Il mostro della cripta Review — Il mostro della cripta (2021) Film Review from the 74th Annual Locarno Film Festival, a movie directed by Daniele Misischia, starring Tobia De Angelis, Amanda Campana, Pasquale Petrolo, Giovanni Calcagno, Nicola Branchini, and Chiara Caselli. Relishing in a particularly American palate of media nostalgia is one thing, but fully embodying [...]
Continue reading: Film Review: Il Mostro Della Cripta: A Lazy Italian Horror Riff on ‘80s American Nostalgia [Locarno 2021]...
Continue reading: Film Review: Il Mostro Della Cripta: A Lazy Italian Horror Riff on ‘80s American Nostalgia [Locarno 2021]...
- 8/28/2021
- by Jacob Mouradian
- Film-Book
We have an eclectic array of home media offerings coming out this week, led by the latest from Neil Marshall, The Reckoning. Shadow in the Cloud, featuring Chloë Grace Moretz, is also headed to Blu-ray and DVD this Tuesday, and if you missed the previous release of the Shinya Tsukamoto set from Arrow, they are releasing a standard Special Edition version of Solid Metal Nightmares as well.
Other Blu and DVD releases making their debut on April 6th include Doors, Sleepless, Dawn of the Beast, Lurking in the Woods, and Killer Karaoke.
The Reckoning
After losing her husband during the Great Plague, Grace Haverstock (Charlotte Kirk) is unjustly accused of being a witch and placed in the custody of England’s most ruthless witch-hunter, Judge Moorcroft (Sean Pertwee). Forced to endure physical and emotional torture while steadfastly maintaining her innocence, Grace must face her own inner demons as the Devil...
Other Blu and DVD releases making their debut on April 6th include Doors, Sleepless, Dawn of the Beast, Lurking in the Woods, and Killer Karaoke.
The Reckoning
After losing her husband during the Great Plague, Grace Haverstock (Charlotte Kirk) is unjustly accused of being a witch and placed in the custody of England’s most ruthless witch-hunter, Judge Moorcroft (Sean Pertwee). Forced to endure physical and emotional torture while steadfastly maintaining her innocence, Grace must face her own inner demons as the Devil...
- 4/5/2021
- by Heather Wixson
- DailyDead
Title: Come il vento (Like The Wind) Director: Marco Simone Puccioni Starring: Valeria Golino, Filippo Timi, Francesco Scianna, Chiara Caselli, Marcello Mazzarella. A tragic biopic on Italian prison governor Armida Miserere, was presented Out of Competition at 2013’s Rome Film Festival: Come il vento (Like The Wind). The brave but fragile protagonist is embodied with sensitivity by Valeria Golino, under the guidance of the talented director Marco Simone Puccioni, who has a gift for directing actresses, as seen in his previous feature, ‘Shelter Me,’ which earned co-stars Maria de Medeiros and Antonia Liskova multiple kudos. Valeria Golino’s portrayal of the edgy, chain-smoking Armida, is utterly moving, but the film’s narration feels [ Read More ]
The post Come il vento (Like The Wind) Movie Review appeared first on Shockya.com.
The post Come il vento (Like The Wind) Movie Review appeared first on Shockya.com.
- 11/27/2013
- by Chiara Spagnoli Gabardi
- ShockYa
DVD Release Date: Feb. 26, 2013
Price: DVD $29.95
Studio: Olive Films
Kim Rossi-Stuart (l.) and Inés Sastre enjoy each other's company in Beyond the Clouds.
Legendary filmmakers Michelangelo Antonioni (I Vinti) and Wim Wenders (Pina) teamed up to create the 1995 drama-romance film Beyond the Clouds.
Co-written by Antonioni, Wenders and Tonino Guerra and directed by Antonioni, Beyond the Clouds, told from the dreamlike perspective of a wandering film director (portrayed by Secretariat‘s John Malkovich), weaves together four stories of love and lust, inspired by Antonioni’s book about the enigmatic power of modern relationships.
Taking place in Ferrara, Portofino, Aix en Provence and Paris, each story–which always has a woman at its center–turns inwards in its examination of love. Or, as the late Antonioni put it, the stories turn “towards the true image of that absolute and mysterious reality that nobody will ever see.” Er, okay….
Featuring music from Van Morrison,...
Price: DVD $29.95
Studio: Olive Films
Kim Rossi-Stuart (l.) and Inés Sastre enjoy each other's company in Beyond the Clouds.
Legendary filmmakers Michelangelo Antonioni (I Vinti) and Wim Wenders (Pina) teamed up to create the 1995 drama-romance film Beyond the Clouds.
Co-written by Antonioni, Wenders and Tonino Guerra and directed by Antonioni, Beyond the Clouds, told from the dreamlike perspective of a wandering film director (portrayed by Secretariat‘s John Malkovich), weaves together four stories of love and lust, inspired by Antonioni’s book about the enigmatic power of modern relationships.
Taking place in Ferrara, Portofino, Aix en Provence and Paris, each story–which always has a woman at its center–turns inwards in its examination of love. Or, as the late Antonioni put it, the stories turn “towards the true image of that absolute and mysterious reality that nobody will ever see.” Er, okay….
Featuring music from Van Morrison,...
- 1/4/2013
- by Laurence
- Disc Dish
Tout est pardonné (eng: All is Forgiven)
Directed by Mia Hansen-Løve
Written by Mia Hansen-Løve
France, 2007
Watching with a critical eye, one will find Mia Hansen-Løve’s debut feature, Tout est pardonné, curiously out of focus; as in, it strongly lacks any. Although well-meaning and decorous, Tout est pardonné has too many points of interest that dull the overall impact of the film, making it less affecting than it should’ve been.
The story opens up in Vienna where Victor (Paul Blain), a shiftless French writer, is married to Annette (Marie-Christine Friedrich), his Austrian wife. Together, they have a six-year-old daughter named Pamela (Victoire Rousseau).
Unable to really communicate with either of them, especially Annette, Victor turns to drugs and is slowly consumed with an addiction, and at first, this seems to be the film’s raison d’être. We’re supposed to witness the spiraling effects of his drug...
Directed by Mia Hansen-Løve
Written by Mia Hansen-Løve
France, 2007
Watching with a critical eye, one will find Mia Hansen-Løve’s debut feature, Tout est pardonné, curiously out of focus; as in, it strongly lacks any. Although well-meaning and decorous, Tout est pardonné has too many points of interest that dull the overall impact of the film, making it less affecting than it should’ve been.
The story opens up in Vienna where Victor (Paul Blain), a shiftless French writer, is married to Annette (Marie-Christine Friedrich), his Austrian wife. Together, they have a six-year-old daughter named Pamela (Victoire Rousseau).
Unable to really communicate with either of them, especially Annette, Victor turns to drugs and is slowly consumed with an addiction, and at first, this seems to be the film’s raison d’être. We’re supposed to witness the spiraling effects of his drug...
- 8/17/2012
- by Justin Li
- SoundOnSight
"35 Shots of Rum". Two couples live across the hall in the same Paris apartment building. Neither couple is "together." Gabrielle and Noe have the vibes of roommates, but the way Lionel and Josephine love one another, it's a small shock when she calls him "papa." Lionel (Alex Descas) is a train engineer. Jo (Mati Diop) works in a music store. Gabrielle (Nicole Dogue) drives her own taxi. Noe (Gregoire Colin) claims only his much-loved cat is preventing him from moving to Brazil.
The four people are in and out of both apartments so readily, we sense they're a virtual family. One night they head out together in Gabrielle's taxi for a concert. The taxi breaks down, it rains, they shelter in a Jamaican cafe, there's good music on the juke box, they dance with one another. During the dancing and kidding around, it becomes clear to them, and to us,...
The four people are in and out of both apartments so readily, we sense they're a virtual family. One night they head out together in Gabrielle's taxi for a concert. The taxi breaks down, it rains, they shelter in a Jamaican cafe, there's good music on the juke box, they dance with one another. During the dancing and kidding around, it becomes clear to them, and to us,...
- 1/2/2011
- by Roger Ebert
- blogs.suntimes.com/ebert
Summary: 'The Father of My Children' is not a satisfying or easy film. And, for that, I am especially thankful.
This French import certainly has a familiar formula: Gregoire Canvel (Louis-Do de Lencquesaing) is an overworked producer at a struggling film studio who tries his best to provide for his wife Sylvie (Chiara Caselli) and three daughters, Clemence (Alice de Lencquesang), Valentine (Alice Gautier), and Billie (Manelle Driss). Beyond that set-up, however, nothing about the movie follows any well-worn dramatic path. In focusing on the trials of the everyman, The Father of My Children does not elevate its protagonist into a conventional hero. Instead, it depicts life exactly how Gregoire—and perhaps, all cinema—experiences it: in pieces.
Screen
read more...
This French import certainly has a familiar formula: Gregoire Canvel (Louis-Do de Lencquesaing) is an overworked producer at a struggling film studio who tries his best to provide for his wife Sylvie (Chiara Caselli) and three daughters, Clemence (Alice de Lencquesang), Valentine (Alice Gautier), and Billie (Manelle Driss). Beyond that set-up, however, nothing about the movie follows any well-worn dramatic path. In focusing on the trials of the everyman, The Father of My Children does not elevate its protagonist into a conventional hero. Instead, it depicts life exactly how Gregoire—and perhaps, all cinema—experiences it: in pieces.
Screen
read more...
- 11/9/2010
- by Josh Harrison
- Filmology
Heartbreaking and life-affirming, “The Father of My Children” is a lovely follow-up from Mia Hansen-Løve inspired by her encounter with Humbert Balsan. Modeled after the French producer, Grégoire Canvel (Louis-Do de Lencquesaing) is a passionate, charming filmmaker with a cell phone attached to his ear when he isn’t in his Moon Films office. Managing a troubled production with a demanding director in Sweden and anticipating the imminent arrival of a Korean crew in Paris, he maintains an upbeat demeanor despite immense pressure and constant challenges.
Perhaps this is because his home life is so idyllic. Wife Sylvia (Chiara Caselli) and three brilliant, imaginative daughters wait for him at their weekend house in the country, as loving and jovial when they pick him up from the police station for one too many speeding tickets as when they’re putting on a play in the family living room. But his creative...
Perhaps this is because his home life is so idyllic. Wife Sylvia (Chiara Caselli) and three brilliant, imaginative daughters wait for him at their weekend house in the country, as loving and jovial when they pick him up from the police station for one too many speeding tickets as when they’re putting on a play in the family living room. But his creative...
- 5/21/2010
- Moving Pictures Magazine
An outstanding, undemonstrative family drama about depression. By Peter Bradshaw
A warning about spoilers is necessary before rehearsing the question at the heart of this deeply intelligent film: why do people commit suicide? Is our catch-all diagnosis of "depression" a glib, quasi-clinical alibi which masks our incomprehension? Is suicide a spasm of despair, or rather something calmly envisioned years or even decades before the act itself, like emigration or retirement, and in fact the neurotically comforting option which has been the sole foundation for carrying on with the business of life? Mia Hanson-Løve has made an outstanding, undemonstrative family drama based on troubled film producer Humbert Balsan, who took his own life in 2005.
In the busy heart of cosmopolitan Paris – established with a superbly invigorating, uncliched montage over the opening credits – Grégoire Canvel (Louis-Do de Lencquesaing) is a film producer: a handsome man in early middle age forever on the move,...
A warning about spoilers is necessary before rehearsing the question at the heart of this deeply intelligent film: why do people commit suicide? Is our catch-all diagnosis of "depression" a glib, quasi-clinical alibi which masks our incomprehension? Is suicide a spasm of despair, or rather something calmly envisioned years or even decades before the act itself, like emigration or retirement, and in fact the neurotically comforting option which has been the sole foundation for carrying on with the business of life? Mia Hanson-Løve has made an outstanding, undemonstrative family drama based on troubled film producer Humbert Balsan, who took his own life in 2005.
In the busy heart of cosmopolitan Paris – established with a superbly invigorating, uncliched montage over the opening credits – Grégoire Canvel (Louis-Do de Lencquesaing) is a film producer: a handsome man in early middle age forever on the move,...
- 3/4/2010
- by Peter Bradshaw
- The Guardian - Film News
Dir: Mia Hansen-Løve Cast: Louis-Do de Lencquesaing, Chiara Caselli, Alice de Lencquesaing, Eric Elmosnino Hansen-Løve was inspired to create The Father of My Children following the tragic suicide of Humbert Balsan in 2005. Balsan was a prolific producer and one of the most respected figures in French cinema, and his suicide sent shock waves through the industry, but the fact that one of those waves resulted in this beautiful and touching film will surely stand as a testament to his spirited life. The film follows ‘Gregoire’ (Louis-Do de Lencquesaing) as he struggles to keep Moon Films afloat. This is no colourful and romanticised vision of the film industry (as Gene Kelly and Pedro Almodovar would have us see it); it is a realistic and almost mundane insight into the artistic alienation and financial suffocation that great producers suffer from. Gregoire is a champion of artists, and is happy to take huge...
- 1/21/2010
- by Nicholas Deigman
- t5m.com
I have a quirky policy about writing of films from a film festival. In the early years, I tried to avoid an actual "review," especially negative, because I believed a film deserved a chance to open before I laid into it. This was grandiose--as if the world was awaiting my opinion. Then I began suggesting my thinking, without going into detail. Then, being human, I allowed that approach to enlarge into specific descriptions of films I really loved, or hated.
Alex Vo, editor of Rotten Tomatoes: No Meter when he needs it most.
That's now the strategy I use, with amendments. I can only review a film for the first time once, and if I've used all my energy in rehearsal, what have I saved for opening night? I'll reflect the general reception of certain films, however, if only in the spirit of providing news coverage. The first year I was here,...
Alex Vo, editor of Rotten Tomatoes: No Meter when he needs it most.
That's now the strategy I use, with amendments. I can only review a film for the first time once, and if I've used all my energy in rehearsal, what have I saved for opening night? I'll reflect the general reception of certain films, however, if only in the spirit of providing news coverage. The first year I was here,...
- 9/12/2009
- by Roger Ebert
- blogs.suntimes.com/ebert
I think I may have just seen the 2010 Oscar winner for best foreign film. Whether it will win the Palme d'Or here at Cannes is another matter. It may be too much of a movie movie. It's named "A l'origine," by Xavier Giannoli, and is one of several titles I want to discuss in a little festival catch-up. Based on an incredible true story, it involves an insignificant thief, just released from prison, who becomes involved in an impromptu con game that results in the actual construction of a stretch of highway. At the beginning he has no plans to build a highway. He simply sees a way to swindle a contractor out of 15,000 euros. He is sad, defeated, unwanted, apart from his wife and child, sleeping on a pal's sofa. What happens is not caused by him nor desired by him. It simply happens to him.
This is one...
This is one...
- 5/25/2009
- by Roger Ebert
- blogs.suntimes.com/ebert
Though he has raised the risks considerably, once again writer-director Gus Van Sant Jr. has come up with a film that zeros in on the poignance and gentle comedy at the heart of an otherwise seamy situation. And with the sole exception of a misfired Orson Welles tribute, his new film, "My Own Private Idaho, '' is his most accomplished effort yet.
Despite the fact that it is the story of a teenaged narcoleptic male hustler in Portland, Ore., with an obsession about finding his mother, the film's tonal richness, its hipness and its plain humanity, as well as the considerably canny casting of River Phoenix and Keanu Reeves in lead roles, mark this feature as one to watch.
Outstanding specialty success is all but assured; even more, the film has the potential to wade into the mainstream and make a sizable cache.
Phoenix and Reeves play Mike Waters and Scott Favor, respectively, a pair of teenagers making their living off the mostly male, occasionally female, paying public.
Mike, the center of most of the attention, is actually gay and is obsessed with finding the mother who abandoned him to state care as a child. The movie's title refers to the image of a country home and family he carries around in his head.
Scott, whose own sexual preferences are straight but likes the money of hustling almost as much as the shock it gives his politician father, agrees to take off into the countryside, in the United States and eventually even Italy, in pursuit of leads.
A series of dead ends leads to Mike's brother Richard (James Russo, who, despite appearing only briefly onscreen, makes a powerful impression) and some devastating revelations that, nevertheless, help Mike get on with his life.
However, as with Van Sant's other features, plot doesn't do justice to the crowded anecdotes, varying tones and stylistic insouciance.
In one scene sure to increase the film's buzz factor, Reeves' picture on the cover of a male nudie magazine suddenly comes alive and starts talking about the vicissitudes of hustling, eventually landing in an argument with the many newly animated figures on the covers of the rack's other magazines.
Van Sant emphasizes the vulnerable side of Phoenix's persona, and not only does the young actor deliver his best performance, he manages to limn a gay character who will probably have an enormous appeal to young women. Even his narcolepsy, which causes Mike to fall asleep in moments of stress, alternates between the wryly sad and macabrely humorous.
Grace Zabriskie as a horny suburban matron, Udo Kier as the ultimate Euro-sleaze pickup artist, and Mickey Cottrell as a clean-freak client of Mike's, add to the general zaniness.
Yet, no matter how pronounced the sexual humor, pathos underlies every scene, and in the Italian interlude, when Scott falls for a beautiful girl (Chiara Caselli) he meets on a farm and perforce abandons Mike, Van Sant creates a profoundly sympathetic portrait of an emotionally impossible situation.
The film does contain interludes shot in the style of Welles' "Chimes at Midnight, '' during which Reeves' character acts out a drama of filial rebellion and reconciliation, with William Richert performing a good turn as the Falstaff character. Unfortunately, Van Sant's editing becomes so self-consciously heated, and the dialogue so ersatz, that barely a moment works.
MY OWN PRIVATE IDAHO
Fine Line Features
Writer-director Gus Van Sant Jr.
Producer Laurie Parker
Directors of photography Eric Alan Edwards,
John Campbell
Production designer David Brisbin
Editor Curtiss Clayton
Color
Cast:
Mike Waters River Phoenix
Scott Favor Keanu Reeves
Richard Waters James Russo
Bob Pigeon William Richert
Carmella Chiara Caselli
Alena Grace Zabriskie
HansUdo Kier
Running time -- 102 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
Despite the fact that it is the story of a teenaged narcoleptic male hustler in Portland, Ore., with an obsession about finding his mother, the film's tonal richness, its hipness and its plain humanity, as well as the considerably canny casting of River Phoenix and Keanu Reeves in lead roles, mark this feature as one to watch.
Outstanding specialty success is all but assured; even more, the film has the potential to wade into the mainstream and make a sizable cache.
Phoenix and Reeves play Mike Waters and Scott Favor, respectively, a pair of teenagers making their living off the mostly male, occasionally female, paying public.
Mike, the center of most of the attention, is actually gay and is obsessed with finding the mother who abandoned him to state care as a child. The movie's title refers to the image of a country home and family he carries around in his head.
Scott, whose own sexual preferences are straight but likes the money of hustling almost as much as the shock it gives his politician father, agrees to take off into the countryside, in the United States and eventually even Italy, in pursuit of leads.
A series of dead ends leads to Mike's brother Richard (James Russo, who, despite appearing only briefly onscreen, makes a powerful impression) and some devastating revelations that, nevertheless, help Mike get on with his life.
However, as with Van Sant's other features, plot doesn't do justice to the crowded anecdotes, varying tones and stylistic insouciance.
In one scene sure to increase the film's buzz factor, Reeves' picture on the cover of a male nudie magazine suddenly comes alive and starts talking about the vicissitudes of hustling, eventually landing in an argument with the many newly animated figures on the covers of the rack's other magazines.
Van Sant emphasizes the vulnerable side of Phoenix's persona, and not only does the young actor deliver his best performance, he manages to limn a gay character who will probably have an enormous appeal to young women. Even his narcolepsy, which causes Mike to fall asleep in moments of stress, alternates between the wryly sad and macabrely humorous.
Grace Zabriskie as a horny suburban matron, Udo Kier as the ultimate Euro-sleaze pickup artist, and Mickey Cottrell as a clean-freak client of Mike's, add to the general zaniness.
Yet, no matter how pronounced the sexual humor, pathos underlies every scene, and in the Italian interlude, when Scott falls for a beautiful girl (Chiara Caselli) he meets on a farm and perforce abandons Mike, Van Sant creates a profoundly sympathetic portrait of an emotionally impossible situation.
The film does contain interludes shot in the style of Welles' "Chimes at Midnight, '' during which Reeves' character acts out a drama of filial rebellion and reconciliation, with William Richert performing a good turn as the Falstaff character. Unfortunately, Van Sant's editing becomes so self-consciously heated, and the dialogue so ersatz, that barely a moment works.
MY OWN PRIVATE IDAHO
Fine Line Features
Writer-director Gus Van Sant Jr.
Producer Laurie Parker
Directors of photography Eric Alan Edwards,
John Campbell
Production designer David Brisbin
Editor Curtiss Clayton
Color
Cast:
Mike Waters River Phoenix
Scott Favor Keanu Reeves
Richard Waters James Russo
Bob Pigeon William Richert
Carmella Chiara Caselli
Alena Grace Zabriskie
HansUdo Kier
Running time -- 102 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
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