1. “Beers with Channing Tatum: ’Magic Mike XXL’ Reveals and Why He Put His Head Through a Wall.” The former stripper turned actor opens up to THR about his rocky past, tabloid divorce rumors, Oscar buzz for Foxcatcher, the possibility of having another baby and why he might move away from Hollywood.
“On one occasion, Tatum became so consumed with a scene where he has to smash his head against a mirror, he drew blood. The crew had covered the mirror with a plastic sheath, says [Bennett] Miller. ’But he punched that thing with his head three times and shattered it, and put his head through it and through the frame behind the mirror and through the drywall that the mirror was hanging on and left a divot two inches deep. When we took the mirror down, there was a hole in the wall. And he actually cut himself, and you see his blood in that scene. This was somebody uncorking something that you can’t make up. It’s inside you somewhere or it’s not.’”
2. “Film of the Week: Interstellar.” For Film Comment, Jonathan Romney on Christopher Nolan’s latest.
“There’s nothing wrong in itself with flipping between these different modes of adventure, especially because Nolan’s analogue style—shooting on celluloid, minimizing digital illusion—gives even the more other-worldly episodes a distinctive edge of concrete realism. As designed by Nathan Crowley and shot by Hoyte Van Hoytema, the hardware especially looks like hardware—metal that seems heavy, cumbersome and breakable, as distinct from the aesthetic of weightlessness promoted by most contemporary CGI futurism. Yet the flip side of this deglamorizing tendency is a banalization of the space experience: the explorers seem to get to the wormhole in no time at all, and they’re in that other galaxy (’We’re here!’) as easily as they might change subway lines. (You keep thinking they’ll pass Sandra Bullock, floating by with a neighborly wave.) That Nolan later starts cutting easily between events in the other galaxy and on Earth is ostensibly a daring move, but in fact it further domesticates the drama, the simultaneity of action (e.g., cutting between a spaceship revving up and a speeding car in the Midwest) somehow reducing the two narrative strands to the same level of mundanity.”
3. “Give Reese a Chance.” Wesley Morris on the ongoing comeback of an American bitter-sweetheart.
“Does the movie have a bad title? Sure. Is that ad campaign opportunistically false? Absolutely. The Sudanese do all of the hard work. Carrie just cleans up her house. It’s unclear what Warner Bros.’s plans are for the rest of the year. There are terrible movies making less money on more screens. But as a flash point for renewed excitement for Witherspoon, she deserves better. I like what she’s done here. Rightly recognizing that the world is bigger than her stardom, she cedes to Oceng, Duany, and Jal, and to Kuoth Wiel, who plays another refugee. Despite what the posters promise, Witherspoon doesn’t glow in this movie; she looks like she hasn’t seen the sun in years. But her hard flintiness could get a campfire going.”
4. “How My Little Pony Became a Cult for Grown Men and Preteen Girls Alike.” For The Cut, Lisa Miller explores the root of this phenomenon.
“If you’ve heard of My Little Pony, you’ve probably also heard about ’Bronies,’ the zealous (and somewhat suspect) brotherhood of adult male fans. But to focus too closely on the Brony phenomenon is to wade in shallow water and pretend to know the ocean. My Little Pony is a worldview, and a way of life, for millions of non-creepy people who find the show entertaining and amusing, yes, but who also say it provides them with the personal guidance, moral lessons, and comforting perspective that previous generations used to find in places like church. Fans refer to the show itself—91 episodes in four seasons, with a fifth to come in 2015—as ’the canon,’ and over at Equestria Daily, the largest fan site, they participate in something like midrash, avidly hashing over references, meanings, and inconsistencies. But there’s also a whole world of apocrypha—art, video games, music, T-shirts, and fiction—created by fans and based loosely on the canon but jumping off in unorthodox directions. It’s not unusual to find online Pony versions of other cults: Super Mario Pony, Minecraft Pony, Dr. Who Pony, and, my favorite, My Little Game of Thronies.”
5. “It’s the End of Movies As We Know It, As the Last 35mm Film Lab in NYC Shuts Down.” For Playboy, Matt Patches on the demise of Technicolor-PostWorks.
“The movie business demands forward-thinking and cost-effective strategy. Macro prognostication, where a resource like Film Lab won’t be around when it’s needed or Argo disappears forever because a server shorted out, is overlooked because there aren’t dollar signs attached. So it comes down to the consumer, who may have no idea that this is a question they have to answer. It means ponying up money to catch a film print of Interstellar, attending shows at the pro-35mm print establishments like the Alamo Drafthouse, or throwing some extra cash towards The National Film Preservation Foundation. The dream of filmmakers can only go so far.”
Video of the Day: The video for Lorde’s “Yellow Flicker Beat”:
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