Will “Taylor Swift: The Eras Tour” Be The Next Interactive Cinematic Phenomenon? A Preview and Primer

[Update: Here’s the film review.]

Not since perpetual screenings of 1975’s cult musical indie The Rocky Horror Picture Show, for which costumed moviegoers with ritualistic call-backs literally bring rice, newspapers, frankfurters, squirt guns and more and break out into “Time Warp” choreography in unison, has a movie theatre event been so poised to prompt audiences into a frenzy of interactivity. I am hereby dubbing Taylor Swift The Eras Tour, the indie concert movie coming October 13, 2023, The Taylor Swiftie Picture Show and bring you some perspective and tips to prepare for the full bejeweled majesty of the interactive experience (and you know I love musicals!)

As most of us were about to let the proverbial month of August slip away like a bottle of wine, it was announced on the last day of that fateful month that footage captured during pop princess and prolific songwriter Taylor Swift’s Los Angeles leg of her record-breaking concert tour was actually a secret movie made outside the Hollywood studio system and would soon screen across the U.S. via AMC Theatres and other multiplexes as a near-three-hour concert movie. Here’s the trailer. What a treat for all those who couldn’t afford the live concert or get the in-demand tickets! But is the singer ready for her close-up? Swift is no stranger to the screen, all the way back to the 2009 Hannah Montana: The Movie days with fellow child star Miley Cyrus. Swift has starred in a documentary about her political awakening and has had small parts in pedigreed movies:  I am one of the few cheerleaders of the guilty-pleasure Cats but not of the smarmy drama Amsterdam, although the getaway car sequence toward the beginning will turn some heads. This new Eras concert movie will undoubtedly be the ingenue breakthrough for a woman who has already broken live concert records globally. Based on pre-sales alone, Taylor Swift, already a member of the Academy of Motion Picture Arts and Sciences, will now be one of the biggest movie stars of the year, and her movie was actually lensed in L.A., it turns out, so maybe it was kinda made in Hollywood. Normally it wouldn’t be good karma to spoil the ending, but many have already followed along and know the set list, but here are ten tips to “Make the friendship bracelets, take the moment and taste it” and enhance your in-theatre experience:

  1. Costumes are a big part of the experience as fans (self-proclaimed “Swifties!”) sport clothing and accoutrements based on the various “eras” of the country crossover artist’s legendary young career, so whether it’s a glittery heart around the eye as a nod to the Lover album or an homage to the cottage-core of her mid-pandemic works, determine what you’ll wear to the affair.
  2. Some longtime fans paint a blue “13” on their hands in honor of Taylor’s favorite number (the film even premieres on this “lucky” day!) During the “Fearless” era, Swift scribed the blue 13 on her guitar-strumming hand.
  3. Friendship bracelet sharing is a thing to add to the communal experience. I found some fun ones on Etsy that I have ready to trade. My favorite has little letters spelling “Starbucks” in honor of a sometimes misunderstood lyric in the song “Blank Spaces.”
  4. There will be merch, so plan for long lines to snag those commemorative popcorn tubs and tumblers. One to use and one to collect?
  5. Plan to flash a light to honor the legacy of Taylor Swift’s opera singing grandmother during the emotional song “Marjorie” with lessons from her titular relative.
  6. There will be more call-backs than there were in Polyester by John Waters (movie with a famous Odorama scratch and sniff card). Plan on chants at the bridge of “Cruel Summer,” a double-clap during “You Belong with Me,” a triple-clap on the beat before “My ex-man brought his new girlfriend” during “Shake It Off,” the audience refrain “1,2,3, Let’s Go, B*tch!” during “Delicate” (right after “You can make me a drink…”) and much more chronicled on sites such as Bustle. There’s even a moment during “Anti-Hero,” when the audience may re-assure the songstress “Taylor, You’ll Be Fine.”
  7. It’s been a year of female empowerment, with the success of Barbie and all, so expect a loud unison of “F*** the patriarchy!” during the 10-minute song “All Too Well.” As that song is largely believed to be about a relationship with a certain Oscar nominated actor named Jake, you may also see some not-so-flattering homemade t-shirts about the thespian or even the scarf he allegedly never gave back to Taylor after their brief relationship.
  8. During the song “Bejeweled,” when Taylor sings the word “shimmer,” fans flutter their fingers. You kinda have to study TikTok for some of these!
  9. There’s a part of the live concert with secret songs surprising nightly audiences, so there are several tunes from the multi-day L.A. stint to choose from – although it doesn’t appear this will be like the movie Clue with different variations of film prints to stimulate multiple trips to the theatre. Those multiple viewings will likely happen for fans anyway!
  10. Most of all, have fun! There’s a long tradition of movie gimmickry designed to lure fans into movie houses, from 3-D and Cinerama to “The Tingler.” In this case, consider the fans already lured. This is your chance to make the next in-person sensation akin to the sing-along version of The Sound of Music or taking a page out of the customs invented by those Rocky Horror fans who have sung and danced in the aisles for nearly 50 years.

In some cases, tickets are still available for Taylor Swift The Eras Tour, the movie. Good luck to the multiplex ushers and cleaning crews, and pick up after yourself so nobody will say “This is why we can’t have nice things.”

“Dumb Money” Captures Angst, Anguish of Stock Trader Bro Culture

A new movie from a generally sly observer in the director’s chair gives a little bear and a little bull but not enough of either to make a very interesting trip to the zoo. An interlocking ensemble of characters represents the haves and have nots of the modern American economy in Craig Gillespie’s often effective true-life dramedy Dumb Money (B). Paul Dano is a natural as iconoclast Keith Gill, a regular guy with an outrageous YouTube persona urging retail investors to buy and hold ascendant underdog GameStop stocks, setting in motion an epic showdown with entitled hedge fund managers and even seemingly well-meaning technologists who collectively don’t want to see their predictable cash cow of a system upended. Along the way the movie presents effective subplots featuring the likes of America Ferrera and Anthony Ramos as common folks scraping by with the most to gain, but the script doesn’t plumb the depths of their stories enough. Seth Rogen and Nick Offerman are among those playing the aloof elite, although their parts are rarely imbued with the bombast or bluster required to characterize them as full-fledged antagonists. Gillespie vividly captures the zeitgeist of a drifting American culture at the height of the pandemic and certainly generates pockets of pathos amidst all the mercenary mania. The film is most brilliant in the ways it is steeped in the specificity and nomenclature of a grassroots investing class changing the way the Wall Street game is played. It’s at times fascinating and occasionally riveting while rarely amounting to the contemporary classic it could have been.

“Theater Camp” Mockumentary is a Pleasant Lark with Low Stakes

Packing for Molly Gordon and Nick Lieberman’s vision of Theater Camp (B) may involve contraband supplies such as throat coat (for maintaining those satin vocals) or the occasional tear stick (because crying on cue takes real range), but mostly the characters in this mockumentary come equipped for the summer with dry wit. Fresh from this year’s Sundance Film Festival, this comic lark written by the co-directors along with actors Ben Platt and Noah Galvin, showcases faculty and budding performers at the fictional New York State ”AdirondACTS” sleep-away camp. After the program’s indomitable founder (Amy Sedaris) falls into a coma, her clueless “crypto bro” son (Jimmy Tatro) is tasked with keeping the thespian enclave solvent while long-suffering teachers played by Platt and Gordon (both believable in their bickering) endeavor to ensure the end-of-summer musical show must go on. There are some fantastic quips and acts of acerbic comedy, largely featuring Tatro’s character’s basic misunderstanding of the theatre kids. Galvin shines when explaining the rituals of the bohemian Rent kids versus the finger-snapping Fosse friends. Ayo Edebiri is also a supporting VIP as a counselor who lied on her resume but still has to muster up classes on mask theory and fight choreography. There are plenty of sassy sight gags, biting observations and creative asides to reward those who work in the performing arts milieu; tricking kids into being restaurant servers by convincing them it’s an exercise in immersive theater is one of the standout sequences. Other times the tone is too slight to have much bite. The saggy middle act rallies in the finale though, when a show-within-a-show comes brilliantly together. The movie’s creators are clearly caught up in the craft, and it’s all just campy enough to yield a few bonfires of hilarity.

“Gran Turismo” is Best When it Transcends the Sports Formula

Talk about “formula” racing! Neill Blomkamp’s true life wish fulfillment drama Gran Turismo (B) starts out so color-by-numbers it seems destined to lap endless circles; but polished production values, brisk action and a touching set of mentor/mentee performances lift the film into true crowd-pleasing territory. In fact, it’s the late-breaking sit-down-and-cheer underdog movie of the summer. This is basically a real-life update of ‘80s adventure The Last Starfighter; this go-around the film’s protagonist is obsessed with the titular PlayStation racing simulation game and is recruited into the world of actual professional race car driving. The movie has an ample supply of Top Gun and The Karate Kid tropes stuffed into it too but ultimately finds its own modern lane. Relative newcomer Archie Madekwe gives a winning performance playing real-life hero Jann Mardenborough, and David Harbour is a delight as his grizzled trainer Jack Salter. Less successful is Orlando Bloom in a thankless and underwritten role as the auto executive who hatches the notion of leveraging sim players to become real drivers. Djimon Hounsou and Geri Halliwell spice up their scenes with a few sensitive moments as the hero’s parents, although the plot doesn’t completely explain their sometimes odd detachment. The movie does a good job guiding casual sports fans into its racing milieu with pop-up graphics, and the directorial choices including nose-dives into the action on a variety of international tracks provide a propulsive you-are-there vibe. The movie’s assertion of believing in yourself plus its largely clean content (save for some final act profanity) make it an imminently watchable choice for family viewing. 

DC Actioner “Blue Beetle” is Best When It Brings Culture Center Stage

The cure for superhero fatigue? Cut tie-ins to extraneous characters and multiverses of quantum physics straining credulity, focus on an outsider of humble roots, tell an origin story we haven’t seen before and raise the stakes for a showdown involving characters we enjoy. Basically do what Ángel Manuel Soto’s does in Blue Beetle (B+)! Buoyed by Cobra Kai star Xolo Maridueña as the movie’s charismatic protagonist, Soto tells the story of a working class Mexican-American family in the fictional Palmera City facing a supernatural shock to the system that jettisons them into life as DC Universe warriors. The film is consistently engaging with escalating threats and joyful action abounding. The hero’s family customs and worldview are central to the film’s successful audience engagement, with George Lopez and Belissa Escobedo as comic relief highlights in his close-knit Latino family. Only Susan Sarandon misses the mark with an underdeveloped role as a ruthless baddie. The adventure overstays its welcome a bit, but novel and nostalgic flourishes keep the film fairly fresh. Bobby Krlic’s symphonic score sets a manic mood, and the special effects are competent enough to populate a believable world. Families will enjoy seeing a multigenerational group of likable characters rise to the occasion.

Faith-Based “The Hill” (2023) Keeps Eye on Inspirational Ballgame

This biographical baseball film has three strikes against it: its acting roster is somewhat inconsistent, it fouls up some of its central notions about the limits of faith and it slides in too many familiar sports movie tropes – but even so, it’s largely a rousing run around the bases of feel-good sentiment. An earnest true-life story of a little-known sports miracle, Jeff Celentano’s The Hill (B-) is equal parts formulaic and inspirational. The central slugger who overcomes a handicap in order to try out for a chance at the big leagues is a real guy from history named Rickey Hill. He’s played effectively as a plucky child by the very talented Jesse Berry and as a twentysomething by Colin Ford, who is likable but not quite as natural. Dennis Quaid portrays his pastor father, who seems a bit world-weary in his stubborn role; the actor is powerful even if he never fully matches the age of his character (mercifully, no Indy 5 de-aging effects were employed). Scott Glenn as the legendary MLB scout and Bonnie Bedelia as the screenplay’s deus ex machina (a.k.a. the Hill family’s truth-telling grandmother) make lively impressions as the even more elder states-folk of the proceedings. The film is photographed in nostalgic tones which undergird its old-fashioned themes as the overprotective dad evokes unswerving devotion to religion as an excuse to forbid his son from a potentially disappointing career in baseball that will likely ruin the frail body behind his brawny batting arm. The script insists pop’s stalwart overprotection is somewhere beyond that of the parents in Footloose or Carrie, which gets far-fetched and tedious. Of course the staunch won’t short-change the launch. Still, when the inspirational sports and emotional moments work their magic, cheers and waterworks spring forth. There are some nice sequences of subtlety early in the film showcasing observant familial and congregational traditions which get mostly jettisoned for the inevitable montage sequences and grand finale. The movie is genial family entertainment and deftly demonstrates the majesty of both belief in a higher power and belief in a disciplined work ethic to field one’s dreams.

Political Romcom “Red, White & Royal Blue” a Soapy Same-Sex Sensation

This summer’s great wish fulfillment romance is so high stakes, it just might cause an international incident. Taylor Zakhar Perez and Nicholas Galitzine play the U.S. president’s son and a British prince, respectfully, who find themselves falling in love in Matthew López’s winning romcom Red, White & Royal Blue (B+). Considering their roles as high-profile public figures, the young men who Meet Cute at a U.K. wedding party must keep their burgeoning relationship a secret at all costs. The lead actors are dashing and often amusing in their earnest roles, and López grounds the plot with enough political accuracy and contours about making history for one’s culture or community to make the cross-continental complications fairly credible. Strong supporting performances include Uma Thurman as the Texas-accented president and Stephen Fry as a smug member of the monarchy. The film, available on Prime Video, is a triumph of representation and a jolly good time in its own right.

“The Last Voyage of the Demeter” Demonstrates You Can Make a Boring Dracula-on-a-Boat Movie

A new film based on a little-known chapter of the Dracula saga proves to be  monstrously boring. André Øvredal’s moribund nautical vampire tale The Last Voyage of the Demeter (D+) rarely sets sail into either creative or scary waters as the undead bloodsucker lurks and lunges in equal doses from the cargo hold of a nondescript merchant vessel traveling from Romania to England. The film’s mundane production values, self-conscious narration, cheap-looking creature effects and general lack of specificity about the shipboard whereabouts of this shape-shifting Lil’ Nos(feratu) X mark another low point in Universal’s “revisals” of classic monster pics. The mystery of why Vladdie can’t simply dispatch of the puny crew of imbeciles makes the dramatic dance even more of a transoceanic trance. Only Corey Hawkins as the protagonist, a shipboard MD caring for an unwitting stowaway (Aisling Franciosi) in need of transfusions, demonstrates any discernible pulse in the acting department. There are traces of race politics here, but the characters are too uninteresting to properly embody their arcs. Any teased promise of allegory is more bark than bite. The missed opportunities are countless. Typically pacing in a supernatural thriller is slow for a while to stoke the tension, but this adventure just gets more glacial: a captain’s slog to be sure! Only the film’s ability to elicit unintentional laughs in the final reel provides much of a jump scare surprise.

Faith-Based Movie Festival Accepting Indie Short Film Entries for 2023 Event  

Organizers of the 20th Annual 168 Film Project are celebrating a new home and a new collaboration with Angel Studios for this year’s faith-based film production competition, with a September 4 deadline for entry. Artists can learn more at www.168film.com and enter at 168film.com/project.

Named for the number of hours in a one-week production, the 168 Film Project last year relocated from California to Georgia, teeing up the 2023 festival to take place near Trilith Studios for the second time. This year the 168 Film Project is collaborating with film distributor Angel Studios.

Members of the 100,000 voter “Angel Guild” will review up to 10 of the 168 Film Project short film entries for potential development, funding and distribution as feature films or TV series.

168 Film Project is a scripture-focused community and proving ground for filmmakers, writers and actors of all levels of experience. 168 Film Project was launched in 2003 in Los Angeles, and the competition has produced more than 1,200 short films at locations all around the world including the feature Final Frequency

Angel Studios is a leading producer of faith-based content including the recent grassroots hit Sound of Freedom.

Watch “We Three Kens” Re-Examine #Barbenheimer From Faith Perspective in New Video

We were thrilled when Silver Screen Capture was invited to be part of a new pilot podcast video called “Seeing is Believing.” The topic? A look at the year’s biggest cinematic phenomenon of #Barbenheimer and the singular ways the surprising summer movie double bill of subversive satire Barbie and bendy biopic Oppenheimer continues to stir the souls of unsuspecting viewers! Click below to join Christopher Wagnon, José Alejandro Acosta and me for a conversation about faith, fear and loving and what lies under the surface of this critically and commercially successful duo of films.

Give a Hand to “Talk To Me,” the Artsy Horror Movie from Talented Aussie Brothers

The blunt force trauma of being a modern teenager receives its horror film embodiment in Danny and Michael Philippou’s story of friends who thrill to a psychic portal unleashed by a disembodied hand that foists dread into their heads in the often thrilling Talk To Me (B). This nifty A-24 Australian import featuring the eerie embalmed handshake sure to bring all the boys and girls to the yard starts strong and builds decent momentum, with resultant head-trips both expansive and concussive. The co-directors are particularly adept at drawing their audience magnetically into the throes of outlandish juvenile antics, a veritable arm wrestle with the supernatural, and they rarely give up their grip. Among the cunning conjurers, Sophie Wilde as our bedeviled heroine and Joe Bird as a wide-eyed innocent are standouts. Both dexterous young actors could varsity letter in possession. Other characters barely registered but were engaging enough to sometimes buttress the blow of the body counts. Creepy practical effects, shocking jump scares, startling sound design and a few surprising peccadillos keep the slight but mighty proceedings fresh amidst the digital dimensions and massive head wounds. Serendipitously, the most bonkers sequence in the hands-first haunting involves a rogue foot. For most of its brisk running time, this head-banging handmade tale definitely has legs.

Greta Gerwig Inducts “Barbie” into Doll of Fame with Fantastic and Surprisingly Poignant Satire

Writer/director Greta Gerwig isn’t done with plumbing the psychology of little women, setting the sly subject of her brilliantly subversive new work as a personified plaything who’s awakening into the reality of contemporary life. The witty auteur has crafted a loving tribute to those who create, those who play and those who simply grind into the trials of daily life in the eccentric, existential and exuberant Barbie (A). Packing everything she can about the highs, lows, choices and challenges of womanhood into an efficient fish out of water comedy, Gerwig fashions a droll and dreamy doll’s house, a mythology in miniature and a cultural touchpoint that’s so much more than its pristine plastic surface might promise. Much credit goes to graceful physical comedienne Margot Robbie as the title protagonist, discovering empowerment and empathy with support from a mighty female ecosystem. America Ferrera and Rhea Perlman are formidable standouts in the cast who instill wonder and wisdom along Barbie’s journey of self-actualization. As comic relief and a character gaining an agency of his own kind, Ryan Gosling is a hoot as Ken; he’s certainly the source of some of the greatest belly laughs evoked from a character with washboard abs. The production design, costumes and music are exquisite in this candy-colored universe made even more bountiful by the words of Gerwig and Noah Baumbach’s  observational and deeply meta screenplay. It’s a testament to Gerwig’s love of her subject that she can get away with in-jokes at the expense of her Mattel producers and evoke both nostalgia and a forward-looking vision all at once. The emotional undercurrent of the protagonist’s growing awareness about how the world works is something few will see coming; the sentiment is real and earned. This brainy modern classic is more than meets the eyes and will be studied for years to come.

Watch the “Seeing is Believing” podcast for Silver Screen Capture video review and discussion of a faith-based hot take on the #Barbenheimer phenomenon: