opinion on Spider-Man: Homecoming at this point, with many loving the film while others…not so much. Thankfully, the Cinemaholics are back this week to weigh in with their thoughts, beginning with a spoiler-free review for all of you who are still waiting to see this one in theatres.

Special guest Mae Abdulbaki joins the show for the first time as well to lend her thoughts, kicking off the episode with a great question: Which actor has been the best Peter Parker/Spider-Man?

Later in the show, the Cinemaholics tackle some mini-reviews. The first is Castlevania, Netflix’s new anime series based on the video game of the same name. Next is The Beguiled, which is a remake of the 1971 film starring Clint Eastwood, with this one starring Colin Farrell, Nicole Kidman and Kirsten Dunst. Finally, we check out The Big Sick,
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Film Review: Sofia Coppola Creates a Masterwork with ‘The Beguiled’

Chicago – The human-ness of being human never changes, fundamentally. The mating season arrives, and the effect makes for both great connections and bad decisions. Director Sofia Coppola emphasizes this in a reverent film production of the story called “The Beguiled.”

Rating: 5.0/5.0

It began as a novel in 1971 by Thomas Cullinan (originally entitled “A Painted Devil”) and was adapted into a film version that same year by director Don Siegel, starring Clint Eastwood (the same team that brought us “Dirty Harry”). Sofia Coppola wrote the screenplay adaptation for her directorial version, focusing on how the relationships developed and changed in a Southern girls boarding school during the Civil War, when adjacent to the property a wounded Union soldier is found. Coppola generates an understanding of how women are, in a repressed society, when faced with their own longings and desires. This is framed by a tense situation – almost a thriller – as
See full article at HollywoodChicago.com »

Sofia Coppola: Do Audiences Still Want to Look Through Her Gaze?

Sofia Coppola: Do Audiences Still Want to Look Through Her Gaze?
Is Sofia Coppola ever going to take it to the next level? The answer may be no, and that could be fine. I consider myself a Coppola fan (though I didn’t care much for “The Beguiled”), and part of me thinks that she’s in the perfect place and always has been. In a directorial career that stretches back 18 years, she has made just six features. Only one of them, “Lost in Translation” (2003), ever put her at the center of the white-hot center. Tellingly, it was the one time that she deigned to build an entire film around the personality of a movie star (no slight to Scarlett Johansson, who’s terrific in it, but that movie is defined by Bill Murray), and I feel like I understand why she hasn’t done it since. It’s part of her lone-wolf art mystique. The real star of her movies is Sofia Coppola. Which
See full article at Variety - Film News »

The 17 Best Indie Movies of 2017 (So Far)

  • Indiewire
The 17 Best Indie Movies of 2017 (So Far)
Yes, we know: It’s a little premature to assemble a list of the best movies of the year when there’s so much left of it. We have yet to see a lot of exciting new work from major auteurs like Christopher Nolan (“Dunkirk”), Alexander Payne (“Downsizing”), and Guillermo del Toro (“The Shape of Water”), not to mention heavy-hitting studio-produced spectacles like “Blade Runner 2049” and “Star Wars: The Last Jedi.” But those last two wouldn’t even qualify for this list of the best independent films of the year, anyway, and they’ll have plenty of time to hog the spotlight.

Fortunately, we’ve found plenty of movies from around the world to celebrate, and while they haven’t all been box office sensations, they provide overwhelming evidence that the art form is thriving well into the second decade of the new millennium, and shows no signs of slowing down.
See full article at Indiewire »

Jessica Chastain Reveals How ‘The Beguiled’ and ‘Okja’ Moved Her At Cannes

Jessica Chastain Reveals How ‘The Beguiled’ and ‘Okja’ Moved Her At Cannes
Cannes jury member Jessica Chastain raised some eyebrows during a festival press conference in May when she castigated the competition films depiction of women characters as “quite disturbing.” She added, however, that her comments did not apply to the entire festival selection, and now we know at least two films Chastain did like. The actress suspended her self-imposed social media hiatus to recommend two Cannes favorites to see this holiday weekend: Sofia Coppola’s “The Beguiled” and Bong Joon Ho’s “Okja.”

Read More: Jessica Chastain Blasts Portrayal Of Women In This Year’s Cannes Films As ‘Quite Disturbing’

The Beguiled takes a typical male fantasy and changes it up. The power is with the women in this remake,” she said of the film that earned Coppola the award for best direction out of Cannes. She was even more enthusiastic about “Okja,” which struck a personal chord for Chastain, who is vegan.
See full article at Indiewire »

Critical Distance: Sofia Coppola's The Beguiled Raises More Questions Than It Answers

Just before Sofia Coppola's The Beguiled debuted at the Cannes Film Festival, I revisited Don Siegel's 1971 version, starring Clint Eastwood. As I noted, Siegel's film "is more layered, even more problematic -- and open to interpretation and later repudiation -- than I had anticipated, so I am very much looking forward to Sofia Coppola's reading and presentation of the material." Our own Shelagh Rowan-Legg saw the film at Cannes and filed a a very fine review, writing in part: "While not without some problems of gender representation, the film is a gorgeous and campy romp, disguising itself as a period piece with just the right touch of horror." She also noted: "This adherence to stereotypical gender roles, and the idea that all women are...

[Read the whole post on screenanarchy.com...]
See full article at Screen Anarchy »

The Best Films of 2017 (So Far)

2017 has now crossed the halfway mark, so it’s time to take a look back at the first six months and round up our favorite titles thus far. While the end of this year will bring personal favorites from all of our writers, think of the below 28 entries as a comprehensive rundown of what should be seen before heading into a promising fall line-up.

Do note that this feature is based solely on U.S. theatrical releases from 2017, with many currently widely available on streaming platforms or theatrically. Check them out below, as organized alphabetically, followed by honorable mentions and films to keep on your radar for the remaining summer months. One can also see the list on Letterboxd.

Abacus: Small Enough to Jail (Steve James)

Steve James’ filmography has long been about finding entry into larger conversations through intimate portraits. The director’s landmark debut, Hoop Dreams, and latter-day
See full article at The Film Stage »

Bawdy Nun Comedy ‘The Little Hours’ Soars at Specialty Box Office

Bawdy Nun Comedy ‘The Little Hours’ Soars at Specialty Box Office
All of a sudden the scary decline at the indie box office has reversed. Through the first five months of 2017, only four films opening limited in the standard four New York/Los Angeles theaters opened with a per theater average of $20,000. In the last four weeks, four films have opened strong as “Beatriz at Dinner” (Roadside Attractions), “The Big Sick” (Lionsgate) and “The Beguiled” (Focus) opened well and reached crossover crowds.

This week’s addition, Sundance comedy hit “The Little Hours” (Gunpowder & Sky) is the latest surprise. Loosely inspired by the bawdy 14th-century Boccaccio classic “The Decameron” (The Hollywood version starred Joan Fontaine while Pasolini shocked in 1971), this tale is set in the Medieval Italian countryside with bawdy contemporary dialogue as a randy peasant hides out at a convent after his master catches him with his wife. It did strong business at four theaters on two coasts.

This comes the
See full article at Indiewire »

The Beguiled movie review: horror of manners

MaryAnn’s quick take… If Jane Austen wrote a horror movie. An almost serene sinisterness infuses female-gazey carnal intrigue… but it could be even more feminist than it is. I’m “biast” (pro): I’m desperate for stories about women; love the cast

I’m “biast” (con): nothing

(what is this about? see my critic’s minifesto)

So who is — or are — the beguiled of The Beguiled? Is it the badly wounded Union soldier taken in by the girls and women of a Virginia seminary school in 1864 while the Civil War rages nearby? Does he feel the need to enchant his captor-nurses so thoroughly that they wouldn’t dream of turning him over to the Confederate army as a prisoner of war? (He does indeed attempt this.) Or is it those few students and teachers remaining at the otherwise abandoned school, so secluded, so bereft of charming male companionship?
See full article at FlickFilosopher »

Review: The Beguiled

  • JoBlo
Plot: During the Civil War, an injured Union soldier (Colin Farrell) is taken-in by the residents of a Southern girls' school, but his presence soon stirs up trouble among the repressed students and teachers. Review: The Beguiled is director Sofia Coppola’s feminist take on Don Siegel’s unusual 1971 thriller of the same name, which famously starred Clint Eastwood as the injured... Read More...
See full article at JoBlo »

The Beguiled: Kirsten Dunst Talks About Her Complicated Character And Costumes

Kirsten Dunst never shies away from challenging characters.

For her, Edwina in The Beguiled is definitely one of her best performances yet.

Dunst is reunited with director Sofia Coppola in The Beguiled as a teacher at an all girl’s school in this re-adaptation of Thomas Cullinan's novel.

The film revolves around a group of girls during the Civil War in Virginia, who provided shelter to a Union soldier. However, sexual tensions arises to create rivalries--leading to an unexpected turn of events.

The movie also stars Nicole Kidman, Elle Fanning, and Colin Farrell.

The Beguiled is playing nationwide in theaters today.

Watch our exclusive sit-down interview with Kirsten Dunst below:

Source: Exclusive to Lrm
See full article at LRM Online »

The Beguiled Review: A Taut, Intriguing, And Haunting Tale

How much does it take to push a good person to the edge? What constitutes a “good” person? Are our sexual instincts something that will always ultimately prove to be our undoing? The answer is never as cut and dry as we tend to think, and the sad fact of life is that even the most decent of human beings can be twisted into something unrecognizable. Sofia Coppola’s latest film, The Beguiled, is a film that explores these ideas, and does so in a calm, tasteful, and meditative way that really sticks with the viewer.

The story takes place a few years into the American Civil War at a Southern all-girls’ boarding school. One of the girls stumbles upon a wounded Union soldier — Colin Farrell’s John McBurney — and takes him back to the school, headed by Nicole Kidman’s Martha Farnsworth. She begrudgingly agrees to take him in,
See full article at LRM Online »

The Beguiled: Elle Fanning Talks About Reuniting With Sofia Coppola and Her Directing Style

Director Sofia Coppola has a unique style of directing that marks her as one of the best female directors today.

For Elle Fanning, she was delighted in reuniting with Coppola in The Beguiled, in which they worked together in 2010’s Somewhere.

Based off the Thomas Cullinan novel, it’s about young women at a girls’ school who are sheltered from the outside world in Virginia during the Civil War. A wounded Union soldier unexpectedly shows up and the woman provides him shelter. Soon, the house is taken over with sexual tensions, rivalries and unexpected turns of events.

The film stars Nicole Kidman, Kirsten Dunst, Elle Fanning and Oona Laurence.

The Beguiled is currently playing in nationwide today.

Lrm had an exclusive sit-down interview with director Elle Fanning for The Beguiled. Our correspondent Nancy Tapia talked with Fanning about her character and Coppola’s direction style.

Check out our TV video
See full article at LRM Online »

‘The Beguiled’ Director Sofia Coppola on Making Gothic Drama and Avoiding the Original [Interview]

‘The Beguiled’ Director Sofia Coppola on Making Gothic Drama and Avoiding the Original [Interview]
With The Beguiled, Sofia Coppola has made her first adaptation and remake. The filmmaker’s retelling has little in common with Don Siegel’s 1971 film, though. Coppola was more interested in adapting Thomas P. Cullinan‘s A Painted Veil than remaking Siegel’s movie, which features a drastically different depiction of the all-girls school, led by Miss Martha (Nicole Kidman), and […]

The post ‘The Beguiled’ Director Sofia Coppola on Making Gothic Drama and Avoiding the Original [Interview] appeared first on /Film.
See full article at Slash Film »

The Beguiled: Vengeful Bitches at Their Best [Review]

Men and women are different in many ways though perhaps one of the most subtle and misunderstood is in the way we communicate in a group. There's a version of the "bro-code" for women which remains mostly a mystery - sometimes even to women - and considering how badly women are under-represented in the film industry, one doesn't often see the nuance of female interaction on the big screen.

Enter Sofia Coppola who, from her first feature, showed a capability of not only capturing the way women interact but doing so in a way that feels like we're in the middle of the conversation. With The Beguiled, Coppola returns the story to author Thomas Cullinan's original vision, telling it from the female perspective while also trimming the unnecessary to deliver an intimate observation on [Continued ...]
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The Beguiled – Review

The Beguiled is director/writer Sophia Coppola’s remake of an offbeat, little-seen 1971 gem that starred Clint Eastwood. Though directed by Don Siegel, best known for tough crime drama (he directed Clint in Dirty Harry the same year), the original had a strong feminist bent, so it’s seems suitable that the story is retold from a woman filmmaker’s perspective. The new film is faithful to the original to the point where it may seem unnecessary to some, but it’s a compelling story and Ms Coppola and her cast do an admirable job.

The Beguiled is a haunting gothic western that takes place near the end of the Civil War in a Southern mansion that functions as a small all-girls private school. As the war rages on outside its wrought-iron gates, headmistress Martha Farnsworth (Nicole Kidman) tries to maintain civility inside. The youngest student Amy (Oona Laurence), discovers
See full article at WeAreMovieGeeks.com »

How ‘The Beguiled’ Castrated Its Male Lead In Sofia Coppola’s Most Freudian Film Yet

How ‘The Beguiled’ Castrated Its Male Lead In Sofia Coppola’s Most Freudian Film Yet
As one of the most influential woman filmmakers working today, only Sofia Coppola could sneak in a castration scene. In “The Beguiled,” Coppola flips the script on the original 1971 Don Siegel film starring Clint Eastwood, putting the women at the center of her version and mapping a clear blueprint for a female gaze in cinema.

Set during the Civil War, the film concerns an injured Union soldier who wreaks havoc on the inhabitants of Miss Farnsworth’s School For Girls in Virginia. A house full of women thrown into a tizzy by the presence of a man isn’t the most radically feminist story; that Coppola tells it by objectifying, emasculating, and symbolically castrating her central male character certainly is.

Read More: Sofia Coppola On Female Sexuality In ‘The Beguiled’ And Why She Hopes Gay Men Find Colin Farrell Sexy

The female gaze is a term as new as its burgeoning canon,
See full article at Indiewire »
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