all for her movie review

All for Her

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Her – review | Mark Kermode

A s far as sci-fi cinema is concerned, there's nothing unusual about falling in love with a computer or conjuring your perfect partner from a keyboard. In the Frankenstein -inspired 80s teen comedy Weird Science , two teenagers brought dream girl Kelly LeBrock to life by wiring a Barbie doll to a computer, while Electric Dreams placed an operating system named Edgar in the middle of a love triangle with a musical twist. Harrison Ford's Deckard didn't seem to know whether he was human or robotic as he fell in love with a replicant in Ridley Scott's Blade Runner . And in Andrew Niccol's S1m0ne , a film director creates a supposedly compliant virtual movie star with whom the whole world promptly becomes infatuated, forcing him into a lifelong relationship that begets digital children. Meanwhile, over in the real world, plenty of people have engaged in flirty interactions with everything from their satnav (popular voice options include a Frenchman who tells you that you look fabulous as you take the next left) to their Siri (as per The Big Bang Theory ), with both marriages and divorces resulting from the intimate interactions and infidelities of online avatars.

Within this evolving electronic ecosystem, the premise of Spike Jonze's self-penned modern romance seems like business as usual, as Joaquin Phoenix's soon-to-be divorcee finds unexpected happiness with an operating system (OS) tailor-made to put him at his ease. Phoenix plays Theodore Twombly, a twitchy, tortured soul hiding behind tortoiseshell spectacles who holds down a day job ghostwriting personalised (e-)letters for those unable to put their emotions into words. Faux intimacy is Theodore's stock in trade, yet he falls for the seductive skills of an electronic office organiser that reads him like a book – and offers unquestioning allegiance in the wake of his failed marriage to independently minded Catherine (Rooney Mara). One minute Theodore is having functional conversations with his OS about cleaning up his inbox; the next he's having the kind of cybersex that has proved the preferred method of interaction for isolated online lovers the world over. But, as Theodore grows in confidence, so too does the self-named Samantha, the infinite portals of the virtual world enabling her to become so much more than the sum of his parts.

At its inception, Her partnered Phoenix with mercurial talent Samantha Morton who was on set every day, playing an off-screen Annie Hall to his Alvy Singer. It was only during the lengthy editing process that Jonze recast the object of Theodore's affection, with Scarlett Johansson stepping in as the voice of Samantha. Did something organic get lost in the process, somehow heightening the air of detachment? Perhaps that's the intention; after all, a wry satire about falling in love with your mobile phone shouldn't be expected to ooze human warmth. But, for all the breathy emoting (on both sides), there's little here to rival the bond that emerges, for example, between Frank Langella and his automated housemate in the underappreciated Robot & Frank , meaning that Her runs the risk of becoming a little too arch for its own good. If only the movie came with a handy voice-change function that allowed us to hear what Morton's Samantha sounded like. What difference would that have made?

As he falls for Samantha, so Theodore withdraws from the world, an awkward encounter with Olivia Wilde's blind date (and a failure to put his arms around Amy Adams's unhappily married "friend") signifying how far he has drifted from human interaction. In the film's most toe-curling sequence, Samantha organises a sex surrogate whose physical presence is all kinds of wrong, suggesting that the last thing on earth Theodore wants is a human touch. Meanwhile, the system errors that once crashed Theodore's marriage begin to re-surface like a recurrent computer virus.

Having retreated into the life in the mind in Being John Malkovich and Where the Wild Things Are , Jonze finds himself entirely at home inside Theodore's head, where tragicomic riffs from the films of Michel Gondry and Charlie Kaufman (with whom Jonze appears to share a collective unconscious) drift like the erasable memories of Eternal Sunshine of the Spotless Mind : you half-expect Jim Carrey to pop up at the offices of BeautifulHandwrittenLetters.com asking Theodore to explain eloquently to Kate Winslet that he hasn't really forgotten her at all. Yet Jonze's world view is altogether more brittle, a quality reflected in the clean lines and bold colours of the production design (retro-styled to interwar chic), which are beautifully captured and framed by cinematographer Hoyte van Hoytema .

Visually, Her is stunning, the contemporary vistas of Shanghai adding to the mesmerising portrait of near-future LA in which streets shimmer and shine, and people bathe in the light of hi-def screens and glowing personal appliances, each locked into their own virtual world. On the surface this is one of the best-looking pictures of the year. But in the battle between head and heart there remains a Tin Man-shaped hole, leaving the viewer smiling wryly at the thought-provoking conceits while remaining as emotionally isolated as the movie's protagonist.

Which is probably the point.

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Alison brie confirms community movie script is finished & shares her review.

Alison Brie shares a major update on Dan Harmon's Community movie script, confirming that it is finally finished and shares her review.

• The long-awaited Community movie script is finished, exciting fans of the sitcom for a big adventure ahead with the original cast.
• Despite facing obstacles like scheduling conflicts, the cast is eager to make the Community movie a reality after years of waiting.
• With the script complete, there is optimism that filming could start in 2024, leading to a potential holiday release for the highly anticipated movie.

Alison Brie confirms the Community movie script is finally finished and shares her review. Premiered in 2009, the popular sitcom ran for five seasons on NBC before it was canceled and moved to the now-defunct Yahoo! Screen for its final sixth season. In 2022, Peacock announced they were making a movie penned by creator Dan Harmon and writer Andrew Guest with much of the main Community cast returning, including Joel McHale, Gillian Jacobs, Danny Pudi, Yvette Nicole Brown, Brie, Donald Glover, Ken Jeong, and Jim Rash.

Now, years after its original announcement, Brie shared a major update on the Community movie during a recent appearance on Bravo's Watch What Happens Live With Andy Cohen .

Brie says she has read Harmon's script for the Community movie and shared her thoughts, saying " it’s so funny ." The actor also expressed her hopes for her character, Annie. Read her full comments below:

We got a script, which is a major update. We got a script — you heard it here first... I’ve read the script, and it’s so funny... I hope that Annie hasn’t changed too much because I loved her just the way she was.

When Will The Community Movie Start Filming?

The community movie has faced stops and starts.

Six seasons and a movie, which started as an in-universe joke that sparked a passionate fan campaign, finally became a reality in 2022 when Peacock announced that a Community movie was officially in development. However, over the ensuing years, the project has faced many obstacles preventing it from progressing through development and entering production. The movie was originally scheduled to shoot in June 2023 , which had to be delayed due to the dual WGA and SAG-AFTRA strikes that summer.

Community Movie Update Is A Major Relief After Huge Returning Character Concerns

Another major obstacle the Community movie is facing is the limited availability of its cast . This is a major concern, according to Harmon, who has publicly wondered, " What are the odds that everyone’s schedule is going to once again align? " Though Harmon has worried that the Community movie might not happen, finishing the script is major progress, and it appears that Brie and many other cast members are excited about making time in their schedules to start shooting.

McHale hopes the Community movie can start shooting in the summer of 2024 and, with a " quick turnaround ," will be ready for a holiday 2024 release. With Harmon's script finished, this plan is one step closer to becoming a reality. However, " working around Donald [Glover's] schedule " is a major obstacle, according to McHale. The multi-hyphenate has several other commitments, including the Star Wars Lando movie . Though challenges still lie ahead, Brie's update is a sign that the Community movie is one step closer to shooting.

Community seasons 1-6 are streaming on Hulu and Peacock.

Source: bravowwhl /Instagram

The Community movie is the long-awaited sequel to the television series created by Dan Harmon. The film, which was always comedically teased throughout the series with the phrase "Six seasons and a movie," will see the majority of the cast return for a big adventure that will pick up some time after the sixth season.

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Follow Her – Movie Review (4/5) [FANTASPOA 2022]

Posted by Karina "ScreamQueen" Adelgaard | Apr 20, 2022 | 4 minutes

FOLLOW HER is a new psychological thriller with lots of horror elements. A simple but strong story that surprises again and again. Also, it is chockful of pop culture references, which makes it very meta. In all the right ways, fortunately. Screened for Fantaspoa 2022. Read our full Follow Her movie review here!

FOLLOW HER is a new psychological thriller that just premiered at the Fantaspoa film festival in Portugal. There it won several awards and when you watch it, you’ll understand why. Officially, it’s labeled a “psycho-sexual thriller” which is absolutely accurate. However, I would argue that it also features moments of straight-up horror.

YOU’LL LIKE THIS IF YOU ENJOYED The horror-comedy  Scare Me  – read our review here and find it on Shudder >

The movie (which also had the working title Classified Killer ) has a runtime of 95 minutes, which is also to its advantage. You won’t get a chance to be bored with this one, because it continuously surprises – often in absolutely brilliant ways.

Continue reading our Follow Her movie review below.

It’s all very meta

Follow Her is chockful of pop culture references as well as being very meta. For the longest time, you won’t be sure if what’s happening is real or just pretend. Neither does the main protagonist which makes for a very uncomfortable experience for both her and us.

Ultimately, you will get all the answers. Whether you like them is another thing. I did!

However, I suspect not everyone will. Also, the fact that it’s billed as “female-created” will definitely keep some people from watching it. That will be  their  loss. Just like you will be wrong to assume that men are “bad” and women are “good” in this story. It’s much more complex than that. As it should be!

Brilliant duo leads

Okay, calling the two main characters a “duo” might be over-selling their roles in this movie. However, their interactions are what makes the story in Follow Her  work so damn well.

The main protagonist, Jess Peters, is portrayed by Dani Barker ( Starvival ), who is also the screenwriter of Follow Her . Across from her, we have Luke Cook who plays the screenwriter (and possibly demented serial killer) Tom Brady in the movie. The two of them have amazing chemistry and banter.

It becomes a cat-and-mouse game where you’ll keep wondering who is the cat and who is the mouse. Also, is it really a game or something much more dangerous.

Whatever it is, you’ll be immensely entertained on the road to finding out. Dani Barker is great as the person guiding the audience while Luke Cook (Lucifer Morningstar on Chilling Adventures of Sabrina ) is brilliant as portraying the very umm “eccentric” Tom Brady. I enjoyed watching every minute with him. Even though I never trusted him – which you shouldn’t from everything you see and hear!

Watch  Follow Her  as soon as you get the chance!

Sylvia Caminer is the director of  Follow Her which was written by the star of the film, Dani Barker. As far as I can tell, this is the feature film debut of Sylvia Caminer. She’s worked on short films, TV series documentaries, and feature-length documentaries before though, so she’s quite the experienced director already.

As mentioned initially,  Follow Her  premiered at the Fantaspoa film festival in Portugal where it won several awards. For me, one award tends to be the most important, when I’m to figure out if I should prioritize watching it; The Audience Award. And yes, it did win that one along with Best Film and Best Actress. All of them are very much deserved!

If you weren’t quite sure if this was for you, then please take this as a sign to make sure you check it out as soon as you can. It is  very much  worth your time!

UPDATE: Follow Her is coming to limited theaters and VOD platforms on June 2, 2023.

FOLLOW HER was screened as part of Fantaspoa 2022. For more information on the festival, please visit www.fantaspoa.com .

Director: Sylvia Caminer Writer: Dani Barker Stars: Dani Barker, Luke Cook, Eliana Jones & Mark Moses

Struggling actress and live-streamer Jess Peters (Dani Barker), known to her online followers as J-PEEPS, has finally found her hook: Secretly filming creepy interactions she encounters via online job listings, and using the kinks of others to fuel her streaming success. For her next episode, she’s been hired to write the ending of a screenplay in a remote, lavish cabin. Once there, Tom (Luke Cook), the alluring self-proclaimed screenwriter, hands her a script in which the two of them are the main characters. This client isn’t what he seems, and even though the money’s great… the real payment here could cost her life.

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About The Author

Karina "ScreamQueen" Adelgaard

I write reviews and recaps on Heaven of Horror. And yes, it does happen that I find myself screaming, when watching a good horror movie. I love psychological horror, survival horror and kick-ass women. Also, I have a huge soft spot for a good horror-comedy. Oh yeah, and I absolutely HATE when animals are harmed in movies, so I will immediately think less of any movie, where animals are harmed for entertainment (even if the animals are just really good actors). Fortunately, horror doesn't use this nearly as much as comedy. And people assume horror lovers are the messed up ones. Go figure!

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‘It’s Only Life After All’ Review: Indigo Girls Laugh Last

The director Alexandria Bombach benefited from the musician Amy Ray’s archivist instincts in this warm, compelling new documentary.

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By Elisabeth Vincentelli

Indigo Girls have been going strong for over 40 years now, and maybe the key to their resilience is that they never were cool. Often, they got it worse: Even at their commercial peak in the 1980s and ’90s, Amy Ray and Emily Saliers were routinely mocked for being too earnest, too poetic, too folky, too lesbian. Back then, being labeled a female, gay singer-songwriter was an artistic and commercial curse, as Ray recalls in “It’s Only Life After All,” a smart, compelling new documentary.

The director, Alexandria Bombach, greatly benefited from Ray’s archivist instincts: The musician has held on to decades’ worth of artifacts and opened up her vault — 1981 rehearsals, recorded on cassette when Ray and Saliers were in their teens, are startlingly crisp documents of a budding chemistry, for example.

From this clay Bombach has sculpted an affecting portrait of two women who have stuck to their beliefs and, just as important, their loyalty to each other. Existing fans will be mesmerized, but non-fans like me should also get a kick out of “It’s Only Life After All.” The film is especially good about contextualizing the band’s emergence in the midst of condescension (at best) from the mainstream media — their dramatic, and very funny, reading of a withering 1989 review in The New York Times is a highlight — along with their personal struggles and steadfast political engagement for causes, including the Indigenous-led organization Honor the Earth.

Now that the band is experiencing a cultural moment — its hit “Closer to Fine” was prominently featured in “Barbie,” and an indie jukebox musical movie set to their songs, “Glitter & Doom,” came out last month — it is delightful to see them have the last laugh.

It’s Only Life After All Not rated. Running time: 2 hours 3 minutes. In theaters.

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‘The Greatest Hits’ review: Time…

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‘the greatest hits’ review: time travel-by-song hook is catchy in fantasy-romance, through her character’s grief and excitement over a new love, lucy boynton grounds movie.

Ned Benson appreciates how music and memory can become intertwined — how music can bring you back to a certain place, time or — perhaps most importantly — person.

The idea for “The Greatest Hits” — a fairly melodic fantasy-romance film written and directed by Benson that had its premiere last month at the South by Southwest in Austin, Texas, saw a limited theatrical release last week and debuts this week on Hulu — dates to 2008, when Benson read neurologist Oliver Sacks’ “Musicophilia: Tales of Music and the Brain.” According to the production notes for the Searchlight Pictures release, the first draft of the screenplay followed the next year, with Benson picking back up with the project during the pandemic.

In Benson’s occasionally magical tale, Harriet (Lucy Boynton) is still grieving the loss of her boyfriend two years after his death. However, Harriet regularly encounters Max (David Corenswet), briefly traveling back in time when she hears a song from their shared existence and being able to interact with him in a now-altered moment from the past.

We learn that Harriet has been attempting to use these time-bending moments to change what is to come.

“Hon,” she says after arriving back in the passenger seat of a car he’s driving, “I have seen what happens next, and I need you to listen to me: Please, please take the next right.”

“That’s right,” he says dismissively but at the same time lovingly, “you can see the future. I forgot who I was dealing with. You should have said something.”

“I have,” she says. “So many times.”

He keeps going straight and another vehicle slams into his side of the car.

This seemingly supernatural predicament — it is, of course, possible she’s suffering from a mental condition — not only is psychologically draining and keeping her from moving on, but it’s also downright physically dangerous. Lucy seizes and passes out whenever and wherever she hears one of these songs, so the one-time future music producer has taken a job at a library and wears big headphones everywhere she goes to block out outside noise in the name of safety.

Nonetheless, she also spends time at home, going through records — via the music-listening setup she’s inherited from Max, including a record player, hi-fi speakers and a coveted but ill-fated used chair — to find the song that may allow to give her the future she desperately desires.

Her life is further complicated when she meets David (Justin H. Min), who takes an immediate interest in Harriet upon meeting her in a grief support group, the former dealing with the loss of his parents. He, too, is a music lover, and soon the two are having a flirtatious argument about who gets to buy a rare Roxy Music vinyl at the endangered record store where her best friend, Morris (Austin Crute), is DJing on this night,

Morris loves Harriet but also is quite tired of her wallowing in the past, both figuratively and literally, and encourages her to try to have something with David.

David, meanwhile, is understandably perplexed when Harriet lets him into her world, gradually revealing what is going on with her.

Benson, who shares a story-by credit on 2021’s “Black Widow” and is the writer-director of 2014’s “The Disappearance of Eleanor Rigby,” walks a fine line with “The Greatest Hits,” encouraging the viewer to both want Harriet to be with the kind David while also not necessarily giving up on saving Max, who is never shown to be anything but a decent fellow himself.

And, at least for a while, it’s tough to envision how “The Greatest Hits” will end, even after Harriet concludes exactly how her particular brand of time travel works.

The film is anchored by the performance of Boyton (“Bohemian Rhapsody,” “Chevalier”), who makes us root for Harriet both when she’s sad and when she’s experiencing a mix of excitement and guilt as things develop with David. She has chemistry both with Min (“The Umbrella Academy”) and Corenswet, with whom she shared the screen in the TV series “The Politician.”

(If Corenswet’s name is ringing a bell, it’s likely because he’s been cast in writer-director James Gunn’s highly anticipated “Superman,” recently renamed from “Superman: Legacy” and planned for a 2025 release. We see nothing here to suggest he will prove to be at least a solid choice.)

The lone area where “The Greatest Hits” lets us down is its all-important music. Mileage will vary with this, of course, but, to our ears, so many of the songs chosen by Benson, music supervisor Mary Ramos and DJ Harvey, a music consultant, are relatively bland and uninteresting. Obviously, different folks adore different music, but it’s hard to imagine some of the songs featured would delight audiophiles Harriet and Morris, and you can’t help but wonder if the project’s budget for music were only so robust.

(For the record, we have no issue with the use of 2009 pop hit “I’m Like a Bird” by Nelly Furtado, who appears briefly in “The Greatest Hits.”)

Still, as a love letter to the power of music — as well as to Los Angeles, where the movie was shot entirely on location — “The Greatest Hits” is well worth a spin.

‘The Greatest Hits’

Where: Hulu.

When: April 12.

Rated: PG-13 for drug use, strong language and suggestive material.

Runtime: 1 hour, 34 minutes.

Stars (of four): 2.5.

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Kill Her Goats

Audra's graduation gift is her dream house, but it soon becomes a living nightmare when some uninvited guests come to her homecoming party who aren't very subtle about the fact they don't ap... Read all Audra's graduation gift is her dream house, but it soon becomes a living nightmare when some uninvited guests come to her homecoming party who aren't very subtle about the fact they don't approve of the home's new owner. Audra's graduation gift is her dream house, but it soon becomes a living nightmare when some uninvited guests come to her homecoming party who aren't very subtle about the fact they don't approve of the home's new owner.

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• Trivia The film was made using only Practical effects, no CGI.
• Crazy credits A number of bloopers are shown in the beginning of the credits.
• Connections References Night of the Living Dead (1968)
• Soundtracks Go Written by Denyse Tontz, Suren Wijeyaratne, Eric Monsanty, and Joel Numa Performed by Denyse Tontz

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Chicken for Linda!’s animation needs a big screen and emotional processing space

What is a beloved chicken dish if not a metaphor for grief?

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From an initial read of the title, I was under the impression that Chicken for Linda! was about a little girl who really wanted a pet chicken. I was wrong. The French animated movie from directors Chiara Malta and Sébastien Laudenbach takes place in modern France and follows a little girl named Linda who really wants to eat chicken. Specifically chicken with peppers. For Linda’s mom, Paulette, who mostly serves up frozen meals and doesn’t really cook at all, making this dish is already a challenge.

And thanks to an ongoing general strike in their town, all the grocery shops are closed, which makes this quest even harder . But Paulette feels really guilty about wrongfully punishing Linda for swiping a treasured ring, so she heads to a farm to buy a live chicken. This begins Linda and Paulette’s daunting quest to kill, cook, and eat this chicken, something neither of them has even fathomed doing before.

It’s much less morbid than it sounds. Actually, it’s unexpectedly funny, while also being a bittersweet reflection on grief and memory.

Linda approaches her mission with bright-eyed determination that softens the hearts of authority figures and convinces an assortment of inexperienced people to take a stab at killing and preparing the chicken. Eventually, we learn just why Linda is fixated on this particular chicken-and-peppers meal: It’s something her late father, who she barely remembers, used to cook.

All the characters in the movie come to life in single-color blocks, rendered with distinct outlines. There’s a lovely tangibility to how they move: The cat operates as one big blob, except when it stretches out its paws. The policeman wriggles his long limbs around a drooping telephone cord. From a distance, the chickens are splashes of color and a curling outline, darting across the screen. Against the painted background, each frame is vibrant and dynamic.

Chicken for Linda! is chock-full of hijinks, with a lot of physical humor and hilarious situations that stem from the absurd nature of the plot. A cop pulls a gun on the chicken, since that’s the only way he knows how to possibly kill it. After stealing the chicken, Linda and her mom leap into the back of a vegetable delivery truck and hide out among crates of watermelons. There are moments when the movie lags, long chase scenes that get a little too abstract, and a handful of musical sequences that feel like they’re from another movie entirely. But even among the shenanigans and the loftier animated sequences, the movie is anchored in Linda and her desire for the coveted meal, her desire to connect with her father.

That family dynamic, the element that gives this otherwise lighthearted movie its weight, isn’t saved for an emotional gut punch at the end of the story, or turned into a nagging reminder constantly brought up by characters. Instead, it’s simply present in the background of the movie, seamlessly woven into every thread as we learn more about Linda, her mother, their relationship to each other, and how they relate to the rest of the characters we meet.

Linda’s grief and her inability to even really register it eventually builds up to a cathartic point, but it isn’t a heavy-handed emotional release. It’s a subtler epiphany, as she gets the chance to remember key details about her father. And through the process of seeking this moment together, Linda and her mother are finally able to connect, and to open up to their community, who all came together to help them try to eat this dang chicken. The movie is the perfect blend of silliness and serious, deep emotion that never becomes overstated, all told in bright, painted colors that deserve to be seen in theaters to experience their full glory.

Chicken for Linda! is out in select theaters starting April 5.

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Growing older was a smart career move for Bette Davis , whose personality was adult, hard-edged and knowing. Never entirely comfortable as an ingenue, she was glorious as a professional woman, a survivor, or a bitchy predator. Her veteran actress Margo Channing in "All About Eve" (1950) was her greatest role; it seems to show her defeated by the wiles of a younger actress, but in fact marks a victory: the triumph of personality and will over the superficial power of beauty. She never played a more autobiographical role.

Davis' performance as a star growing older is always paired with another famous 1950 performance -- Gloria Swanson's aging silent star in "Sunset Boulevard." Both were nominated for best actress, but neither won; the Oscar went to Judy Holiday for " Born Yesterday ," although Davis' fans claimed she would have won if her vote hadn't been split, ironically, by Anne Baxter, who plays her rival and was also nominated for best actress.

When you compare the performances by Davis and Swanson, you see different approaches to similar material. Both play great stars, now aging. Davis plays Margo Channing realistically, while Swanson plays Norma Desmond as a gothic waxwork. " Sunset Boulevard " seems like the better film today, maybe because it fits our age of irony, maybe because Billy Wilder was a better director than Joseph Mankiewicz . But Davis' performance is stronger than Swanson's, because it's less mad and more touching. Davis was a character, an icon with a grand style, so even her excesses are realistic.

The movie, written by Mankiewicz, begins like "Sunset Boulevard" with a narration by a writer - -the theater critic Addison DeWitt ( George Sanders ), bemused, cynical, manipulative. He surveys the room at a theatrical awards dinner, notes the trophy reserved for Eve Harrington (Baxter), and describes the survivors of Eve's savage climb to the top: her director Bill Sampson (Gary Merrill), her writer Lloyd Richards (Hugh Marlowe), Lloyd's wife Karen (Celeste Holm), who was her greatest supporter. And the idol she cannibalized, Margo. As the fatuous old emcee praises Eve's greatness, the faces of these people reflect a different story.

The movie creates Margo Channing as a particular person, and Eve Harrington as a type. Eve is a breathless fan, eyes brimming with phony sincerity. She worms her way into Margo's inner circle, becoming her secretary, then her understudy, then her rival. Faking humility and pathos is her greatest role, and at first only one person sees through it: crusty old Birdie ( Thelma Ritter ), Margo's wardrobe woman. "What a story!" she snaps. "Everything but the bloodhounds snappin' at her rear end."

Margo believes Eve's story of hard luck and adoration; no actor has much trouble believing others would want to devote their lives to them. Good, sweet Karen also sympathizes with the girl, and arranges to strand Margo in the country one weekend so that Eve can go on as her understudy. Karen is repaid when Eve tries to steal her playwright husband, after an earlier, unsuccessful attempt to steal Margo's fiancé, Bill. He is played by Merrill (Davis' real-life husband), who turns her away with a merciless put-down: "What I go after, I want to go after. I don't want it to come after me."

Eve is a universal type. Margo plays at having an ego but is in love with her work -- a professional, not an exhibitionist. She's the real thing. But the sardonic tone of the film is set by Sanders, as DeWitt. He's the principal narrator, and with his cigarette holder, his slicked-down hair and his flawless evening dress, he sees everything with deep cynicism. He has his own agenda; while Eve naively tries to steal the men who belong to the women who helped her, Addison calmly schemes to keep Eve as his own possession. Sanders, who won the Oscar for best supporting actor, lashes her in one of the movie's most savage speeches: "Is it possible, even conceivable, that you've confused me with that gang of backward children you play tricks on? That you have the same contempt for me as you have for them?" And: "I am nobody's fool. Least of all, yours."

Glittering in the center of "All About Eve" is a brief supporting appearance by Marilyn Monroe. This film, and John Huston's "The Asphalt Jungle" earlier the same year, put her on the map; she was already "Marilyn Monroe," in every detail. She appears at Margo's party as DeWitt's date, and he steers her toward the ugly but powerful producer Max Fabian (Gregory Ratoff), advising her, "Now go and do yourself some good." Monroe sighs, "Why do they always look like unhappy rabbits?"

It has been observed that no matter how a scene was lighted, Monroe had the quality of drawing all the light to herself. In her brief scenes here, surrounded by actors much more experienced, she is all we can look at. Do we see her through the prism of her legend? Perhaps not; those who saw the movie in 1950, when she was unknown, also singled her out. Mankiewicz helped create her screen persona when he wrote this exchange after the Monroe character sees Margo's fur coat.

"Now there's something a girl could make sacrifices for," Monroe says.

"And probably has," says the director.

"Sable," Monroe explains.

"Sable?" asks the producer. "Did she say sable or Gable?"

Monroe replies: "Either one."

If Monroe steals her own scenes, the party sequence contains Davis' best work in the movie, beginning with her famous line, "Fasten your seat belts. It's going to be a bumpy night." Drinking too much, disillusioned by Eve's betrayal, depressed by her 40th birthday, she says admitting her age makes her "feel as if I've taken all my clothes off." She looks at Bill and bitterly says: "Bill's 32. He looks 32. He looked it five years ago. He'll look it 20 years from now. I hate men."

It was believed at the time that Davis' performance as Margo was inspired by Tallulah Bankhead. "Tallulah, understandably enough, did little to dispel the assumption," Mankiewicz tells Gary Carey in the book More About All About Eve. "On the contrary, she exploited it to the hilt with great skill and gusto." Press agents manufactured a feud between Davis and Bankhead, but Mankiewicz says neither he nor Davis was thinking of Bankhead when the movie was made. Davis could have found all the necessary inspiration from her own life.

Davis smokes all through the movie. In an age when stars used cigarettes as props, she doesn't smoke as behavior, or to express her moods, but because she wants to. The smoking is invaluable in setting her apart from others, separate from their support and needs; she is often seen within a cloud of smoke, which seems like her charisma made visible.

The movie's strength and weakness is Anne Baxter, whose Eve lacks the presence to be a plausible rival to Margo, but is convincing as the scheming fan. When Eve understudies for Margo and gets great reviews, Mankiewicz wisely never shows us her performance; better to imagine it, and focus on the girl whose look is a little too intense, whose eyes a little too focused, whose modesty is somehow suspect.

Mankiewicz (1909-1993) came from a family of writers; his brother Herman wrote " Citizen Kane ." He won back-to-back Oscars for writing and directing "A Letter to Three Wives" in 1949 and "All About Eve" in 1950, and is also remembered for "The Ghost and Mrs. Muir" (1947), "The Barefoot Contessa" (1954) and "Guys and Dolls" (1955). He remained sharp-tongued all of his days. When "All About Eve" was recycled into the Broadway musical "Applause," Mankiewicz observed that the studio had received "infinitely more" in royalties than it paid him for writing and directing the film. He said he had no complaints. The reason they have the "no refunds" sign in the theater ticket window, he said, is to keep the rubes from calling the cops.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Falls Around Her

2018, Drama/Mystery & thriller, 1h 40m

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Falls around her   photos.

A world-famous Anishinaabe musician returns to the reserve to rest and refresh herself but finds that her fame and the outside world intrude.

Genre: Drama, Mystery & thriller

Original Language: English

Director: Darlene Naponse

Producer: Jamie Manning , Darlene Naponse , Simone Urdl , Jennifer Weiss

Writer: Darlene Naponse

Release Date (Streaming): Dec 1, 2020

Runtime: 1h 40m

Production Co: The Film Farm, Baswewe Films

Cast & Crew

Tantoo Cardinal

Mary Birchbark

Tina Keeper

Betty Wigwam

Gail Maurice

Johnny Issaluk

Rob Stewart

J.D. Nicholsen

Hope McGregor

Billy Merasty

Joseph Nakogee

Will Strongheart

Darlene Naponse

Screenwriter

Jamie Manning

Simone Urdl

Jennifer Weiss

Christine Haebler

Executive Producer

Cinematographer

Teresa De Luca

Film Editing

Julian Cote

Mercedes Cueto

Production Design

Diana Magnus

Karen Churma

Set Decoration

Sarah Bissonette

Costume Design

Melissa A. Smith

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